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UMS Concert Program, Friday Sep. 17 To 26: University Musical Society: Fall 2004 - Friday Sep. 17 To 26 --

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University Musical Society
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Season: FALL 2004
University Of Michigan, Ann Arbor

university musical society
fall 04
University of Michigan Ann Arbor
2 5 Letters from the Presidents Letter from the Chair
UMS leadership 6 12 13 Corporate LeadersFoundations UMS Board of DirectorsSenate Advisory Committee UMS StaffTeacher Advisory Committee
UMS services 15 16 General Information Tickets
UMSannals 21 22 23 UMS History UMS Choral Union Venues & Burton Memorial Tower
UMSexperience 27 30 33 126th UMS Season UMS Education Programs UMS Preferred Restaurant & Business Program
UMSsupport 35 35 37 39 48 Advisory Committee Sponsorship & Advertising Internships & College Work-StudyUshers Support UMS Advertisers
Front Covar Mikhail Baryshnikov in Forbidden Christmas or The Doctor and The Patient {Michal Daniel), Whirling Dervishes of Damascus. Yuri Temirkanov, Measha Brueggergosman (Lome Bridgeman)
Back Cover Laurie Anderson. The Bad Plus (Marcelo Krasilcicl Akira Kasai {Hideyo Tanaka and Takahiro Hachikubo). The Elephant Vanishes IRobbie Jack)
The University of Michigan joins the University Musical Society (UMS) in welcoming you to its 200405 season. We are proud of the wonderful partnership between our two organizations and of the role
of the University as co-sponsor of several educa?tional events connected to this season's calendar. These jointly sponsored events are wonderful opportunities for University of Michigan stu?dents and faculty to learn about the creative process and the sources of inspira-
tion that motivate artists and scholars.
We are delighted to be working with UMS again to help sponsor educational activities throughout the 200405 season. Some highlights of our fall educational co-presentations include some of the great artists UMS will present this season, such as Ravi Shankar, Paul Taylor Dance Company, and Akira Kasai, along with remark?able productions of Forbidden Christmas or The Doctor and The Patient with Mikhail Baryshnikov, and Complicite's The Elephant Vanishes, which has received extraordinary reviews at Lincoln Center.
Last year, we were honored to welcome UMS back to Hill Auditorium for their 125th anniversary season. Seeing the magnificent Hill Auditorium for the first time was an amazing experience. Watching the national coverage of the re-opening of Hill and hearing hundreds of stories about its astonishing artistic legacy and
rich history with UMS made me appreciate all the more how important both the University and UMS has become in the cultural life of our country. We have another great example of the marvelous opportunities our University and UMS can provide to our community in the production of The Elephant Vanishes in October this production will only be seen in New York, Paris, London, and Ann Arbor!
This year, we have also launched our ambi?tious capital campaign for the future of the University of Michigan, titled The Michigan Difference. One of the areas we have highlight?ed for support is the arts. We provide experi?ences, both in the classroom and throughout our museums and theaters, to stimulate creativ?ity, engage tomorrow's performers and artisans, and showcase the world from diverse points of view. I hope you will join me and many others in moving our University to even greater levels of excellence and aspiration.
I want to thank the faculty and staff of the University of Michigan and UMS for their hard work and dedication in making our partnership a success. The University of Michigan is pleased to support UMS during this exhilarating 200405 season, and we share the goal of mak?ing our co-presentations academic and cultural events that benefit the university community and the broadest possible constituency.
Mary Sue Coleman
President, University of Michigan
Thank you for attending this UMS per?formance. We hope we'll see you at other UMS events throughout our 126th season. For a list of performances, visit page 27 in this program book or check out our website at
UMS is able to bring you world-class per?formances because we have a lot of help from our partners. There are the artists' managers around the world -the people artists and ensembles retain to manage their careers -with whom we negotiate the terms of the artists' engagements on the UMS season. Then there are our venue partners, the institutions that own the places we rent for our performances, includ?ing the University of Michigan, Eastern Michigan University, Michigan Theater, and St. Francis of Assisi Catholic Church. Other arts organizations, some across the globe, collabo?rate with UMS to present performances, com?mission new work, and create new productions. The men and women of the Local 395 of the International Alliance of Theatrical Stage Employees (IATSE) do an outstanding job unloading the trucks, constructing the sets, set?ting the stage, and doing everything else neces?sary to assure a smooth production before, during, and after a given performance. Our media partners help us spread the word about our events, and our corporate, foundation, and government partners contribute the additional financial support we need to balance the budget.
Our most important partner, however, is you. Without your attendance at our events we would have no reason to bring the artists to our community, and without the additional finan?cial support many of you provide through your UMS membership, we wouldn't be able to afford them. Thank you for all of your support.
There are a variety of other partners with whom we serve young people throughout the region, enrich our performances with educa?tional programming, deepen our links to the community, promote our events, develop new audiences, and inform and enlighten our staff. These include area public and private K-12 schools; colleges, institutes, and centers at the University of Michigan; other area colleges and universities; and community organizations like Neutral Zone, The Links, Inc., and ACCESS.
A special word about ACCESS, the Arab Community Center for Economic and Social Services. UMS began a relationship in the late
(l-r) Ken Fischer. Congressman John Dingell, and ACCESS Executive Director Ismael Ahmed.
1990s with ACCESS, an award-winning Dearborn-based community organization that serves the region's large Arab American com?munity. After getting to know one another and developing a relationship of trust and respect, UMS and ACCESS wrote a proposal in June 2001 for funds to plan and carry out a three-week residency featuring Palestinian-American composer and musician Simon Shaheen. It would include performances, visits to the schools, workshops on Arabic music for area musicians, artists' interviews, and educational sessions. The project would also include ACCESS providing Arab immersion experiences for UMS staff and UMS providing production workshops for ACCESS staff. When 911 occurred, we agreed that the project was more important than ever since its objectives also included our respective audiences gaining a greater understanding and appreciation of the diverse cultures of the Arab world. The project took place in December and January of last season, culminating in a January 31 concert at the Michigan Theater by Simon Shaheen, his group Qantara, and leading Arab musicians from southeastern Michigan, that included the world premiere of Shaheen's Arboresque. The successful project led to our planning this sea-
son's Arab World Music Festival, which is co-presented by ACCESS and UMS and supported by a distinguished Honorary Committee and by foundation grants and corporate sponsorships. For UMS, ACCESS has become an exemplary partner as we've sought to build our relation?ship based on the principles of communication, cooperation, vulnerability, and reciprocity.
It's wonderful to have you with us for this performance. I hope that we'll see you at some of the Arab World Music Festival concerts and other UMS performances throughout the season. Feel free to get in touch with us if you have any questions or problems. The best place to begin is with our Ticket Office at 734.764.2538. You should also feel free to get in touch with me about anything related to UMS. If you don't see me in the lobby at this performance, please send me an e-mail message at or call me at 734.647.1174.
Very best wishes,
Kenneth C. Fischer UMS President
I am so pleased to welcome you to the 200405 UMS season. It promises to be as exciting as always. This year we are bringing The New York Philharmonic, a semi-staged concert performance of
A Midsummer Night's Dream with the Orchestra of the Age of Enlightenment con?ceived for the concert hall by Tim Carroll of Shakespeare's Globe Theatre, a five-concert Arab World Music Festival, vocalist Audra McDonald,
and terrific theater and jazz among the 50 pre?sentations you will find in your UMS season program.
UMS is undertaking its largest fundraising campaign ever, which is incorporated within the $2.5 billion Michigan Difference Campaign of the University of Michigan. UMS's campaign goal is $25 million, to be achieved by the end of 2008. The campaign's objective is to assure that
UMS will continue to be one of the most dis?tinctive presenting organizations in the country by securing its financial future. I invite you to join us in achieving this important objective. There are many ways to participate, and gifts at all levels are welcomed. For more information, please call the UMS Development Office at 734.647.1178.
I wish to thank all of our UMS members whose financial support over and above their ticket purchases helps us fulfill our mission of presentation, education, and creation at the highest level. Their names are listed beginning on page 39 of this program book. And a special thanks to our corporate sponsors whom we recognize on the next few pages.
Enjoy the performance!
Prue Rosenthal
Chair, UMS Board of Directors
Sandra Ulsh
Vice President and Executive Director, Ford Motor Company Fund "Through music and the arts we are inspired to broaden our horizons, bridge differences among cultures and set our spirits free. We are proud to support the University Musical Society and acknowl?edge the important role it plays in our community."
David Canter
Senior Vice President, Pfizer, Inc. "The science of discovering new medicines is a lot like the art of music: To make it all come together, you need a diverse collection of brilliant people. In order to get people with world-class talent you have to offer them a special place to live and work. UMS is one of the things that makes Ann Arbor quite special. In fact, if one were making a list of things that define the quality of life here, UMS would be at or near the very top. Pfizer is honored to be among UMS's patrons."
Douglass R. Fox
President, Ann Arbor Automotive "We at Ann Arbor Automotive are pleased to support the artistic variety and program excellence given to us by the University Musical Society."
David C. Sharp
Publisher, The Ann Arbor News "The people at The Ann Arbor News are pleased and honored to partner with and support many community organizations, like the University Musical Society, that as a whole create one of the most vibrant, diverse, and interesting cities throughout this region."
William M. Broucek
President and CEO, Bank of Ann Arbor "Bank of Ann Arbor is pleased to contribute to enriching the life of our community by our sponsorship of the 200405 season."
Erik W. Bakker
Senior Vice President, Bank One, Michigan "Bank One is honored to be a partner with the University Musical Society's proud tradition of musical excellence and artistic diversity."
Habte Dadi
Manager, Blue Nile Restaurant "At the Blue Nile, we believe in giving back to the community that sustains our business. We are proud to support an organization that provides such an important service to Ann Arbor."
Greg Josefowicz
President and CEO, Borders Group, Inc. "As a supporter of the University Musical Society, Borders Group is pleased to help strengthen our community's commitment to and appreciation for artistic expression in its many forms."
Len Niehoff
Shareholder, Butzel Long
'UMS has achieved an international reputation for excellence in presentation, education, and most recently creation and commissioning. Butzel Long is honored to support UMS, its distinctive and diverse mission, and its important work."
Clayton Wilhite
Managing Partner, CFI Group, Inc. "We're pleased to be in the group of community businesses that supports UMS Arts and Education. We encourage those who have yet to participate to join us. Doing so feels good."
Rhonda Davenport
Group Manager & First Vice President of Ann Arbor Region, Comerica Incorporated 'Our communities are enriched when we work togeth?er. That's why we at Comerica are proud to support the University Musical Society and its tradition of bringing the finest in performing arts to our area."
Edward Surovell
President, Edward Surovell Realtors "Edward Surovell Realtors and its 300 employees and sales associates are proud of our 20-year relationship with the University Musical Society. We honor its tradition of bringing the world's leading performers to the people of Michigan and setting a standard of artistic leadership recognized internationally."
Leo Legatski
President, Elastizell Corporation of America "UMS has survived the cancellations of September 2001, the renovation of Hill Auditorium, and budget cutbacks this past season. They need your support-more than ever--to continue their outstanding pro?gramming and educational workshops."
Yousif Ghafari
Chairman, The Ghafari Companies "The Ghafari Companies are pleased to support the University Musical Society and its multicultural pro?gramming. We are especially pleased to be part of the Arab World Music Festival."
Mohamad Issa
Director, Issa Foundation
"The Issa Foundation is sponsored by the Issa family, which has been established in Ann Arbor for the last 30 years, and is involved in local property management as well as area public schools. The Issa Foundation is devoted to the sharing and acceptance of culture in an effort to change stereotypes and promote peace. UMS has done an outstanding job bringing diversity into the music and talent of its performers."
Erin R. Boeve
Director of Sales, Kensington Court Ann Arbor "The Kensington Court Ann Arbor is a proud supporter and sponsor of the University Musical Society. The dedication to education through the arts is a priceless gift that continually enriches our community."
Rick M. Robertson
Michigan District President, KeyBank "KeyBank is a proud supporter of the performing arts and we commend the University Musical Society on its contributions to the cultural excellence it brings to the community."
Albert M. Berriz
President and CEO, McKinley Associates, Inc. "The success of UMS is based on a commitment to present a diverse mix of quality cultural performances. McKinley is proud to support this tradition of excellence which enhances and strengthens our community."
Erik H. Serr
Principal, Miller, Canfield, Paddock & Stone, P.LC. "Miller Canfield is a proud supporter of the University Musical Society and its superior and diverse cultural events, which for 125 years, has brought inspiration and enrichment to our lives and to our community."
Robert J. Malek
Community President, National City Bank "A commitment to quality is the main reason we are a proud supporter of the University Musical Society's efforts to bring the finest artists and special events to our community."
Don Hawkins
Senior Vice President, Director of Community Affairs, TCFBank
"TCF Bank is pleased to join the University Musical Society to make the arts accessible to students of diverse backgrounds. How thrilling to see children's faces, experiencing their first performance as only UMS can present."
Nicholas C. Mattera
Assistant Vice President, TIAA-CREF Individual and Institutional Services, Inc.
"TIAA-CREF is proud to be associated with one of the best universities in the country and the great tradition of the University Musical Society. We celebrate your efforts and appreciate your commitment to the performing arts community."
Thomas B. McMullen
President, Thomas B. McMullen Co., Inc. "I used to feel that a U-M-Ohio State football ticket was the best ticket in Ann Arbor. Not anymore. UMS provides the best in educational and artistic entertainment."
Yasuhiko "Yas" Ichihashi
President, Toyota Technical Center, USA Inc. "Toyota Technical Center is proud to support UMS, an organization with a long and rich history of serving diverse audiences through a wide variety of arts program?ming. In particular, TTC supports UMS presentations of global performing arts -programs that help broaden audiences' interest in and understanding of world cultures and celebrate the diversity within our community."
FOUNDATION AND GOVERNMENT SUPPORT UMS gratefully acknowledges the support of the following foundations and government agencies.
$100,000 and above Community Foundation for
Southeastern Michigan Doris Duke Charitable Foundation The Ford Foundation JazzNet Michigan Council for Arts and
Cultural Affairs The Power Foundation The Wallace Foundation The Whitney Fund
The Japan Foundation
Chamber Music America
Maxine and Stuart Frankel Foundation
National Endowment for the Arts
$1,000-9,999 Akers Foundation Altria Group, Inc. Arts Midwest Cairn Foundation Heartland Arts Fund The Lebensfeld Foundation Martin Family Foundation Mid-America Arts Alliance The Molloy Foundation Montague Foundation THE MOSAIC FOUNDATION
(of R. and P. Heydon) National Dance Project of the New England
Foundation for the Arts Sarns Ann Arbor Fund Vibrant of Ann Arbor
UNIVERSITY MUSICAL SOCIETY of the University of Michigan
Prudence L. Rosenthal,
Chair Clayton E. Wilhite,
Vice-Chair Sally Stegeman
DiCarlo, Secretary Michael C. Allemang,
Kathleen Benton Charles W. Borgsdorf Kathleen G. Charla Mary Sue Coleman Hal Davis Aaron P. Dworkin George V. Fornero Maxine J. Frankel Patricia M. Garcia Deborah S. Herbert
Carl W. Herstein Toni Hoover Gloria James Kerry Marvin Krislov Barbara Meadows Lester P. Monts Alberto Nacif Jan Barney Newman Gilbert S. Omenn Randall Pittman
Philip H. Power A. Douglas Rothwell Judy Dow Rumelhart Maya Savarino John J. H. Schwarz Erik H. Serr Cheryl L. Soper James C. Stanley Karen Wolff
(former members of the UMS Board of Directors)
Robert G. Aldrich Herbert S. Amster Gail Davis Barnes Richard S. Berger Maurice S. Binkow Lee C. Bollinger Janice Stevens Botsford Paul C. Boylan Carl A. Brauer Allen P. Britton William M. Broucek Barbara Everitt Bryant Letitia J. Byrd Leon S. Cohan Jill A. Corr Peter B. Corr Jon Cosovich Douglas Crary Ronald M. Cresswell
Robert F. DiRomualdo James J. Duderstadt David Featherman Robben W. Fleming David J. Flowers Beverley B. Geltner William S. Hann Randy J. Harris Walter L. Harrison Norman G. Herbert Peter N. Heydon Kay Hunt Alice Davis Irani Stuart A. Isaac Thomas E. Kauper David B. Kennedy Richard L. Kennedy Thomas C. Kinnear F. Bruce Kulp
Leo A. Legatski Earl Lewis Patrick B. Long Helen B. Love Judythe H. Maugh Paul W. McCracken Rebecca McGowan Shirley C. Neuman Len Niehoff Joe E. O'Neal John D. Paul John Psarouthakis Rossi Ray-Taylor Gail W. Rector John W. Reed Richard H. Rogel Ann Schriber Daniel H. Schurz Harold T. Shapiro
George I. Shirley John O. Simpson Herbert Sloan Timothy P. Slottow Carol Shalita Smolder Jorge A. Solis Peter Sparling Lois U. Stegeman Edward D. Surovell James L. Telfer Susan B. Ullrich Eileen Lappin Weiser Gilbert Whitaker B. Joseph White Marina v.N. Whitman Iva M. Wilson
Raquel Agranoff, Chair Norma Davis, Vice Chair Louise Townley, Past Chair Lois Baru, Secretary Lori Director, Treasurer
Barbara Bach Tracey Baetzel Paulett M. Banks Milli Baranowski Kathleen Bcnton Mimi Bogdasarian Jennifer Boyce Mary Breakey
leannine Buchanan Victoria Buckler Heather Byrne Laura Caplan Cheryl Cassidy Nita Cox
H. Michael Endres Nancy Ferrario Anne Glendon Alvia Golden Ingrid Gregg Kathy Hentschel Phyllis Hcrzig Meg Kennedy Shaw
Anne Kloack Jean Kluge Kathy LaDronka Jill Lippman Stephanie Lord Judy Mac
Morrine Maltzman Mary Matthews Joann McNamara Candice Mitchell Danica Peterson Lisa Psarouthakis Wendy Moy Ransom Theresa Ann Reid
Swanna Saltie! Ion Sawail Penny Schreibcr Suzanne Schroeder Aliza Shevrin Alida Silverman Maryanne Telese Mary Vandewiele Dody Viola Enid Wasscrman Wendy Woods Mary Kate Zelenock
Kenneth C. Fischer, President Elizabeth E. Jahn, Assistant to the
President John B. Kennard, Jr., Director of
Patricia Hayes, Senior Accountant John Peckham, Information Systems
Manager Alicia Schuster, Gift Processor
Choral Union
Jerry Blackstone, Conductor and
Music Director
Jason Harris, Assistant Conductor Steven Lorenz, Assistant Conductor Kathleen Operhall, Chorus Manager Jean Schneider, Accompanist Donald Bryant, Conductor Emeritus
Susan McClanahan, Director Lisa Michiko Murray, Manager of
Foundation and Government
Grants M. Joanne Navarre, Manager of the
Annual Fund and Membership Mamie Reid, Manager of Individual
Support Lisa Rozek, Assistant to the Director
of Development Shelly Soenen, Manager of Corporate
Support Cindy Straub, Advisory Committee
and Events Coordinator
EducationAudience Development
Ben Johnson, Director Rowyn Baker, Youth Education
Manager Bree Doody, Education and Audience
Development Manager William P. Maddix, Education
MarketingPublic Relations
Sara Billmann, Director Susan Bozell, Marketing Manager Nicole Manvel, Promotion Coordinator
ProductionProgramming Michael J. Kondziolka, Director Emily Avers, Production Operations
Jeffrey Beyersdorf, Technical Manager Suzanne Dernay, Front-of-House
Coordinator Susan A. Hamilton, Artist Services
Coordinator Mark Jacobson, Programming
Manager Douglas C. Witney, Interim
Production Director Bruce Oshaben, Dennis Carter,
Brian Roddy, Head Ushers
Ticket Services
Nicole Paoletti, Manager
Sally A. Cushing, Associate
Jennifer Graf, Assistant Ticket Services
Alexis Pelletier, Assistant John M. Steele, Assistant
Kara Alfano Nicole Blair Stephan Bobalik Bridget Briley Patrick Chu Elizabeth Crabtree Bethany Heinrich Rachel Hooey Cortney Kellogg Lena Kim Ryan Lundin Natalie Malotke Brianna McClellan Erika Nelson Fred Peterbark Omari Rush Sean Walls Amy Weatherford
Kristen Armstrong David Wilson
President Emeritus Gail W. Rector
Fran Ampey Lori Atwood Robin Bailey Joe Batts Kathleen Baxter Gretchen Baxtresser Elaine Bennett Lynda Berg Gail Bohner Ann Marie Borders
David Borgsdorf Sigrid Bower Susan Buchan Diana Clarke Wendy Day Jacqueline Dudley Susan Filipiak Lori Fithian Jennifer Ginther Brenda Gluth
Barb Grabbe Joan Grissing Carroll Hart Susan Hoover Linda Jones Rosalie Koenig Sue Kohfeldt Laura Machida Christine Maxey-Reeves Patty Meador
Don Packard Michelle Peet Wendy Raymond Katie Ryan Kathy Schmidt Debra Sipas-Roe Tulani Smith Julie Taylor Dan Tolly Barbara Wallgren
UMS services
Barrier-Free Entrances
For persons with disabilities, all venues have barrier-free entrances. Wheelchair locations vary by venue; visit www.ums.orgtickets or call 734.764.2538 for details. 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.
Lost and Found
For items lost at Hill Auditorium, Lydia Mendelssohn Theatre, Power Center, or Rackham Auditorium please call University Productions at 734.763.5213. For items lost at St. Francis of Assisi Catholic Church or Michigan Theater please call the UMS Production Office at 734.615.1444.
Please allow plenty of time for parking as the campus area may be congested. Parking is avail?able in the Liberty Square (formerly Tally Hall), Church Street, Maynard Street, Thayer Street, Fletcher Street, and Fourth Avenue structures for a minimal fee. Limited street parking is also available. Please allow enough time to park before the performance begins. UMS members
at the Principal level and above receive 10 com?plimentary parking passes for use at the Thayer Street or Fletcher Street structures in Ann Arbor. UMS offers valet parking service for Hill Auditorium performances in the 0405 Choral Union Series. Cars may be dropped off in front of Hill Auditorium beginning one hour before each performance. There is a $10 fee for this service. UMS members at the Producer level and above are invited to use this service at no charge. For up-to-date parking information, please visit
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 the seating areas.
Smoking Areas
University of Michigan policy forbids smoking in any public area, including the lobbies and restrooms.
Latecomers will be asked to wait in the lobby until a predetermined time in the program when ushers will seat them. UMS staff works with the artists to determine when late seating will be the least disruptive to the artists and other concertgoers.
If you are unable to attend a concert for which you have purchased tickets, you may turn in your tickets up to 15 minutes before curtain time by calling the Ticket Office. Refunds are not available; however, you will be given a receipt for an income tax deduction. Please note that ticket retums do not count toward UMS membership.
Subscription Ticket Exchanges
Subscribers may exchange tickets free of charge. Exchanged tickets must be received by the Ticket Office (by mail or in person) at least 48 hours prior to the performance. You may fax a photo?copy of your torn tickets to 734.647.1171.
Single Ticket Exchanges
Non-subscribers may exchange tickets for a $5-per-ticket exchange fee. Exchanged tickets must be received by the Ticket Office (by mail or in person) at least 48 hours prior to the perform?ance. You may fax a photocopy of your torn tick?ets to 734.647.1171. Lost or misplaced tickets cannot be exchanged.
Group Tickets
When you bring your group to a UMS event, you will enjoy the best the performing arts has to offer. You can treat 10 or more friends, co-workers, and family members to an unforget?table performance of live music, dance, or theater. Whether you have a group of students, a business gathering, a college reunion, or just you and a group of friends, the UMS Group Sales Office can help you plan the perfect outing. You can make it formal or casual, a special cele?bration, or just friends enjoying each other's company. The many advantages to booking as a group include:
reserving tickets before tickets go on sale to the general public
discounts of 15-25 for most performances
accessibility accommodations
no-risk reservations that are fully refundable up to 14 days before the performance
1-3 complimentary tickets for the group organizer (depending on size of group). Comp tickets are not offered for performances with no group discount.
For information, contact the UMS Group Sales Hotline at 734.763.3100 or e-mail
Discounted Student Tickets
Since 1990, students have purchased over 150,000 tickets and have saved more than $2 million through special UMS student programs! UMS's commitment to affordable student tickets has permitted thousands to see some of the most important, impressive, and influential artists from around the world. For the 0405 season, students may purchase discounted tickets to UMS events in three ways:
1. Each semester, UMS holds a Half-Price Student Ticket Sale, at which students can pur?chase tickets for any event for 50 off the pub?lished price. This extremely popular event draws hundreds of students every fall. Be sure to get there early as some performances have limited numbers of tickets available.
2. Students may purchase up to two Rush Tickets for $10 the day of the performance at the UMS Ticket Office, or are entitled to 50 off at the door, subject to availability.
3. Students may purchase the UMS Student Card, a pre-paid punch card that allows students to pay up front ($50 for 5 punches, $100 for 11 punches) and use the card to purchase Rush Tickets during the 0405 season. With the UMS Student Card, students can buy Rush Tickets up to two weeks in advance, subject to availability.
Gift Certificates
Looking for that per?fect meaningful gift that speaks volumes about your taste
Tired of giving flowers, ties or jewelry Give a UMS Gift Certificate! Available in any amount and redeemable for any of more than 70 events throughout our season, wrapped and delivered with your personal message, the UMS Gift Certificate is ideal for weddings, birthdays, Christmas, Hanukkah, Mother's and Father's Days, or even as a housewarming present when new friends move to town.
UMS Gift Certificates are valid for 12 months from the date of purchase and do not expire at the end of the season.
oin the thousands of savvy people who log onto each month!
Why should you log onto
Last season, UMS launched a new web site, with more information for your use:
Tickets. Forget about waiting in long ticket lines. Order your tickets to UMS performances online. You can find out your specific seat loca?tion before you buy.
UMS E-Mail Club. You can join UMS's E-Mail Club, with information delivered directly to your inbox. Best of all, you can customize your account so that you only receive information you desire -including weekly e-mails, genre-specific event notices, encore information, education events, and more.
Maps, Directions, and Parking. To help you get where you're going...including insider parking tips.
Education Events. Up-to-date information detailing educational opportunities surround?ing each performance.
Online Event Calendar. A list of all UMS per?formances, educational events, and other activi?ties at a glance.
Program Notes. Your online source for per?formance programs and in-depth artist infor?mation. Learn about the artists and repertoire before you enter the performance.
Sound and Video Clips. Listen to audio record?ings and view video clips and interviews from UMS performers online before the concert.
Development Events. Current information on Special Events and activities outside the concert hall. Make a tax-deductible donation online.
UMS Choral Union. Audition information and performance schedules for the UMS Choral Union.
Photo Gallery. Archived photos from recent UMS events and related activities.
Student Ticket Information. Current info on rush tickets, special student sales, and other opportunities for U-M students.
Through a commitment to Presenta?tion, Education, and the Creation of new work, the University Musical Society (UMS) serves Michigan audiences by bringing to our com?munity an ongoing series of world-class artists, who represent the diverse spectrum of today's vigorous and exciting live performing arts world. Over its 125 years, strong leadership coupled with a devoted community has placed UMS in a league of internationally recognized performing arts presenters. Today, the UMS seasonal program is a reflection of a thoughtful respect for this rich and varied history, bal?anced by a commitment to dynamic and cre?ative visions of where the performing arts will take us in this new millennium. Every day UMS seeks to cultivate, nurture, and stimulate public interest and participation in every facet of the live arts.
UMS grew from a group of local university and townspeople who gathered together for the study of Handel's Messiah. Led by Professor Henry Simmons Frieze and conducted by Professor Calvin Cady, the group assumed the name The Choral Union. Their first perform?ance of Handel's Messiah was in December of 1879, and this glorious oratorio has since been performed by the UMS Choral Union annually.
As a great number of Choral Union mem?bers also belonged to the University, the University Musical Society was established in December 1880. UMS included the Choral Union and University Orchestra, and through-
out the year presented a series of concerts fea?turing local and visiting artists and ensembles.
Since that first season in 1880, UMS has expanded greatly and now presents the very best from the full spectrum of the performing arts -internationally renowned recitalists and orchestras, dance and chamber ensembles, jazz and world music performers, and opera and theater. Through educational endeavors, com-
Every day UMS seeks to cultivate, nurture, and stimulate public interest and participation in every facet of the live arts.
missioning of new works, youth programs, artist residencies, and other collaborative proj?ects, UMS has maintained its reputation for quality, artistic distinction and innovation. UMS now hosts over 70 performances and more than 150 educational events each season. UMS has flourished with the support of a gen?erous community that this year gathers in six different Ann Arbor venues.
While proudly affiliated with the University of Michigan, housed on the Ann Arbor campus, and a regular collaborator with many University units, UMS is a separate not-for-profit organi?zation that supports itself from ticket sales, corporate and individual contributions, foun?dation and government grants, special project support from U-M, and endowment income.
Throughout its 125-year history, the UMS Choral Union has performed with many of the world's distin?guished orchestras and conductors. Based in Ann Arbor under the aegis of the University Musical Society, the 150-voice Choral Union is known for its definitive performances of large-scale works for chorus and orchestra. Eleven years ago, the Choral Union further enriched that tradition when it began appearing regularly with the Detroit Symphony Orchestra (DSO). Among other works, the chorus has joined the DSO in Orchestra Hall and at Meadow Brook for sub?scription performances of Stravinsky's Symphony of Psalms, John Adams' Harmonium, Beethoven's Symphony No. 9, Orff's Carmina Burana, Ravel's Daphnis et Chloe and Brahms'
Participation in the Choral Union remains open to all by audition. Members share one common passion--a love of the choral art.
Ein deutsches Requiem, and has recorded Tchaikovsky's The Snow Maiden with the orchestra for Chandos, Ltd.
In 1995, the Choral Union began accepting invitations to appear with other major regional orchestras, and soon added Britten's War Requiem, Elgar's The Dream of Gerontius, the Berlioz Requiem, and other masterworks to its repertoire. During the 199697 season, the Choral Union again expanded its scope to include performances with the Grand Rapids Symphony, joining with them in a rare presen?tation of Mahler's Symphony No. 8 (Symphony of a Thousand).
Led by newly appointed Conductor and Music Director Jerry Blackstone, the 200405 season includes a return engagement with the DSO (Orff's Carmina Burana, to be presented
in Orchestra Hall in Detroit in September), Handel's Messiah with the Ann Arbor Symphony (returning to Hill Auditorium this December), and Haydn's Creation (with the Ann Arbor Symphony in Hill Auditorium in April 2005).
The culmination and highlight of the Choral Union's 200304 season was a rare per?formance and recording of William Bolcom's Songs of Innocence and of Experience in Hill Auditorium in April 2004 under the baton of Leonard Slatkin. Naxos plans to release a three-disc set of this recording this October, featuring the Choral Union and U-M School of Music ensembles. Other noted performances included Verdi's Requiem with the DSO and the Choral Union's 125th series of annual performances of Handel's Messiah in December.
The Choral Union is a talent pool capable of performing choral music of every genre. In addition to choral masterworks, the Choral Union has performed Gershwin's Porgy and Bess with the Birmingham-Bloomfield Symphony Orchestra, and other musical theater favorites with Erich Kunzel and the DSO at Meadow Brook. The 72-voice Concert Choir drawn from the full chorus has performed Durufle's Requiem, the Langlais Messe Solennelle, and the Mozart Requiem. Recent programs by the Choral Union's 36-voice Chamber Chorale include "Creativity in Later Life," a program of late works by nine com?posers of all historical periods; a joint appear?ance with the Gabrieli Consort and Players; a performance of Bach's Magnificat; and a recent joint performance with the Tallis Scholars.
Participation in the Choral Union remains open to all by audition. Composed of singers from Michigan, Ohio, and Canada, members of the Choral Union share one common passion -a love of the choral art. For more information about membership in the UMS Choral Union, e-mail or call 734.763.8997.
Hill Auditorium
Rfter an 18-month $38.6-million dollar renovation overseen by Albert Kahn Associates, Inc. and historic preservation archi?tects Quinn EvansArchitects, Hill Auditorium has re-opened. Originally built in 1913, reno?vations have updated Hill's infrastructure and restored much of the interior to its original splendor. Exterior renovations include the reworking of brick paving and stone retaining wall areas, restoration of the south entrance plaza, the reworking of the west barrier-free ramp and loading dock, and improvements to landscaping.
Interior renovations included the demolition of lower-level spaces to ready the area for future improvements, the creation of additional rest-rooms, the improvement of barrier-free circula?tion by providing elevators and an addition with ramps, the replacement of seating to increase patron comfort, introduction of barrier-free seating and stage access, the replacement of the?atrical performance and audio-visual systems, and the complete replacement of mechanical and electrical infrastructure systems for heating, ventilation, and air conditioning.
Re-opened in January 2004, Hill Auditorium seats 3,575.
Power Center
The Power Center for the Performing Arts grew out of a realization that the University of Michigan had no adequate proscenium-stage theater for the performing arts. Hill Auditorium was too massive and technically limited for most productions, and the Lydia Mendelssohn Theatre was too small. The Power Center was built to supply this missing link in design and seating capacity.
In 1963, Eugene and Sadye Power, together with their son Philip, wished to make a major gift to the University, and amidst a list of University priorities "a new theater" was men?tioned. The Powers were immediately interest?ed, realizing that state and federal governments
were unlikely to provide financial support for the construction of a new theater.
Opening in 1971 with the world premiere of The Grass Harp (based on the novel by Truman Capote), the Power Center achieved the seem?ingly contradictory combination of providing a soaring interior space with a unique level of intimacy. Architectural features included two large spiral staircases leading from the orchestra level to the balcony and the well-known mirrored glass panels on the exterior. The lobby of the Power Center presently features two hand-woven tapestries: Modern Tapestry by Roy Lichtenstein and Volutes (Arabesque) by Pablo Picasso.
The Power Center seats approximately 1,400 people.
Arbor Springs Water Company is generously providing complimentary mter to UMS artists backstage a! the Power Center throughout the 0405 season.
Rackham Auditorium
Fifty years ago, chamber music concerts in Ann Arbor were a relative rarity, presented in an assortment of venues including University Hall (the precursor to Hill Auditorium), Hill Auditorium, Newberry Hall, and the current home of the Kelsey Museum. When Horace H. Rackham, a Detroit lawyer who believed strong?ly in the importance of the study of human his?tory and human thought, died in 1933, his will established the Horace H. Rackham and Mary A. Rackham Fund, which subsequently awarded the University of Michigan the funds not only to build the Horace H. Rackham Graduate School which houses Rackham Auditorium, but also to establish a $4 million endowment to further the development of graduate studies. Even more remarkable than the size of the gift, which is still considered one of the most ambitious ever given to higher-level education, is the fact that neither of the Rackhams ever attended the University of Michigan.
Designed by architect William Kapp and architectural sculptor Corrado Parducci, Rackham Auditorium was quickly recognized as the ideal venue for chamber music. In 1941,
UMS presented its first chamber music festival with the Musical Art Quartet of New York performing three concerts in as many days, and the current Chamber Arts Series was born in 1963. Chamber music audiences and artists alike appreciate the intimacy, beauty, and fine acoustics of the 1,129-seat auditorium, which has been the location for hundreds of chamber music concerts throughout the years.
Lydia Mendelssohn Theatre
Notwithstanding an isolated effort to estab?lish a chamber music series by faculty and students in 1938, UMS recently began present?ing artists in the Lydia Mendelssohn Theatre in 1993, when Eartha Kitt and Barbara Cook graced the stage of the intimate 658-seat theater as part of the 100th May Festival's Cabaret Ball. This season the superlative Mendelssohn Theatre hosts UMS's return of the Song Recital series and continues to serve as the venue of choice for select chamber jazz performances.
Michigan Theater
The historic Michigan Theater opened January 5, 1928 at the peak of the vaude?villemovie palace era. Designed by Maurice Finkel, the 1,710-seat theater cost around $600,000 when it was first built. As was the custom of the day, the theater was equipped to host both film and live stage events, with a full-size stage, dressing rooms, an orchestra pit, and the Barton Theater Organ. At its opening, the theater was acclaimed as the best of its kind in the country. Since 1979, the theater has been operated by the not-for-profit Michigan Theater Foundation. With broad community support, the Foundation has raised over $8 million to restore and improve the Michigan Theater. The beautiful interior of the theater was restored in 1986.
In the fall of 1999, the Michigan Theater opened a new 200-seat screening room addi?tion, which also included expanded restroom facilities for the historic theater. The gracious facade and entry vestibule was restored in 2000.
St. Francis of Assisi Catholic Church
In June 1950, Father Leon Kennedy was appointed pastor of a new parish in Ann Arbor. Seventeen years later ground was broken to build a permanent church building, and on March 19, 1969, John Cardinal Dearden dedicat?ed the new St. Francis of Assisi Church. Father James McDougal was appointed pastor in 1997.
St. Francis of Assisi Catholic Church has grown from 248 families when it first started to more than 2,800 today. The present church seats 900 people and has ample free parking. In 1994, St. Francis purchased a splendid three manual "mechanical action" organ with 34 stops and 45 ranks, built and installed by Orgues Letourneau from Saint Hyacinthe, Quebec. Through dedi?cation, a commitment to superb liturgical music and a vision to the future, the parish improved the acoustics of the church building, and the reverberant sanctuary has made the church a gathering place for the enjoyment and contem?plation of sacred a cappella choral music and early music ensembles.
Burton Memorial Tower
Seen from miles away, Burton Memorial Tower is one of the most well-known University of Michigan and Ann Arbor land?marks. Completed in 1935 and designed by Albert Kahn, the 10-story tower is built of Indiana limestone with a height of 212 feet.
UMS administrative offices returned to their familiar home at Burton Memorial Tower in August 2001, following a year of significant renovations to the University landmark.
This current season marks the fourth year of the merger of the UMS Ticket Office and the University Productions Ticket Office. Due to this partnership, the UMS walk-up ticket window is now conveniently located at the Michigan League Ticket Office, on the north end of the Michigan League building at 911 N. University Avenue. The UMS Ticket Office phone number and mailing address remains the same.
@@@@f. Kof the University of Michigan, Ann Arbor
Fall 2004
Event Program Book Friday, September 17 through Sunday, September 26,2004
General Information
Children of all ages are welcome at UMS Family and Youth Performances. Parents are encour?aged not to bring children under the age of 3 to regular, full-length UMS performances. All children should be able to sit quietly in their own seats throughout any UMS performance. Children unable to do so, along with the adult accompanying them, will be asked by an usher to leave the auditorium. Please use discretion in choosing to bring a child.
Remember, everyone must have a ticket, regardless of age.
While in the Auditorium
Starting Time Every attempt is made to begin concerts on time. Latecomers are asked to wait in the lobby until seated by ushers at a prede?termined time in the program.
Cameras and recording equipment are prohibited in the auditorium.
If you have a question, ask your usher. They are here to help.
Please take this opportunity to exit the "infor?mation superhighway" while you are enjoying a UMS event: electronic-beeping or chiming dig?ital watches, ringing cellular phones, beeping pagers and clicking portable computers should be turned off during performances. In case of emergency, advise your paging service of audi?torium and seat location in Ann Arbor venues, and ask them to call University Security at 734.763.1131.
In the interest of saving both dollars and the environment, please retain this program book and return with it when you attend other UMS performances included in this edition. Thank you for your help.
Lincoln Center Jazz Orchestra 3
with Wynton Marsalis
Friday, September 17, 8:00 pm Hill Auditorium
Ravi Shankar 11
Thursday, September 23, 8:00 pm Hill Auditorium
Emerson String Quartet 15
Sunday, September 26, 4:00 pm Rackham Auditorium
See page 20 of this program for
UMS Educational Events
related to these performances
Fall marks the beginning of the con?cert season, and I'm pleased that UMS can open its 126th season with three offerings that represent the very top of their respective genres -Lincoln Center Jazz Orchestra in jazz, Ravi Shankar in global music, and Emerson String Quartet in chamber music. Thank you for help?ing us get the season off to a great start by attending this event.
Fall also means the Michigan football season with its traditions, pageantry, and hopes for a Big Ten championship and more. Michigan football is celebrating its 125th anniversary this football season. Its first year was 1879, the same year that the University Musical Society began. There are some interesting features beyond their age that these two programs have in common. They each had legendary leaders who put the University of Michigan on the national map in their respective fields -coach Fielding Yost delivered national championships for the football team, and, in 1919, UMS President Charles Sink delivered to Ann Arbor the most famous singer in the world, tenor Enrico Caruso, and engaged the Philadelphia Orchestra for 49 consecutive May
Festivals beginning in 1936. Each also had a unique vision for the venue that they would become most identified with--Yost conceived of a stadium that would eventually seat over 100,000, and Sink envisioned a concert hall nearly 2,000 seats larger than Carnegie Hall. Michigan Stadium and Hill Auditorium have achieved iconic status and have been key factors in enabling Michigan's football and music pres?entation programs to be among the best in the nation. UMS wishes Coach Carr and his team great success in their milestone season.
As we prepared to launch the season, UMS learned of the death of popular stagehand J. Mazure, who served UMS and other area arts organizations for 20 years as a member of Local 395 of the International Alliance of Theatrical Stage Employees. We send our condolences to J.'s family and to his IATSE brothers and sisters. We will miss him.
Enjoy this performance, and may you, too, have a successful fall season.
Kenneth C. Fischer UMS President
Fielding Yost, left, and Charles Sink
Lincoln Center Jazz Orchestra with Wynton Marsalis
Wynton Marsalis, Music Director, Trumpet
Walter White, Trumpet
Ryan Kisor, Trumpet
Marcus Printup, Trumpet
Ron Westray, Trombone
Andre Hayward, Trombone
Vincent R. Gardner, Trombone
Wess "Warmdaddy" Anderson, Alto and Sopranino Saxophones
Ted Nash, Alto and Soprano Saxophones, Clarinet
Walter Blanding, Jr., Tenor Saxophone
Victor Goines, Tenor and Soprano Saxophones, Bb Clarinet, Bass Clarinet
Joe Temperley, Baritone and Soprano Saxophones, Bass Clarinet
Eric Lewis, Piano
Carlos Henriquez, Bass
Herlin Riley, Drums
Program Friday Evening, September 17, 2004 at 8:00
Hill Auditorium Ann Arbor
Out Here to Swing
200405 Tour
Tonight's program will be announced by the artists from the stage and will contain one intermission.
Opening Performance of the 126th Annual Season
11th Annual Jazz Series
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
Special thanks to Randall and Mary Pittman for their continued and generous support of the University Musical Society, both personally and through Forest Health Services.
Media partnership for this performance provided by WEMU 89.1 FM, WDET 101.9 FM, and Michigan ChronicleFront Page.
The Steinway piano used in this evening's performance is made possible by William and Mary Palmer and by Hammell Music, Inc., Livonia, Michigan.
Support for the "Out Here to Swing" Tour is provided by the National Endowment for the Arts.
Brooks Brothers is the official clothier of the Lincoln Center Jazz Orchestra with Wynton Marsalis.
The Lincoln Center Jazz Orchestra with Wynton Marsalis appears by arrangement with ICM Artists, Ltd.
Large print programs are available upon request.
Forest Health Services presents the 11th Annual Jazz Series
Jazz at Lincoln Center (JALC) is a not-for-profit arts organization dedicated to jazz. With the world-renowned Lincoln Center Jazz Orchestra, the Afro-Latin Jazz Orchestra, and a comprehensive array of guest artists, Jazz at Lincoln Center advances a unique vision for the continued development of the art of jazz by producing a year-round schedule of education, performance, and broadcast events for audiences of all ages. These productions include concerts, national and international tours, residencies, a weekly national radio program, television broadcasts, recordings, publications, an annual high school jazz band competition and festival, a band director academy, a jazz appreciation curricu?lum for children, advanced training through the Juilliard Institute for Jazz Studies, music publishing, children's concerts, lectures, film programs, and student and educator work?shops. Under the leadership of Artistic Director Wynton Marsalis and President and CEO Hughlyn F. Fierce, Jazz at Lincoln Center will produce hundreds of events during its 200405 season. This is the inaugural season in Jazz at Lincoln Center's new home Frederick P. Rose Hall the first-ever education, performance, and broadcast facility devoted to jazz.
The Lincoln Center Jazz Orchestra (LCJO), composed of 15 of the finest jazz soloists and ensemble players today, has been the JALC resident orchestra for over 10 years. JALC features the remarkably versatile LCJO in nearly all aspects of its programming: the LCJO performs and leads educational events in New York, across the US and around the globe; in concert halls, dance venues, jazz clubs, public parks, river boats, and churches; and with sym?phony orchestras, ballet troupes, local students, and an ever-expanding roster of guest artists.
Education is a major part of JALC's mission and its educational activities are coordinated with concert and LCJO tour programming. These programs, many of which feature LCJO members, include the celebrated Jazz for Young People? family concert series, the Essentially Ellington High School Jazz Band Competition & Festival, the Jazz for Young People?
Curriculum, educational residencies, work?shops, and concerts for students and adults worldwide. JALC educational programs com?prise two-thirds of its overall programming, and annually reach over 110,000 students, teachers, and general audience members.
The JALC weekly radio series, Jazz From Lincoln Center, hosted by Ed Bradley, is distrib?uted by the WFMT Radio Networks. Winner of a 1997 Peabody Award, Jazz From Lincoln Center is produced in conjunction with Murray Street Enterprise, New York.
Under Music Director Wynton Marsalis, the LCJO spends over half of the year on tour. The LCJO performs a vast repertoire, from rare historic compositions to JALC-commissioned works.
JALC also regularly premieres works commissioned from a variety of composers, including Benny Carter, Joe Henderson, Benny Golson, Jimmy Heath, Wayne Shorter, Sam Rivers, and Joe Lovano, as well as LCJO members Wynton Marsalis, Wycliffe Gordon, Ted Nash, and Ron Westray.
Over the last few years, the LCJO has per?formed collaborations with many of the world's leading symphony orchestras, including the New York Philharmonic, the Russian National Orchestra, and the Berlin Philharmonic Orchestra. The LCJO has also been featured in several education and performance residencies in the last few years, including ones in Vienne, France; Perugia, Italy; Prague, Czech Republic; London, England; and Sao Paulo, Brazil.
Television broadcasts of JALC programs have helped broaden the awareness of its unique efforts in the music. Concerts by the LCJO have aired around the globe. JALC has appeared on six Live From Lincoln Center broadcasts, carried by PBS stations nationwide, most recently in December 2001 with the New York Philharmonic. The LCJO was also featured in a ThirteenWNET production of "Great Performances," entitled Swingiri with Duke: Lincoln Center Jazz Orchestra with Wynton Marsalis, which aired on PBS. In September 2002, BET Jazz premiered a weekly series called Journey with Jazz at Lincoln Center, featuring
performances by the LCJO around the world.
To date, nine recordings featuring the LCJO have been released and internationally distrib?uted: All Rise (2002), Big Train (1999), Sweet Release & Ghost Story (1999), Live in Swing City (1999), Jump Start and Jazz (1997), Blood on the Fields (1997), They Came to Swing (1994), The Fire of the Fundamentals (1993), and Portraits by Ellington (1992).
For more information on JALC, please visit
This evening's performance marks the LCJO's eighth appearance under UMS auspices. The LCJO made its UMS debut in February 1994 in Hill Auditorium.
[ynton Marsalis is the Artistic Director of JALC. Born in New Orleans, Louisiana in 1961, Mr. Marsalis began his classical train?ing on trumpet at age 12 and soon began playing in local bands of diverse genres. He entered The Juilliard School at age 17 and joined Art Blakey and the Jazz Messengers. Mr. Marsalis made his recording debut as a leader in 1982, and since he has recorded more than 30 jazz and classical recordings, which have won him nine Grammy Awards. In 1983, he became the first and only artist to win both classical and jazz Grammys in the same year and repeated this feat in 1984. Mr. Marsalis's rich body of compositions includes Sweet Release, Jazz: Six Syncopated Movements, Jump Start, Citi MovementGriot New York, At the Octoroon Balls, In This House, On This Morning, and Big Train. In 1997, Mr. Marsalis became the first jazz artist to be awarded the prestigious Pulitzer Prize in music, for his oratorio Blood on the Fields, which was commissioned by JALC. In 1999, he released eight new recordings in his unprecedented "Swinging into the 21st" series, and premiered several new compositions, including the ballet Them Twos, for a collabora?tion with the New York City Ballet. That same year he premiered the monumental work All Rise, commissioned and performed by the New
York Philharmonic along with the Lincoln Center Jazz Orchestra (LCJO) and the Morgan State University Choir in December 1999. Sony Classical released All Rise on CD October 1, 2002. Recorded on September 14 and 15, 2001 in Los Angeles in those tense days following 911, the All Rise CD features the LCJO along with the Los Angeles Philharmonic, the Morgan State University Choir, the Paul Smith Singers and the Northridge Singers. On March 9, 2004, he released The Magic Hour, his first album on Blue Note records. Mr. Marsalis is also an inter?nationally respected teacher and spokesman for music education, and has received honorary doctorates from dozens of universities and col?leges throughout the US. He conducts educa?tional programs for students of all ages and hosts the popular Jazz for Young People con?certs produced by JALC. Mr. Marsalis has also been featured in the video series Marsalis on Music and the radio series Making the Music. He has also written two books: Sweet Swing Blues on the Road in collaboration with photog?rapher Frank Stewart, and recently released Jazz in the Bittersweet Blues of Life with Carl Vigeland. Mr. Marsalis, appointed Messenger of Peace in 2001 by Mr. Kofi Annan, Secretary-General of the United Nations, has also been designated cultural ambassador to the United
Wynton Morsolis
States of America by the US State Department through their CultureConnect program. He is helping to lead the effort to construct JALC's new home Frederick P. Rose Hall the first education, performance, and broadcast facility devoted to jazz, will open in October 2004.
This evening's performance marks Wynton Marsalis's ninth appearance under UMS aus?pices. In February 1997, Mr. Marsalis presented his Pulitzer Prize-winning oratorio Blood on the Fields under UMS auspices in Hill Auditorium. He made his UMS debut in January 1996 with the Lincoln Center Jazz Orchestra.
Wess "Warmdaddy" Anderson began playing the saxophone at age 14. He attended Jazzmobile workshops in Harlem, studied with Frank Wess, Frank Foster, and Charles Davis, and frequented jam sessions led by saxophonist Sonny Stitt at the Blue Coronet. Before entering Southern University, where he studied with clarinetist Alvin Batiste, Mr. Anderson met Wynton and Branford Marsalis. In 1988, he became a member of Wynton Marsalis's Septet, with which he toured and recorded for seven years, and has been a member of the LCJO since it began touring in 1992. As a leader, Mr. Anderson has recorded and released three solo albums entitled Warmdaddy in the Garden of Swing (1994), The Ways of Warmdaddy (1996), and Live at the Village Vanguard (1998). Mr. Anderson is a frequent participant in JALC educational events, and serves on the faculty of the Juilliard Institute for Jazz Studies.
This evening's performance marks Wess "Warmdaddy" Anderson's ninth appearance under UMS auspices.
Walter Blanding, Jr. was born on August 14, 1971 in Cleveland, Ohio to a musical family and began playing the saxophone at age six. In 1981, he moved with his family to New York City, and by age 16, he was performing regular?ly with his parents at the Village Gate. Mr. Blanding attended LaGuardia High School for
Music & Art and the Performing Arts and con?tinued his studies at the New School for Social Research. Mr. Blanding lived in Israel for four years, where he had a major impact on the music scene, inviting great artists such as Louis Hayes, Eric Reed, and others to perform. He also taught in several Israeli schools and toured the country with his ensemble. During this period, Newsweek described him as "Jazz's Ambassador to Israel." His first recording, Tough Young Tenors, was acclaimed as one of the best jazz albums of 1991. Since then, he has performed or recorded with many artists, including Cab Calloway, the Wynton Marsalis Septet, Marcus Roberts, Illinois Jacquet, Eric Reed, and Roy Hargrove. His latest release, The Olive Tree, features fellow members of the LCJO.
This evening's performance marks Walter Blanding, Jr.'s fourth appearance under UMS auspices.
Vincent R. Gardner was born in Chicago in 1972 and raised in Virginia. His family had a strong musical background, including his mother, his brother, and his father, Burgess Gardner, a trumpeter and music educator who has been very active on the Chicago music scene since the 1960s. Singing in church from an early age, he began playing piano when he was six, and soon switched to the violin, saxo?phone, and French horn before finally deciding on the trombone at age 12. Mr. Gardner became interested in jazz while attending high school and upon graduating went on to Florida A & M University in Tallahassee and the University of North Florida in Jacksonville. In college, he took a summer job performing with a jazz band at Walt Disney World in Orlando, Florida, where he caught the ear of Mercer Ellington, who hired him on his first profes?sional job. After graduating in 1996, he moved to New York to pursue his professional career. Mr. Gardner has performed, toured, andor recorded with The Duke Ellington Orchestra, Bobby McFerrin, The Count Basie Orchestra, Frank Foster, The Glenn Miller Orchestra,
Chaka Kahn, A Tribe Called Quest, Nancy Wilson, McCoy Tyner, Nicholas Payton, Illinois Jacquet, Wynton Marsalis, Tommy Flanagan, Marcus Roberts, Matchbox 20, Jimmy Heath, and Lauryn Hill. He has been a member of the LCJO since 2000.
This evening's performance marks Vincent Gardner's second appearance under UMS auspices.
Victor Goines was born and raised in New Orleans. He received his Bachelor of Music Education degree from Loyola University (New Orleans) and his Master's of Music degree from Virginia Commonwealth University. Mr. Goines serves as the Director of the Juilliard Institute for Jazz Studies a collaboration between Jazz at Lincoln Center and The Juilliard School -and serves as Education Consultant to Jazz at Lincoln Center. He has previously served on the music faculties of Florida A & M University, Xavier University, Loyola University, and The University of New Orleans. A member of the LCJO since 1993, Mr. Goines is also an acclaimed solo artist and leads his own quintet. He has made several recordings as a leader, including Sunrise to Midnight (2000), To Those We Love So Dearly (1999), Joe's Blues (1998), and Genesis (1992). He has performed and recorded with the Wynton Marsalis Septet, the Ellis Marsalis Quartet, the Wycliffe Gordon Quintet, Marcus Roberts and The Academy Of The Ascension, the Smithsonian Masterworks Orchestra, Terence Blanchard, Ruth Brown, Dizzy Gillespie, Lionel Hampton, Freddie Hubbard, James Moody, Dianne Reeves, and a host of other renowned musicians and ensem?bles in a wide variety of genres.
This evening's performance marks Victor Goines's 11th appearance under UMS auspices.
Andre Hayward was born in Houston, Texas in 1973. He started playing trombone and tuba at age 11, performing in his junior high school jazz band and studying with local trombonist Steve Baxter. Mr. Hayward attended Texas Southern University and landed his first engagement with Roy Hargrove, touring with
the trumpeter to Europe. Summers spent per?forming at Walt Disney World gave him the opportunity to perform with many noted singers, including Joe Williams, Diane Schuur, Eartha Kitt, and Rosemary Clooney. Mr. Hayward performed with the late singerband?leader Betty Carter for five years, and has per?formed andor recorded with Illinois Jacquet, Russell Gunn, and the Ellington Orchestra under Mercer Ellington. He has been a member oftheLCJO since 1999.
This evening's performance marks Andre Hayward's third appearance under UMS auspices,
Carlos Henriquez was born in 1979 in the Bronx, New York. After having studied classical guitar in junior high school, he started playing bass at The Juilliard School's Music Advancement Program. Mr. Henriquez entered LaGuardia High School of Music & Art and Performing Arts, where he performed in the LaGuardia Concert Jazz Ensemble, which earned first place in the JALC First Annual Essentially Ellington High School Jazz Band Competition and Festival in 1996, and second place the following year. Mr. Henriquez has performed with artists as diverse as Steve Turre, Eddie Palmieri and Tito Puente, Carlos Santana, and George Benson. He traveled with the LCJO during its 20-city Summer 1998 tour through the US, Canada, and Japan. Mr. Henriquez was also featured in on the LCJO Fall 1998 World Tour that traveled to 33 cities in Europe, South America, and the US. Since then, he has recorded, toured, and performed with artists including Wynton Marsalis, Gonzalo Rubalcaba, Danilo Perez, and Celia Cruz.
77iis evening's performance marks Carlos Henriquez's third appearance under UMS auspices.
Ryan Kisor was born on April 12,1973, in Sioux City, Iowa and began playing trumpet at age four. In 1990, he won first prize at the Thelonious Monk Institute's first annual Louis Armstrong Trumpet Competition. Mr. Kisor enrolled in the Manhattan School of Music in 1991, where he studied with trumpeter Lew
Soloff. He has performed andor recorded with the Mingus Big Band, the Gil Evans Orchestra, Horace Silver, Gerry Mulligan, Charlie Haden's Liberation Music Orchestra, the Carnegie Hall Jazz Band, and the Philip Morris Jazz All-Stars. As well as being an active sideman, Mr. Kisor has recorded several albums as a leader, includ?ing Battle Cry (1997), The Usual Suspects (1998), and Point of Arrival (2000). He has been a member of the LCJO since 1994.
This evening's performance marks Ryan Kisor's fifth appearance under UMS auspices.
Eric Lewis was born in Camden, New Jersey and raised playing the piano since he was three years old. His mother, a classically trained flutist, music teacher, and arranger along with other artistic family members, imbued Mr. Lewis with the love of music. After his mother and subsequently his grandmother initiated his piano instruction, Mr. Lewis studied music the?ory and classical piano at Settlement School of Music in Philadelphia. Later, Mr. Lewis was awarded a full scholarship to Manhattan School of Music and it was at that institution that he developed the powerful techniques of Art Tatum under the tutelage of Jaki Byard. Upon graduation from college, bassist Lonnie Plaxico recommended the pianist for Cassandra Wilson's band, a gig that lasted several years. As a 16-year old, he was a semi-finalist in the 1989 Thelonious Monk International Piano Competition and won the competition 10 years later. Mr. Lewis has previously toured with the Lincoln Center Jazz Orchestra and with Elvin Jones.
This evening's performance marks Eric Lewis's third appearance under UMS auspices.
Ted Nash was born in 1959 in Los Angeles into a musical family his father Dick Nash and uncle Ted Nash both being well-known jazz and studio musicians. He first came to New York at the age of 18 and soon after released his first album as a leader, Conception. Within a couple of years he joined the Mel Lewis Jazz Orchestra,
an association that lasted for more than 10 years. It was in this fertile environment that Nash began to write his first arrangements, which have been featured on two of the band's recordings. In 1994, Nash was commissioned by the Davos Musik Festival (Switzerland) to com?pose for a string quartet in a jazz setting. This commission was the inspiration for Rhyme and Reason, which was voted one of the top five CDs of 1999 by Jazz Times Magazine. Besides being a regular member of the LCJO which he joined in 1997 Mr. Nash has toured and recorded with Marcus Roberts and Joe Lovano. He also can be heard on several acclaimed CDs produced by the Jazz Composers Collective including the Herbie Nichols Project's Love is Proximity and Dr. Cyclops' Dream, Ben Allison's Medicine Wheel, Third Eye, and Riding the Nuclear Tiger, as well as recordings by Wynton Marsalis, and Wycliffe Gordon. His latest CD, Sidewalk Meeting, featuring his new ensemble Odeon, was released in June 2001.
77ii5 evening's performance marks Ted Nash's fifth appearance under UMS auspices.
Marcus Printup was born and raised in Conyers, Georgia. He had his first musical experiences hearing the fiery gospel music his parents sang in church, and he later discovered jazz as a senior in high school. While attending the University of North Florida on a music scholarship, he won the International Trumpet Guild Jazz Trumpet competition. In 1991, Mr. Printup's life changed drastically when he met his mentor to this day, the great pianist Marcus Roberts. Mr. Roberts introduced him to Wynton Marsalis, which led to his induction into the LCJO in 1993. Mr. Printup has per?formed andor recorded with Betty Carter, Dianne Reeves, Eric Reed, Cyrus Chestnut, Wycliffe Gordon, and Mr. Roberts. Mr. Printup has several records as a leader, including Song for the Beautiful Woman, Unveiled, Hub Songs, Nocturnal Traces, and his most recent, The New Boogaloo. He made his screen debut in the 1999 movie Playing by Heart and recorded on the film's soundtrack.
77ns evening's performance marks Marcus Printup's seventh appearance under UMS auspices.
Herlin Riley was born into a musical family in New Orleans, Louisiana and began playing the drums at age three. Mr. Riley was a member of Ahmad JamaPs band from 1984 through 1987, and has performed andor recorded with Dianne Reeves, Marcus Roberts, Dr. John, Harry Connick, Jr., George Benson, Steve Turre, and The Clayton Brothers. His theater experi?ence includes playing in One Mo' Time and Satchmo: America's Musical Legend. In the spring of 1988, he joined Wynton Marsalis's Septet, with which he toured and recorded for six years. He appeared on the cover of Modern Drummer and is featured in an instructional video, New Orleans Drumming Ragtime and Beyond Evolution of a Style. Mr. Riley has per?formed regularly with the LCJO since it began touring in 1992. He has released one recording as a leader, Watch What You're Doing, which fea?tures fellow LCJO members.
This evening's performance marks Herlin Riley's sixth appearance under UMS auspices.
Joe Temperley was born in Scotland and first achieved prominence in the UK as a member of Humphrey Lyttelton's band from 1958 to 1965, which toured the US in 1959. In 1965, he came to New York City, where he performed andor recorded with Woody Herman, Buddy Rich, Joe Henderson, Duke Pearson, the Jazz Composer's Orchestra, the Thad Jones-Mel Lewis Orchestra, and Clark Terry. In October 1974, he toured and recorded with The Duke Ellington Orchestra as a replacement for Harry Carney. Mr. Temperley played in the Broadway show Sophisticated Ladies in the 1980s, and his film soundtrack credits include the Cotton Club, Biloxi Blues, Brighton Beach Memoirs, When Harry Met Sally, and Tune In Tomorrow, com?posed by Wynton Marsalis. Mr. Temperley is a mentor and a co-founder of the FIFE Youth Jazz Orchestra program in Scotland, which now enrolls 70 young musicians ages seven to 17
playing in three full-size bands. Mr. Temperley has released several albums as a leader, including Nightingale (1991), Sunbeam and Thundercloud with pianist Dave McKenna (1996), With Every Breath (1998), and Double Duke (1999) with several fellow LCJO mem?bers. He is an original member of the LCJO, and serves on the faculty of the Juilliard Institute for Jazz Studies.
This evening's performance marks Joe Temperley's sixth appearance under UMS auspices.
Ron Westray was born on June 13,1970 in Columbia, South Carolina. He began studying piano at age five and was introduced to the trombone at age 11. In 1991, while studying at South Carolina State University, Mr. Westray met Wynton Marsalis and Marcus Roberts in a Columbia jazz club and soon joined the Marcus Roberts Septet for several recordings and national tours. Mr. Westray received his B.A. in Trombone Performance from South Carolina State University and his M.A. from Eastern Illinois University. Mr. Westray toured Europe as a member of the group Jazz Futures II in the summer of 1992. In addition to lead?ing his own ensembles and working as a side-man, Mr. Westray recorded a widely acclaimed album with fellow LCJO trombonist Wycliffe Gordon entitled Bone Structure. He first per?formed with the LCJO in 1993 in which he cur?rently serves as lead trombonist and frequently contributes new compositions and arrangements.
This evening's performance marks Ron Westray's seventh appearance under UMS auspices.
Walter White grew up in a musical family near Detroit, Michigan. Trained at Interlochen, Juilliard, University of Miami, and The Banff Centre, his dynamic trumpet playing led him to work with artists and ensembles including Bob James, the Woody Herman Orchestra, Dave Holland, Kenny Wheeler, Gunther Schuller, and the Mingus Big Band. He has also toured and recorded with his boyhood hero, trumpeter Maynard Ferguson. Mr. White has appeared as guest soloist with the Cincinnati Pops and the
Baltimore Symphony, and is a frequent guest performer with the Detroit Symphony Orchestra. A finalist in the Smithsonian's presti?gious Louis Armstrong International Jazz Trumpet Competition, his 1980 collaborations with saxophonist Rick Margitza also won him Hennessy's National Jazz Search and a spot in the Playboy Jazz Festival at the Hollywood Bowl. Mr. White's playing has graced the soundtracks of records, movies, and television; most notably network sitcoms TAXI and The Cosby Show. He has authored a recording for music practice entitled Walter White Long-tone Accompaniment and recently released Being There, a CD with the Des Moines Big Band that features his original big band compositions. Walter's own groups include the Walter White Jazz Quartet and the fusion group IF-U-NU. An avid educator, he holds master classes and clinics at leading music schools around the globe.
This evening's performance marks Walter White's UMS debut.
JazzNet is a program of the Nonprofit Finance Fund, funded by the Doris Duke Charitable Foundation and the National Endowment for the Arts.
Ravi Shankar
Tanmoy Bose, Tabla Parimal Sadaphal, Tabla
Program Thursday Evening, September 23, 2004 at 8:00
Hill Auditorium Ann Arbor
Tonight's program will be announced by the artists from the stage.
Second Performance of the 126th Annual Season
1 lth Annual Global Series
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
Media partnership for this performance provided by WDET 101.9 FM.
The oriental rug used in this evening's performance is made possible by Hagopian World of Rugs, with locations in Novi, Birmingham, and the Oak Park Outlet.
Mr. Shankar records for AngelEMI.
Ravi Shankar appears by arrangement with ICM Artists, Ltd.
Large print programs are available upon request.
Legendary virtuoso sitarist, composer, teacher, and writer, Ravi Shankar is India's most esteemed musical Ambassador and a singular phenomenon in the classical music worlds of East and West. The youngest son of a Bengali family, he was born in 1920 in Varansi (Benares), the holi?est of Indian cities. At the age of 10 he accom?panied his elder brother, Uday Shankar, with his company of dancers and musicians to Paris where he attended school. He spent several years in the West absorbing different kinds of music but returned to India in 1938 to begin his career. As word of his virtuosity spread throughout India, then Europe, Asia, and the US, Mr. Shankar embarked on one of the most extraordinary careers in the history of contem?porary music.
Ravi Shankar is a prolific composer. In addition to composing numerous traditional ragas and talas, he has written many works involving western collaborations including two concertos for sitar and orchestra, duets for the distinguished violinist Yehudi Menuhin and himself, and chamber music for Jean-Pierre Rampal. Mr. Shankar has also collaborated with Philip Glass, first on the album Passages and most recently on the multi-artist work, Orion, which opened the 2004 Cultural Olympiad in Greece. He has composed extensively for ballets and films including Satyajit Ray's Apu trilogy, and Gandhi, the Academy Award-winning clas?sic by Sir Richard Attenborough that won him nominations for both an Oscar and a Grammy Award.
Ravi Shankar is the recipient of many awards and honors. In 1999 the government of India honored Ravi Shankar by awarding him its highest civilian award, the Bharat Ratna, or Jewel of India. In 2000, Mr. Shankar received France's highest civilian award, the Commandeur de la Legion d'Honneur. In March 2001, the British High Commissioner and Lady Young awarded Ravi Shankar the Honorary Knight Commander of the Most Excellent Order of the British Empire.
Ravi Shankar's discography of more than 60 albums continues to grow. In 1996 Angel records released In Celebration, a four-CD retrospective of his greatest recordings, in honor of his 75th birthday. In 2001 Angel released Full Circle, Carnegie Hall 2000, Mr. Shankar's first live con?cert recording in nearly two decades. AngelEMI is also continuing to release many of Mr. Shankar's albums previously unavailable on CD.
He continues to tour each season all over the world dividing his time between India and the US with regular visits to Europe and the Far East. He is the author of three books--My Music, My Life (English), RagAnurag (Bengali) and Raga Mala (English)--the latest of which is an autobiography that was released in 1999.
This evening's performance marks Ravi Shankar's third appearance under UMS auspices. Mr. Shankar made his UMS debut in April 1996 in Rackham Auditorium.
Born in to a family of music connoisseurs, Tanmoy Bose was exposed to the subtle nuances of music and rhythm since childhood. Though he received vocal training from Shri Maharaj Banarjee and learned harmonium from the late Montu Banarjee, the charm of the rhythm attracted Tanmoy towards the tabla.
A disciple of the late Kanai Dutta and Pandit Shankar Ghosh, Tanmoy has developed a balanced technique that does not restrain itself to any one particular Gharana or school. Tanmoy has carved a niche for himself among the younger generation of top-ranking musi?cians of the country and formed his own Indo-Latin band, Taaltantra. A sought-after tabla player both as a soloist and an accompanist, he has participated in numerous prestigious musi?cal events in India and abroad winning acco?lades wherever he performed and has been per?forming regularly with Ravi and Anoushka Shankar for a number of years.
77jis evening's performance marks Tanmoy Bose's second appearance under UMS auspices.
Parimal Sadaphal began playing the sitar at the age of seven and initially trained under Shri Balwant Rai Verma and Shri Uma Shankar Mishra, both senior disciples of Ravi Shankar. At the age of eight, he won the "Best Instrumentalist" award among all age groups in the Sangeetayan Competetion and at the age of 12, he received the National Cultural Talent Scholarship of the Government of India. When he was 10 he played several concerts for the Bangladesh Relief Fund in 1971. Until the age of 18, Parimal Sadaphal was a regular per?former on All India Radio (Yuva Vani).
Parimal Sadaphal has trained under Ravi Shankar since 1985. Major performances included the Festival of India at Moscow in 1988 where he was a member of Ravi Shankar's troupe. This performance, with the Russian Philharmonic and Folk Orchestras, has been released as a CD. Other performances with Ravi Shankar's ensemble include numerous concerts in Delhi and Mumbai and a solo performance of Ravi Shankar in Bhabha Auditorium in Mumbai, Bhavnagar and Guild Hall in London.
Parimal Sadaphal has a Master's degree in Agricultural Engineering and is recognized as a development professional associated with the fields of renewable energy and rural develop?ment.
This evenings performance marks Parimal Sadaphal's VMS debut.
See it. Hear it. Feel it.
Borders Group
Universal Classics Group
Emerson String Quartet
Philip Setzer, Violin (1st in Tower and Beethoven) Eugene Drucker, Violin (1st in Shostakovich) Lawrence Dutton, Viola David Finckel, Cello
Joan Tower Dmitri Shostakovich
Sunday Evening, September 26, 2004 at 4:00 Rackham Auditorium Ann Arbor
Quartet No. 2 in A Major, Op. 68 Overture: Moderato con moto Recitative and Romance: Adagio Waltz: Allegro Theme and Variations: Adagio-Moderato con moto
Ludwig van Beethoven
Quartet in c-sharp minor. Op. 131
Adagio, ma non troppo e molto espressivo
Allegro molto vivace
Allegro moderato
Andante, ma non troppo e molto cantabile (Theme and
Variations) Presto
Adagio quasi un poco andante Allegro
(Attacca: played without pause)
Third Performance of the 126th Annual Season
42nd Annual Chamber Arts Series
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
This performance is sponsored by Borders Group and Universal Classics Group.
Media partnership for this performance provided by WGTE 91.3 FM and Observer & Eccentric Newspapers.
Emerson String Quartet appears by arrangement with IMG Artists, New York, NY.
Large print programs are available upon request.
Joan Tower
Born September 6,1938 in New Rochelle, New York
The word "incandescent" is not one that I would usually include in a title because it seems to be more poetic than what I am thinking about. My titles are usually more upfront and visceral, and in this case I would have preferred to call it "White Heat," but was outvoted by friends who found that title carried too many associations. (Titles are not easy for composers --especially for me.)
What I try to do in my music, and particu?larly in this piece, is to create a heat from with?in, so that what unfolds is not only motivated by the architecture of the piece (which I consid?er the most important goal), but also that each idea or phrase contains a strong "radiance" of texture and feeling about it. In other words, the complete "action" of rhythm, texture, dynamic, harmony, and register has a strong enough pro?file that it creates an identity with a "tempera?ture," one felt rather than observed.
In Incandescent, my third string quartet, basically five actions or ideas unfold, develop, interact, and gradually change their "tempera?tures." They are a three-note collection that ini?tially appears as an upper and lower neighbor to a central note at the very opening of the piece and that later tums around on itself repeatedly in the first violin; a repetitive, dense, held-in-place, and narrowly registered disso?nant chord; a consonant arpeggiation that creases a "melody" distributed throughout the instruments; a climbing motive that initially outlines an octatonic scale (whole steps alter?nating with half steps) and later shifts into both whole-tone and chromatic scales; and, finally, wide leaps that first appear in the first violin and are subsequently picked up by the viola. The extended 16th-note passages that occur throughout, finally arriving at a virtuosic, Vivaldi-like cello solo, include all these motives in different guises and temperatures.
Incandescent, which is in one movement and lasts about 18 minutes, was a joint commission
between the South Mountain Concerts and Bard College for the Emerson String Quartet, to whom it is dedicated with admiration and affection.
Program note by Joan Tower.
Quartet No. 2 in A Major. Op. 68
Dmitri Shostakovich
Bom September 25, 1906 in St. Petersburg
Died August 9, 1975 in Moscow
Dmitri Shostakovich wrote 15 symphonies and 15 string quartets. This numerical balance is, however, somewhat misleading, for it was not until after Symphony No. 5 that String Quartet No. 1 appeared. Moreover, later on in his career there was an important shift of emphasis on the part of the composer. After Symphony No. 10 (1953), Shostakovich wrote five more sym?phonies: two are based on objective programs, two use verbal texts; only one (Symphony No. 15) reveals in purely instrumental terms the kind of personal-dramatic content associated with the earlier symphonies. During the same period, Shostakovich composed at least four of his six concertos and 10 of his 15 string quar?tets; and although his last symphony came in 1971, the remaining four years of his life yield?ed a further two string quartets. This shift in emphasis would have been striking even if the works themselves had not been so deeply felt or imaginatively searching. As it is, one can only conclude that the intimate nature of his concer?to and quartet writing has a close bearing on the character and quality of Shostakovich's later music in general.
Shostakovich wrote his String Quartet No. 1 in 1938. Where that work is witty and relaxed, String Quartet No. 2 (1944) an altogether big?ger piece is dogged and intense. The extensive opening movement, "Overture," is constructed from terse ideas with the composer obviously enjoying the possibilities of motivic interaction and combination; closely composed, it demands close listening, and such is its staying
power that not until the very end is the princi?ple subject formally recapitulated.
This is followed by a heartfelt romance, framed by lengthy declamatory passages (molto espressivo) marked "Recitative" in a formal experiment that Shostakovich never repeated. The following scherzo is a "diabolical" waltz, haunted, as if from a distance, by the "dance of death" imagery found in so many of his war?time and post war compositions. Here the instruments are muted throughout, but the dynamics rise to fortissimo and the climax is strenuous.
The finale is a continuous set of variations in a minor, introduced by a short adagio derived from the theme, which is then stated by each instrument in turn, beginning with the viola. The variations are both imaginative and instrumentally brilliant, with a good deal of emphasis on reiterated figures and a progressive quickening of the tempo. At last there is a return to the adagio introduction, and the movement ends with a broad declamatory ver?sion of the beginning of the theme.
Program note by Hugh Ottaway.
Quartet in c-sharp minor, Op. 131
Ludwig van Beethoven
Born December 15 or 16, 1770 in Bonn, Germany
Died March 26, 1827 in Vienna
Beethoven once confided to friend Karl Holz that, while each of his 16 quartets was unique, "each in its way," his favorite was the c-sharp minor, Op. 131. When Schubert heard the piece, Holz reported that "he fell into such a state of excitement and enthusiasm that we were all frightened for him." Down to our own day many people, musicians as well as listeners, consider it the greatest quartet ever written.
Lasting close to 40 minutes, the quartet is divided into seven sections that are played without pause, creating a completely organic, well-integrated whole. The burden for project?ing this underlying unity rests with the per-
formers, who must maintain the proper rela?tionships of tempo and mood for the work to flow smoothly from beginning to end.
Beethoven began to work on Op. 131 late in 1825, after he had completed the three-quartet commission (Opp. 127, 130, 132) for Prince Galitzin, and presented it to the publisher on July 12 of the next year. Beethoven's flippant note on the score-"Put together from pilfer-ings from this and that"--caused the publisher great concern, and the composer had to assure the publisher that the music was completely original, and his remark was only a joke. The quartet was dedicated to Baron Joseph von Stutterheim, Field Marshal, in gratitude for accepting Beethoven's nephew Karl into the baron's regiment. Scholars believe that the first hearing was at a private concert in Vienna in December 1826, but that the initial public per?formance did not take place until 1835, long after Beethoven's death.
The very slow introductory "Adagio," which Richard Wagner said "reveals the most melan?choly sentiment in music," is basically a fugue, with four episodes and a coda, all based on the sober melody originally stated by the first vio?lin. More than sorrowful or pitying, the music is contemplative and serene, surmounting per?sonal despair and sadness. The section ends with a quiet rising C-sharp octave leap, which finds an echo in the ascending D octave leap that opens the second section.
The fast second movement sails forth, cheery and open-faced, with none of the pro?fundity or expressivity of the first movement. Even the thematic material contributes no striking contrasts to create dramatic tension; the same kind of warm, good spirits prevail throughout.
The short movement that follows, only 11 -measures long, is in effect a recitative, a rhyth?mically free introduction to the "Andante" that follows without pause.
The fourth movement is an expansive theme and variations that provides the pivotal central focus of the entire quartet. The syncopated theme, which Wagner called the "incarnation of
innocence," is shared by the two violins. Beethoven then puts the melody through a series of six variations in which it is completely shaped and fashioned to reveal fully all of its expressive potential.
The "Presto" corresponds to the Classical scherzo movement, playful and humorous in spirit. The lightness of character, though, dis?guises a score that is treacherously difficult for the musicians. It requires great delicacy of touch and split-second reaction times to inter?weave the four parts and achieve the smooth flow that is necessary. After the abrupt four-note growl by the cello that opens the move?ment, the first violin picks up the dance-like tune. Passages of smooth legato articulation interrupt statements of the bright, bouncy main theme. Beethoven directed that the final return of the opening tune be played ponticello (bowed near the bridge), producing a glassy, whistle-like sound. The whirlwind motion continues until two sets of chords effectively end the movement.
The short, introspective "Adagio," only 28-measures long, provides a transition between the gay flight of the preceding "Presto" and the rhythmic excitement of the finale. Based on a mournful, meditative melody, which is first played by the viola, the "Adagio" moves directly to the last section.
Two bold, angry unison phrases precede the martial main theme with its dotted (long-short) rhythm, which recalls the last movement of Beethoven's e-minor quartet, Op. 59, No. 2. Forcefully, and with great thrust, the melody builds up momentum until a quiet contrasting melody, obviously derived from the melody of the opening fugue, intercedes. The second theme, a long descending line that slows down as it jumps to three high notes at the end, is heard before a shortened development, recapit?ulation, and full-length coda. In summarizing this movement, Richard Wagner wrote: "This is the fury of the world's dance fierce pleasure, agony, ecstasy of love, joy, anger, passion, and suffering; lightning flashes and thunder rolls; and above the tumult the indomitable fiddler
whirls us on to the abyss. Amid the clamor he smiles, for to him it is nothing but a mocking fantasy; at the end, the darkness beckons him away, and his task is done."
Program note by Melvin Berger from Guide to Chamber Music, published by Doubleday Anchor.
Acclaimed for its insightful performances, brilliant artistry, and technical mastery, the Emerson String Quartet is one of the world's foremost chamber ensem?bles, and has amassed an impressive list of achievements: a brilliant series of record?ings exclusively documented by Deutsche Grammophon since 1987, six Grammy Awards including two unprecedented honors for "Best Classical Album," and performances of the complete cycles of Beethoven, Bartok, and Shostakovich quartets in major concert halls throughout the world. The ensemble is lauded globally as a string quartet that approaches both classical and contemporary repertoire with equal mastery and enthusiasm.
In the current season, the Quartet presents a four-concert series in Carnegie Hall's Zankel Hall entitled A Vision of Mendelssohn. The series explores the complete Mendelssohn quar?tets, juxtaposed with works by Bach, Beethoven, Schumann, and Schubert. The Mendelssohn cycle will also be presented in London at the South Bank Festival in March 2005. Deutsche Grammophon supports these series with a release of the complete Mendelssohn quartets in February 2005. The recording also includes a performance of Mendelssohn's famous Octet, in which the Emerson is featured playing all eight voices. This was accomplished with a computer designed by the Quartet's producer specifically for this release, using a sophisticated digital format comprised of 28 recording lines.
In addition to its active performance sched?ule in the major concert halls of North America, the Quartet tours Europe extensively, with stops
in France, Italy, Germany, Switzerland, Spain, Belgium, and Austria. 200405 is the Quartet's 26th sold-out season at the Smithsonian Institution in Washington, DC. In 2002, the Emerson joined Stony Brook University as Quartet-in-Residence, coaching chamber music, giving master classes and providing instrumental instruction, as well as several con?certs during the year at Stony Brook's Staller Center for the Arts. The ensemble initiated its first International Chamber Music Festival at Stony Brook in June 2004, and continues its educational affiliation with Carnegie Hall in a workshop focusing on quintets by Brahms and Dvorak. In March of 2004 the Quartet was named the 18th recipient of the 2004 Avery Fisher Prize--another first for a chamber ensemble.
The Emerson has received six Grammy Awards: two for its Shostakovich cycle, two for
its Bart6k cycle, one for American Originals (works by Ives and Barber), and one for the complete quartets of Beethoven.
Formed in 1976, the Emerson String Quartet took its name from the American poet and philosopher Ralph Waldo Emerson. Violinist Eugene Drucker and Philip Setzer alternate in the first chair position and are joined by violist Lawrence Dutton and cellist David Finckel. Since January 2002, the Emerson has performed while standing--the cellist plays on a podium--and incorporates this practice in all appearances. The Quartet is based in New York City.
Tonight's performance marks the Emerson String Quartet's 12th appearance under UMS auspices. The Quartet made its UMS debut in March 1989 and has made annual appearances in the UMS Chamber Arts Series since 1998.
Emerson String Quartet
UMS Educational EventS through Friday, October 1.20C
All UMS educational activities are free, open to the public, and take place in Ann Arbor unless other?wise noted. Please visit www.ums.orgbr complete details and updates. For more information, contact the UMS Education Department at 734.647.6712 or e-mail
Lincoln Center Jazz Orchestra with Wynton Marsalis
NETWORK Reception
This NETWORK reception is hosted by the African American Arts Advocacy Committee prior to the evening's performance by the LCJO. Anyone interested in connecting, socializing, and networking with the African-American community is invited to attend. Concert tickets for LCJO will be required for admittance to the reception. Please enter through Hill Auditorium's West Entrance. Friday, September 17, 6:15-7:45 pm, Hill Auditorium, Mezzanine Lobby.
Ravi Shankar
UMS Artist Interview
Stephen Rush, U-M Associate Professor of Dance and Performing Arts Technology.
In a rare public interview, Indian musical ambassador to the world, virtuoso sitarist, com?poser, and humanitarian, Ravi Shankar is inter?viewed about his career and musical legacy. A collaboration with the U-M Center for South Asian Studies and the International Institute. Wednesday, September 22, 6:00-7:15 pm, Rackham Auditorium, 915 E. Washington Street
Indian Classical Music: From Princely Courts to Carnegie Hall
Janaki Bakhle, Assistant Professor of Modern South Asian History, Columbia University Indira Peterson, Chair, Asian Studies Program, Mount Holyoke College. Stephen Slawek, Professor of Ethnomusicology, University of Texas, Austin.
Internationally recognized scholars lead a public symposium featuring presentations on Ravi Shankar's work and its impact in Western music and culture.
Thursday, September 23, 1:00-5:00 pm, Michigan League, 911 N. University Avenue, Henderson Room, Third Floor
An Evening with Dave Brubeck
UMS Artist Interview and Master Class
Interviewed by Linda Yohn, Music Director, WEMU89.1FM
Jazz legend Dave Brubeck holds a public master class with U-M Jazz students followed by a public interview discussing his historic career. A collaboration with the U-M School of Music, Department of Jazz and Improvisational Studies.
Friday, October 1, 2:00-4:00 pm, U-M School of Music Stearns Building, Cady Room, U-M North Campus, 2005 Baits
MS experience
September 04
Fri 17 Lincoln Center Jazz Orchestra
with Wynton Marsalis Thu 23 Ravi Shankar Sun 26 Emerson String Quartet
Sat 2 An Evening with Dave Brubeck
Sun 3 Laurie Anderson: The End of the Moon
Fri-Sat 8-9 Paul Taylor Dance Company
Sat 9 Paul Taylor Dance Company One-Hour Family Performance
Wed 13 Akira Kasai: Pollen Revolution
Fri 15 Leipzig Gewandhaus Orchestra with Mikhail Pletnev, piano
Sat 16 Marcel Khalife and the Al Mayadine Ensemble
Wed-Sat 20-23 Complicite: The Elephant Vanishes
Wed-Sun 27-31 Rezo Gabriadze: Forbidden Christmas or The Doctor and The Patient
Thu 4 Le Concert Spirituel
Fri 5 Kopelman Quartet
Tue 9 St. Petersburg Philharmonic
Fri 12 Kremerata Baltica with Gidon Kremer, violin
Sat 13 E.S.T. (Esbjorn Svensson Trio) and The Bad Plus
Sun 14 Ensemble Al-Kindi and the Whirling Dervishes of Damascus
Tue 23 Measha Brueggergosman, soprano
Sat-Sun 4-5 Handel's Messiah
Sat 11 Anne Sofie von Otter, mezzo-soprano
Please note that a complete listing of all UMS Educa?tional programs is conveniently located within the concert pro?gram section of your program book and is posted on the UMS website at
January 05
Wed 12 Sam Shalabi: The Osama Project
Thu 13 Stephanie Blythe, mezzo-soprano
Fri 14 D.J. Spooky: Rebirth of a Nation
Sun-Mon 16-17 Ronald K. BrownEvidence
Wed 26 Lahti Symphony Orchestra with Louis Lortie, piano
Sun 30 Audra McDonald
Sat-Sun 5-6 New York Philharmonic
Thu 10 Netherlands Wind Ensemble
Fri-Sat 11-12 Rennie Harris Puremovement: Facing Mekka
Sun 13 Michigan Chamber Players (Complimentary Admission)
Fri 18 Soweto Gospel Choir
Sat 19 Jack Dejohnette Latin Project
Sun 20 Takacs Quartet: Complete Bartok String Quartet Cycle
Mon-Wed 21-23 Kodo Drummers
Fri 25 A Midsummer Night's Dream: A Semi-Staged Performance
Sat 5 Dan Zanes and Friends Family Performance
Wed 9 Florestan Trio
Thu 10 Fred Hersch Ensemble: Leaves of Grass
Thu-Sim 10-13 Robert Lepage: The Far Side of the Moon
Sat 12 Oslo Philharmonic with Anne-Sophie Mutter, violin
Sat 19 James Galway, flute and Lady Jeanne Galway, flute
Fri-Sat 1-2 Emio Greco PC
Sat 2 UMS Choral Union: Haydn's Creation
Fri 8 Trio Mediaeval
Sat 9 Malouma
Sun 10 Songs of the Sufi Brotherhood
Wed 13 Chamber Orchestra of Philadelphia with Ignat Solzhenitsyn, piano
Thu 14 La Capella Reial de Catalunya and Le Concert des Nations
Wed 20 Felicity Lott, soprano and Angelika Kirchschlager, mezzo-soprano
Thu 21 John Scofield Trio and Brad Mehldau Trio
Thu 28 Jerusalem Quartet
Sat 14 Ford Honors Program: Artist to be Announced
UMS's Education and Audience Development Program deepens the relationship between audiences and art, and raises awareness of the impact the performing arts can have on our community. The program creates and presents the highest quality arts education experience to a broad spectrum of community constituencies, proceeding in the spirit of partnership and collaboration.
The UMS Education and Audience Develop?ment Department coordinates dozens of events with over 100 partners that reach more than 50,000 people annually. It oversees a dynamic, comprehensive program encompassing com?munity receptions; artist interviews; workshops; in-school visits; master classes; lectures; youth, teen, and family programs; educator profes?sional development; curriculum development; and much more.
UMS Community Education Program
Details about educational events are posted at one month before the per?formance date. To receive information and e-mail reminders about UMS educational events, join the UMS E-Mail Club at For immediate information, e-mail, or call the numbers listed below.
UMS Partnership Program
If you represent an organization that would like to work in collaboration with UMS to create education events or attend performances and community receptions, please call 734.764.6179.
African American Arts Advocacy Committee -The NETWORK
If you are interested in networking with the African American community and supporting African American artistry and performance, please call 734.764.6179.
Arab World Festival Honorary Committee
If you would like to be involved in the upcom?ing Arab World Music Festival and support Arab World programming, education, and community building, please call 734.764.6179.
Educational Programs
UMS hosts a wide variety of educational opportunities that provide context and inform audiences about the artists, art forms, and cul?tures we present. For more information about this program, please call 734.647.6712 or e-mail Events include:
PREPs pre-performance lectures
Meet the Artists post-performance artist interviews
Artist Interviews public dialogues with performing artists
Master Classes interactive workshops
PanelsSymposia expert-led, university-based presentations
Study Clubs in-depth adult education related to a specific art form
Artist-in-Residence artists teach, create, and meet with community groups, university units, and schools.
UMS Youth, Teen, and Family Education
UMS has one of the largest K-12 arts educa?tion initiatives in the State of Michigan. For more information, or to become involved, please call 734.615.0122 or e-mail
200405 Youth Performance Series
These daytime performances serve pre-K through high school students. The 0405 series features special youth performances by:
Lincoln Center Jazz Orchestra with Wynton Marsalis
Paul Taylor Dance Company
DJ Spooky: Rebirth of Nation Sphinx Competition
Rennie Harris Puremovement
Dan Zanes and Friends
Teacher Workshop Series
UMS offers two types of K-12 Educator Workshops: Performing Arts Workshops and Kennedy Center Workshops. Both types focus on teaching educators techniques for incorpo?rating the arts into classroom instruction. This year's Kennedy Center Workshop Series will feature a return engagement by noted instructor Sean Layne who will be leading two sessions:
Preparing for Collaboration: Theater Games and Activities that Promote Team-Building and Foster Creative and Critical Thinking
Acting Right: Drama as a Classroom Management Strategy
Michelle Valeri, a singer, songwriter, and chil?dren's entertainer, will lead a workshop entitled:
Story Songs for the Young Child
Workshops focusing on UMS Youth Perform?ances are:
Paul Taylor Dance Company: Dance is Art, Music, and Storytelling led by Susan Filipiak
Punch's Progress: A Brief History of the Puppet Theater led by Lawrence Baranski
Arts Advocacy: You Make the Difference led by Lynda Berg
Race, Identity and Art: Getting Beyond the Discomfort of Talking About "Normal" led by Marguerite Vanden Wyngaard and Rowyn Baker
Facing Mekka: Hip Hop in Academic and Theatrical Context led by Mark Bamuthi Joseph and members of Rennie Harris Puremovement
Malouma: The Culture, Dance, and Music of Mauritania led by Ibrahima Niang, African Cultural Ambassador, and Mame Lo Mor and Fatou Lo, members of the local Mauritanian community
K-12 Arts Curriculum Materials
UMS educational materials are available online at no charge to all educators. All materials are designed to connect with curriculum via the Michigan State Benchmarks and Standards.
Teen Tickets and Breakin' Curfew
As part of UMS's teen initiative, teens may attend public UMS performances at a special discount. Visit to download a special Teen Ticket coupon. Breakin' Curfew is an annual event showcasing teen talent, pre?sented in collaboration with Neutral Zone.
Family Programming and Ann Arbor Family Days
UMS offers reduced-priced, one-hour, family friendly performances and workshops. Ann Arbor Family Days features special family pro?gramming from numerous Ann Arbor cultural organizations. For more information, please call 734.615.0122.
UMS Teacher Advisory Committee
This group is comprised of educators, school administrators, and K-12 arts education advo?cates who advise and assist UMS in determin?ing K-12 programming, policy, and professional development. To join, please call 734.615.4077 or e-mail
UMS is a partner with the Ann Arbor Public Schools and the Washtenaw Intermediate School district as part of the Kennedy Center: Partners in Education program. UMS also participates in the Ann Arbor Public School's
Partners in Excellence program.
The UMS Youth Education Program was designated as a "Best Practice" program by ArtServe Michigan and the Dana Foundation.
Join us in thanking these fine area restaurants and businesses for their generous support of UMS:
American Spoon
539 East Liberty997.7185
Bella Ciao Trattoria
118 West Liberty995.2107
The Blue Nile Restaurant 1221 East Washington 998.4746
The Earle
121 West Washington 994.0211
The Earle Uptown
300 South Thayer 994.0222
Great Harvest Bread Company 2220 South Main 996.8890
King's Keyboard House 2333 East Stadium 663.3381
Laky's Salon
512 South Main668.8812
Michigan Car Services, Inc.
30270 Spain Court, Romulus 800.561.5157
Paesano's Restaurant
3411 Washtenaw 971.0484
Pen in Hand
207 South Fourth 662.7276
Red Hawk Bar & Grill 316 South State994.4004
Schakolad Chocolate Factory
110 East Washington 213.1700
Weber's Restaurant and Hotel
3050 Jackson Avenue 769.2500
216 South State994.7777
UMS Delicious Experiences
Back by popular demand, friends of UMS are offering a unique donation by hosting a variety of dining events to raise funds for our nationally recognized educational programs. Thanks to the generosity of the hosts, all proceeds from these delightful dinners go to support these important activities. Treat yourself, give a gift of tickets, or come alone and meet new people! For more information or to receive a brochure, call 734. 647.8009 or visit UMS online at
UMS Volunteers are an integral part of the success of our organization. There are many areas in which vol?unteers can lend their expertise and enthusiasm. We would like to wel?come you to the UMS family and involve you in our exciting programming and activities. We rely on volunteers for a vast array of activities, including staffing educational residency activi?ties, assisting in artist services and mailings, escorting students for our popular youth per?formances, and a host of other projects. Please call 734.936.6837 to request more information.
The 53-member UMS Advisory Committee serves an important role within UMS. From ushering for our popular Youth Performances to coordinating annual fundraising events, such as the Ford Honors Program gala and "Delicious Experiences" dinners, to marketing Bravo!, UMS's award-winning cookbook, the Committee brings vital volunteer assistance and financial support to our ever-expanding educational programs. If you would like to become involved with this dynamic group, please call 734.647.8009.
When you advertise in the UMS program book you gain season-long visibility among ticket buyers while enabling an important tradition of providing audiences with the detailed program notes, artist biographies, and program descrip?tions that are so important to the performance experience. Call 734.647.4020 to learn how your business can benefit from advertising in the UMS program book.
As a UMS corporate sponsor, your organization comes to the attention of an educated, diverse and growing segment of not only Ann Arbor, but all of southeastern Michigan. You make possible one of our community's cultural treas?ures, and also receive numerous benefits from your investment. For example, UMS offers you a range of programs that, depending on your level of support, provide a unique venue for:
Enhancing corporate image
Cultivating clients
Developing business-to-business relationships
Targeting messages to specific demographic groups
Making highly visible links with arts and education programs
Recognizing employees
Showing appreciation for loyal customers
For more information, please call 734.647.1176.
Internships & College Work-Study
Internships with UMS provide experience in performing arts administration, marketing, ticket sales, programming, production, and arts education. Semesterand year-long unpaid internships are available in many of UMS's departments. For more information, please call 734.615.1444.
Students working for UMS as part of the College Work-Study program gain valuable experience in all facets of arts management including concert promotion and marketing, ticket sales, fundraising, arts education, arts programming, and production. If you are a University of Michigan student who receives work-study financial aid and are interested in working at UMS, please call 734.615.1444.
Without the dedicated service of UMS's Usher Corps, our events would not run as smoothly as they do. Ushers serve the essential functions of assisting patrons with seating, distributing pro?gram books, and providing that personal touch which sets UMS events apart from others.
The UMS Usher Corps is comprised of over 400 individuals who volunteer their time to make your concert-going experience more pleas?ant and efficient. Orientation and training ses?sions are held each fall and winter, and are open to anyone 18 years of age or older. Ushers may commit to work all UMS performances in a spe?cific venue or sign up to substitute for various performances throughout the concert season.
If you would like information about becoming a UMS volunteer usher, call the UMS usher hotline at 734.913.9696 or e-mail
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We're proud to support the University Musical Society in bringing the finest in music and performing arts to Southeast Michigan.
At Forest Health Services, our commitment is to bring the finest in specialty healthcare to transform our patients' lives and open new doors within our community and nationwide.
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Concertmasters, cont.
Leo and Kathy Legatski Dr. and Mrs.
Richard H. Lineback Charlotte McGeoch Julia S. Morris Charles H. Nave Gilbert Omenn and
Martha Darling John Psarouthakis and
Antigoni Kefalogiannis Mr. Gail W. Rector Maria and Rusty Restuccia Richard and Susan Rogel Don and Judy Dow Rumelhart Loretta M. Skewes James and Nancy Stanley Lois and Jack Stegeman Susan B. Ullrich Gerald B. and
Mary Kate Zelenock
$3,500-4,999 Robert and Victoria Buckler Dr. Kathleen G. Charla Katharine and Jon Cosovich Jim and Patsy Donahey Mr. and Mrs. George W. Ford Beverley and Gerson Geltner Betty-Ann and Daniel Gilliland Dr. Sid Gilman and
Dr. Carol Barbour Debbie and Norman Herbert Carl and Charlene Herstein Keki and Alice Irani Susan McClanahan and
Bill Zimmerman M. Haskell and
Jan Barney Newman Lois A. Theis Dody Viola
Marina and Robert Whitman Marion T. Wirick and
James N. Morgan
Bob and Martha Ause
Essel and Menakka Bailey
Karl Bartscht
Raymond and Janet Bernreuter
Suzanne A. and Frederick J.
Beutler Edward and Mary Cady
J. Michael and Patricia Campbell Mary Sue and Kenneth Coleman Lorenzo DiCarlo and
Sally Stegeman DiCarlo Dr. and Mrs. Theodore E.
David and Jo-Anna Featherman John and Esther Floyd Michael and Sara Frank Sue and Carl Gingles Linda and Richard Greene Janet Woods Hoobler Shirley Y. and Thomas E. Kauper Dorian R. Kim
Amy Sheon and Marvin Krislov Jill M. Latta and David S. Bach Marc and Jill Lippman Sally and Bill Martin Judy and Roger Maugh Ernest and Adele McCarus Martin Neuliep and Patricia
Virginia and Gordon Nordby Mrs. Charles Overberger (Betty) Dory and John D. Paul Eleanor and Peter Pollack Jim and Bonnie Reece John and Dot Reed Barbara A. Anderson and
John H. Romani Alan and Swanna Saltiel Sue Schroeder Edward and Jane Schulak Helen L. Siedel Don and Carol Van Curler Karl and Karen Weick B. Joseph and Mary White
Dr. and Mrs. Gerald Abrams Mrs. Gardner Ackley Jim and Barbara Adams Bernard and Raquel Agranoff Dr. and Mrs. David G. Anderson Rebecca Gepner Annis and
Michael Annis Jonathan W. T. Ayers Laurence R. and Barbara K. Baker Dr. and Mrs. Robert Bartlett Bradford and Lydia Bates Astrid B. Beck and
David Noel Freedman Frederick W. Becker Ralph P. Beebe Patrick and Maureen Belden Ruth Ann and Stuart J. Bergstein Philip C. Berry
Joan Akers Binkow Elizabeth and Giles G. Bole Howard and Margaret Bond Sue and Bob Bonfield Charles and Linda Borgsdorf Laurence and Grace Boxer Dr. and Mrs. Ralph Bozell Dale and Nancy Briggs Jeannine and Robert Buchanan Lawrence and Valerie Bullen Laurie Bums Letitia J. Byrd Amy and Jim Byrne Barbara and Albert Cain Jean W. Campbell Jean and Bruce Carlson Carolyn M. Carty and
Thomas H. Haug Janet and Bill Cassebaum Anne Chase
Don and Betts Chisholm Leon Cohan
Hubert and Ellen Cohen Cynthia and Jeffrey Colton Jim and Connie Cook Jane Wilson Coon and
A. Rees Midgley, Jr. Anne and Howard Cooper Susan and Arnold Coran Paul N. Courant and
Marta A. Manildi Julie F. and Peter D. Cummings Richard J. Cunningham Peter and Susan Darrow Lloyd and Genie Dethloff Steve and Lori Director Andrzej and Cynthia Dlugosz Al Dodds
Elizabeth A. Doman John Dryden and Diana Raimi Martin and Rosalie Edwards Charles and Julia Eisendrath Joan and Emil Engel Dr. and Mrs. John A. Faulkner Eric Fearon and Kathy Cho Yi-tsi M. and Albert Feuerwerker Ray and Patricia Fitzgerald Bob and Sally Fleming James and Anne Ford Marilyn G. Gallatin Kenneth J. Robinson Marilyn Tsao and Steve Gao Thomas and Barbara Gelehrter William and Ruth Gilkey Mr. and Mrs. Clement Gill Paul and Anne Glendon Cozette Grabb Elizabeth Needham Graham Jeffrey B. Green John and Helen Griffith
Principals, com.
Martin D. and Connie D. Harris Julian and Diane Hoff Carolyn Houston Raymond and Monica Howe Robert M. and Joan F. Howe Drs. Linda Samuelson and
Joel Howell
Dr. H. David and Dolores Humes John and Patricia Huntington Thomas and Kathryn Huntzicker Susan and Martin Hurwitz Timothy and Jo Wiese Johnson Robert L. and Beatrice H. Kahn Dr. and Mrs. Robert P. Kelch James and Patricia Kennedy Connie and Tom Kinnear Diane Kirkpatrick Philip and Kathryn Klintworth Carolyn and Jim Knake Charles and Linda Koopmann Samuel and Marilyn Krimm Michael and Barbara Kusisto Marilyn and Dale Larson Ted and Wendy Lawrence Peter Lee and Clara Hwang Donald J. and Carolyn Dana Lewis Carolyn and Paul Lichter Evie and Allen Lichter Lawrence and Rebecca Lohr Leslie and Susan Loomans Mark and Jennifer LoPatin Richard and Stephanie Lord John and Cheryl MacKrell Jeff Mason and Janet Netz Natalie Matovinovic Joseph McCune and
Georgiana Sanders Rebecca McGowan and
Michael B. Staebler Ted and Barbara Meadows Leo and Sally Miedler Candy and Andrew Mitchell Lester and Jeanne Monts Alan and Sheila Morgan Jane and Kenneth Moriarty Melinda and Bob Morris Edward Nelson
Dr. and Mrs. Frederick C. O'Dell William C. Parkinson Margaret and Jack Petersen Elaine and Bertram Pitt Mrs. Gardner C. Quarton Donald H. Regan and
Elizabeth Axelson Kenneth J. Robinson Rosalie and Martin Edwards Patrick and Margaret Ross Craig and Jan Ruff Nancy and Frank Rugani Dick and Norma Sarns
Maya Savarino
Meeyung and Charles R. Schmitter
Mrs. Richard C. Schneider
Ann and Thomas J. Schriber
John J. H. Schwarz
Erik and Carol Serr
Janet and Michael Shatusky
J. Barry and Barbara M. Sloat
Kate and Philip Soper
Lloyd and Ted St. Antoine
Gus and Andrea Stager
Michael and Jeannette Bittar Stern
Victor and Marlene Stoeffler
Dr. and Mrs. Stanley Strasius
Charlotte B. Sundelson
Katharine and Jan Svejnar
Jim Toy
Joyce A. Urba and David J. Kinsella
Jack and Marilyn van der Velde
Rebecca W. Van Dyke
Florence S. Wagner
Jack Wagoner, M.D.
Raven Wallace
Elise Weisbach
Robert O. and Darragh H. Weisman
Scott Westerman
Roy and JoAn Wetzel
Harry C. White and
Esther R. Redmount Max Wicha and Sheila Crowley Prof, and Mrs. Charles Witke Paul Yhouse Edwin and Signe Young
Thomas and Joann Adler
Dr. and Mrs. Robert G. Aldrich
Anastasios Alexiou
Dr. and Mrs. Rudi Ansbacher
Robert L. Baird
Lisa and Jim Baker
M. A. Baranowski
Alex W. and Gloria L. Barends
Norman E. Barnett
Mason and Helen Barr
L. S. Berlin
Sara Billmann and Jeffrey Kuras
John Blankley and Maureen Foley
Donald and Roberta Blitz
Tom and Cathie Bloem
Dr. and Mrs. Ronald Bogdasarian
Susan Bozell
Paul and Anna Bradley
Morton B. and Raya Brown
June and Donald R. Brown
Dr. Frances E. Bull
Mr. and Mrs. Richard J. Burstein
H. D. Cameron
Janice A. Clark
Lois and Avern Cohn
Malcolm and Juanita Cox
Sally A. Cushing
Roderick and Mary Ann Daane
Charles and Kathleen Davenport
Judge and Mrs. S. J. Eldcn
Stefan S. and Ruth S. Fajans
Elly and Harvey Falit
Dr. and Mrs. John A. Faulkner
Sidney and Jean Fine
Carol Finerman
Harriet and Daniel Fusfeld
Professor and Mrs. David M. Gates
Drs. Steve Geiringer and Karen Bantel
Beverly Gershowitz
Richard and Cheryl Ginsburg
Alvia G. Golden and
Carroll Smith-Rosenberg Amy and Glenn Gottfried Mrs. Cozette T. Grabb Jenny Graf
Mr. and Mrs. Robert C. Graham Dr. John and Renee M. Greden Sharon and Lazar J. Greenfield Bob and Jane Grover David and Kay Gugala Don P. Haefner and Cynthia J. Stewart Helen C. Hall Yoshiko Hamano Mr. and Mrs. Elmer F. Hamel Susan A. Hamilton Susan Harris Sivana Heller Lee Hess
Mrs. W.A. Hiltner Sun-Chien and Betty Hsiao Mrs. V. C. Hubbs Harry and Ruth Huff Ann D. Hungerman Eileen and Saul Hymans Jean Jacobson
Emily Avers and Mark Jacobson Elizabeth Jahn Rebecca S. lahn Lester lohns Ben M. Johnson John B. and Joanne Kennard Rhea Kish Michael J. Kondziolka and
Mathias-Philippe Florent Badin Dr. Melvyn and Mrs. Linda Korobkin Bert and Geraldine Kruse Bud and Justine Kulka John K. and Jeanine Lawrence Laurie and Robert LaZebnik Richard LeSueur Julie M. Loftin E. Daniel and Kay Long Brigitte and Paul Maassen Deborah and Michael Mahoney Nicole Manvel Catherine and Edwin L. Marcus
Benefactors, com.
Ann W. Martin and Russ Larson
Carole Mayer
Micheline Maynard
Griff and Pat McDonald
Bernice and Herman Merte
Henry D. Messer Carl A. House
Kathryn and Bertley Moberg
Cyril Moscow
Todd Mundt
Lisa Murray and Mike Gatti
Gerry and Joanne Navarre
Marylen and Harold Oberman
Robert and Elizabeth Oneal
Kathleen I. Operhall
Nicole Paoletti
John Peckham
Wallace and Barbara Prince
Leland and Elizabeth Quackenbush
Margaret Jane Radin
Mrs. Joseph S. Radom
Jeanne Raisler and Jon Cohn
Ms. Claudia Rast
Anthony L. Reffells and
Elaine A. Bennett Rudolph and Sue Reichert Marnic Reid
lay and Machree Robinson Jonathan and Anala Rodgers Lisa Rozek Alicia Schuster Mrs. Harriet Selin Frances U. and Scott K. Simonds Robert and Elaine Sims Irma J. Sklenar
James Skupski and Dianne Widzinski Donald C. and Jean M. Smith Shelly Soenen and Michael Sprague Dr. Hildrcth H. Spencer Neela Sripathi David and Ann Staiger Bert and Vickie Steck Virginia and Eric Stein Maryanne Telese Elizabeth H. Thieme Catherine Thoburn Merlin and Louise Townley William C. Tyler Dr. Sheryl S. Ulin and Dr. Lynn T.
Schachinger Elly Wagner Don and Toni Walker Robert D. and Liina M. Wallin lohn M. Weber
Deborah Webster and George Miller Raoul Weisman and Ann Friedman Angela and Lyndon Welch Dr. Steven W. Werns Reverend Francis E. Williams Mayer and Joan Zald
Michael and Marilyn Agin
Roger Albin and Nili Tannenbaum
Christine Webb Alvey
Helen and David Aminoff
Harlene and Henry Appelman
Mr. and Mrs. Arthur I. Ashe III
Dan and Monica Atkins
Barbara B. Bach
Reg and Pat Baker
Paulett Banks
Mr. and Mrs. John and Ginny Bareham
David and Monika Barera
Lois and David Baru
Francis J. and Lindsay Bateman
Mrs. Jere M. Bauer
Gary Beckman and Karla Taylor
Professor and Mrs. Erling Blondal
Dr. and Mrs. Ronald M. Benson Joan and Rodney Bentz Dr. Rosemary R. Berardi Steven J. Bernstein and Maria Hcrrero Jack Billi and Sheryl Hindi Ilene and William Birge Bob and Sharon Bordeau Victoria C. Botek and William M.
Mr. and Mrs. Richard Boyce C. Paul and Anna Y. Bradley William R. Brashear Sue and Noel Buckner Trudy and Jonathan Butkley Frank and Kathy Cambria Valeric and Brent Carey Jean and Kenneth Casey Tsun and Siu Ying Chang Kwang and Soon Cho Dr. Kyung and Young Cho Reginald and Beverly Ciokajlo Brian and Cheryl Clarkson Dr. and Mrs. Harvey Colbert Theodore and Sandra Cole Wayne and Mclinda Colquitt Edward J. and Anne M. Comcau Carolyn and L. Thomas Conlin Lloyd and Lois Crabtree Mr. Michael J. and Dr. Joan S. Crawford Merle and Mary Ann Crawford Peter C. and Lindy M. Cubba Mary R. and John G. Curtis Marcia A. Dalbey Sunil and Merial Das Art and Lyn Powrie Davidge Ed and Ellic Davidson Hal and Ann Davis John and Jean Debbink Nicholas and Elena Delbanco Elizabeth Dexter )udy and Steve Dobson Cynthia Dodd Heather and Stuart Dombey Rev. Dr. Timothy J. Dombrowski Thomas and Esther Donahue Cecilia and Allan Dreyfuss Elizabeth Duell Aaron Dworkin
Morgan H. and Sara O. Edwards
Dr. Alan S. Eiser
Dr. Stewart Epstein
John W. Etsweiler III
Phil and Phyllis Fellin
Dr. James F. Filgas
Susan FilipiakSwing City Dance Studio
Herschel and Adrienne Fink
Paula L. Bockenstedt and David A. Fox
Howard and Margaret Fox
Jason I. Fox
Dr. Ronald Freedman
Lynn A. Freeland
Dr. Leon and Marcia Friedman
Philip and Renee Frost
Lela J. Fuester
Mr. and Mrs. William Fulton
Ms. Patricia Garcia
Tom Gasloli
Deborah and Henry Gerst
Beth Genne and Allan Gibbard
Paul and Suzanne Gikas
Elmer G. Gilbert and Lois M. Verbrugge
Zita and Wayne Gillis
Maureen and David Ginsburg
Jack and Kathleen Glezen
Enid M. Gosling
Mr. and Mrs. Charles Goss
James W. and Maria J. Gousseff
Helen M. Graves
Mr. and Mrs. Saul A. Green
Ingrid and Sam Gregg
Bill and Louise Gregory
Raymond and Daphne M. Grew
Mark and Susan Griffin
Werner H. Grilk
Ken and Margaret Guire
Michio Peter and Anne Hagiwara
Tom Hammond
Robert and Sonia Harris
Naomi and Theodore Harrison
Henry R. and Lucia Hcinold
J. Lawrence and
Jacqueline Stearns Hcnkel Kathy and Rudi Hentschel Herb and Dee Hildebrandt James Hilton
Peter Hinman and Elizabeth Young Jeffrey and Allison Housncr Mabelle Hsueh Jane H. Hughes Ms. Beverly P. Jahn Marilyn G. Jeffs Elizabeth Judson Johnson Paul and Olga Johnson Christopher P. and Sharon Johnson Dr. and Mrs. Mark S. Kaminski Olof Karlstrom and Olivia Maynard Arthur A. Kaselcmas Herbert and Jane M. Kaufer Allan S. Kaufman, MD Evan Cohen and Deborah Keller-Cohen Frank and Patricia Kennedy Linda Atkins and Thomas Kenney George L. Kenyon and Lucy A. Waskcll Mr. and Mrs. Roland Kibler Donald F. and Mary A. Kiel Rhea Kish
Associates, cont.
lames and Jane Kistcr
Steve and Shira Klein
Laura Klem
Anne Kloack
Joseph and Marilynn Kokoszka
John Kosclka
Dr. and Mrs. Gerald Krause
Bert and Geraldine Kruse
Bert and Catherine La Du
Neal and Ann Laurence
John and Theresa Lee
Derick and Diane Lenters
Sue Leong
Myron and Bobbie Levine
Jacqueline H. Lewis
Daniel Little and Bernadette Lintz
Vi-Cheng and Hsi-Yen Liu
Dr. and Mrs. Lennart H. Lofstrom
Naomi E. Lohr
Ronald Longhofer and Norma McKenna
Florence LoPatin
Judy Mac
Pamela J. MacKintosh
Mark Mahlberg
Claire and Richard Malvin
Latika Mangrulkar
Meivin and Jean Manis
Esther Martin
Chandler and Mary Matthews
Margaret E. McCarthy
Margaret and Harris McClamroch
Peggy McCracken
Michael G. McGuire
Eileen Mclntosh and Charles
Schaldenbrand Joann McNamara Nancy A. and Robert E. Meader Gerlinda S. Melchiori Ph.D. Don and Lee Meyer Robert and Sophie Mordis Ms. Patricia Morgan Frieda H. Morgenstern Mark and Lesley Mozola Thomas and Hedi Mulford Gavin Eadie and Barbara Murphy James G. Nelson and Katherine M.
Sharon and Chuck Newman Laura Nitzberg and Thomas Carli Arthur and Lynn Nusbaum Marysia Ostafin and George Smillie William and Hedda Panzer Karen M. Park Zoe and Joe Pearson Mr. and Mrs. Frederick R. Pickard Donald and Evonne Plantinga Bill and Diana Pratt Jerry and Lorna Prescott Jenny Pruitt
Rebecca Minter and John Rectenwald Molly Resnik and John Martin Judith Revells Constance O. Rinehart Kathleen Roclofs Roberts Richard Z. and Edie W. Roscnfcld Mr. Haskell Rothstcin Ms. Rosemarie Rowncy
Ina and Terry Sandalow
Robert E. Sanecki
Michael and Kimm Sarosi
Sarah Savarino
Albert J. and Jane L. Sayed
David and Marcia Schmidt
Susan G. Schooner
Paul and Penny Schreiber
Mrs. Harriet Sclin
David and Elvera Shappirio
Jean and Thomas Shope
Mrs. Patricia Shure
Alida and Gene Silverman
Nancy and Brooks Sitterley
Susan and Leonard Skcrker
Carl and Jari Smith
Mrs. Robert W. Smith
Arthur and Elizabeth Solomon
James A. Somers
Cheryl Lynn Soper
Yoram and Eliana Sorokin
Ralph and Anita Sosin
Jeffrey D. Spindler
Rick and Lia Stevens
Barbara and Bruce Stevenson
James L. Stoddard
Ellen M. Strand and Dennis C. Regan
Donald and Barbara Sugerman
Eva and Sam Taylor
Bruce Thelen
Carol and Jim Thiry
Edwin ). Thomas
Nigel and Jane Thompson
Patricia and Terril Tompkins
Joan Lowenstein and Jonathan Trobe
Claire and Jerry Turcotte
Bill and Jewell Tustian
Mr. James R. Van Bochove
Douglas and Andrea Van Houweling
Hugo and Karla Vandersypen
Harue and Tsuguyasu Wada
Keith P. Walker
Charles R. and Barbara H. Wallgren
Jo Ann Ward
Lawrence A. Weis
Iris and Fred Whitehouse
Nancy Wiernik and Julie Child
Beverly and Hadley Wine
Lawrence and Mary Wise
Karen Wixson
Charlotte A. Wolfe
Frances A. Wright
David and April Wright
Robert and Betty Wurtz
Don and Charlotte Wyche
Scott Zeleznik and Nancy Bums
Gail and David Zuk
Corporate Fund
$100,000 and above Ford Motor Company Fund Forest Health Services Corporation Pfizer Global Research and Development: Ann Arbor Laboratories
Bank of Ann Arbor
Borders Group, Inc.
DaimlerChrysler Foundation
The Ghafari Companies
Bank One
Brauer Investment Company
CFI Group
Comerica Incorporated
McKinley Associates
Sesi Lincoln Mercury Volvo Mazda
Ann Arbor Automotive
Butzel Long Attorneys
Elastizell Corporation of America
Kensington Court
MASCO Charitable Trust
Miller Canfield Paddock and Stone P.LC.
National City Bank
Thomas B. McMullen Company
Total Travel Management
Blue Nile Restaurant
Charles Reinhart Company, Realtors
Conlin Travel
McDonald Investments
TCF Bank
The Taubman Corporation
United Bank and Trust
Bennett Optometry
Coffee Express
Edwards Brothers, Inc.
Galamp Corporation
ICM Artists Ltd.
Malloy Lithographing, Inc.
Republic Bancorp
SeloShevel Gallery
Sigma Alpha Iota
Foundation &
$100,000 and above Community Foundation
for Southeastern
Michigan Doris Duke Charitable
Foundation The Ford Foundation JazzNet Michigan Council for Arts
and Cultural Affairs The Power Foundation The Wallace Foundation The Whitney Fund
The Japan Foundation
$10,000-$49,999 Chamber Music America Maxine and Stuart Frankcl
Foundation National Endowment for
the Arts
Sl,000-S9,999 Akers Foundation Altria Group, Inc. Arts Midwest Cairn Foundation Heartland Arts Fund The Lebensfeld Foundation Martin Family Foundation Mid-America Arts Alliance The Molloy Foundation Montague Foundation THE MOSAIC FOUNDATION
(of R. and P. Heydon) National Dance Project of the New England Foundation for the Arts Sarns Ann Arbor Fund Vibrant of Ann Arbor
Tribute Gifts
Contributions have been received in honor andor memory of the following individuals:
H. Gardner Ackley Herb and Carol Amstcr Maurice Binkow Tom and Laura Binkow Mr. and Mrs. Thomas
Caterino Heidi Cohan Robert Bruce Dunlap Alice Kelsey Dunn David Eklund Kenneth C. Fischer Dr. Beverley B. Gcltner Michael Gowing Lila Green Werner Grilk Elizabeth E. Kennedy Richard Kennedy Ted Kennedy, Jr. Dr. Gloria Kerry Alexandra Lofstrom Joyce Malm Frederick N. McOmber Evelyn R Navarre Phil and Kathy Power Gwen and Emerson Powric Prof. Robert Putnam Ruth Putnam Mrs. Gail Rector Steffi Reiss Prue Rosenthal Margaret E. Rothstein Eric H. Rothstein Nona R. Schneider Ruth E. Schopmeyer Prof. Wolfgang Stolper Diana Stone Peters Peter C. Tainsh Dr. Isaac Thomas III Charles R. Tieman Clare Venables Francis V. Viola III Horace Warren Donald Whiting Peter Holderness Woods Barbara E. Young Elizabeth Yhouse
Burton Tower Society
The Burton Tower Society recognizes and honors those very special friends who have included UMS in their estate plans. UMS is grateful for this important support, which will continue the great traditions of artistic excel?lence, educational oppor?tunities and community partnerships in future years.
Carol and Herb Amster
Dr. and Mrs. David G.
Mr. Neil P. Anderson Catherine S. Arcure Mr. Hilbert Beyer Linda and Maurice Binkow Elizabeth Bishop Mr. and Mrs. Pal E. Borondy Carl and Isabelle Brauer Barbara Everitt Bryant Joanne A. Cage Pat and George Chatas Mr. and Mrs. lohn Alden
Douglas D. Crary H. Michael and Judith L.
Beverley and Gerson Geltner John and Martha Hicks Mr. and Mrs. Richard Ives Marilyn Jeffs Thomas C. and
Constance M. Kinnear Charlotte McGeoch Michael G. McGuire Dr. Eva Mueller Len Niehoff M. Haskcll and
Ian Barney Newman Dr. and Mrs. Frederick C
Mr. and Mrs. Dennis Powers Mr. and Mrs. Michael
Mr. and Mrs. Jack W. Ricketts Mr.andMrs.WillardL
Rodgers Prudence and
Amnon Rosenthal Mr. Haskell Rothstein Irma J. Skelnar Herbert Sloan Art and Elizabeth Solomon Roy and JoAn Wetzel Ann and Clayton Wilhite Mr. and Mrs. Ronald G.
Endowed Funds
The future success of the University Musical Society is secured in part by income from UMS's endowment. UMS extends its deepest appreciation to the many donors who have established andor contributed to the following funds:
H. Gardner Ackley Endowment Fund Herbert S. and
Carol Amster Fund Catherine S. Arcure
Endowment Fund Carl and lsabclle Braucr
Endowment Fund Choral Union Fund Hal and Ann Davis
Endowment Fund Ottmar Eberbach Funds Epstein Endowment Fund JazzNet Endowment Fund William R. Kinney
Endowment Fund NEA Matching Fund Palmer Endowment Fund Mary R. Romig-deYoung
Music Appreciation Fund Charles A. Sink
Memorial Fund Catherine S. ArcureHcrbert
E. Sloan Endowment Fund University Musical Society
Endowment Fund
In-Kind Gifts
A 1 Rentals, Inc.
Acme Mercantile
Raquel and Bernard Agranoff
Alexandra's in Kerrytown
Amadcus Cafe1
Ann Arbor Automotive
Ann Arbor Art Center
Ann Arbor Women's
City Club Arbor Brewing Co. Ashley Mews Avanti Hair Designers BBJ Linens
The Back Alley Gourmet Barnes Ace Hardware Lois and David Baru Baxter's Wine Shop Kathleen Beck Bella Ciao Trattoria Kathy Bcnton and Bob Brown Bivouac
The Blue Nile Restaurant Bodywise Therapeutic
Mimi and Ron Bogdasarian Borders Books and Music Janice Stevens Botsford Tana Breiner Barbara Everitt Bryant By the Pound
Cafe Marie Margot Campos Cappcllos Hair Salon Chelsea Flower Shop Coach Me Fit Bill and Nan Conlin M.C. Conroy Hugh and Elly Cooper Cousins Heritage Inn Roderick and
Mary Ann Daane D'Amato's Italian Restaurant David Smith Photography Peter and Norma Davis Robert Derkacz Sally Stegeman DiCarlo The Display Group Dough Boys Bakery The Earle Restaurant Eastover Natural Nail Care Kathcrine and Damian Farrell Ken and Penny Fischer Food Art Sara Frank The Gandy Dancer Bcverley and Gerson Geltner Great Harvest Bread Company Linda and Richard Greene Claire Harding Nina Hauser
Carl and Charlene Herstein John's Pack & Ship
Steve and Mercy Kasle
Cindy Kellerman
Kerrytown Bistro
Kilwin's Chocolate Shoppc
King's Keyboard House
Kinko's Copies
Laky's Salon
Ray Lance
George and Beth Lavoie
Leopold Bros. Of Ann Arbor
Richard LeSueur
Catherine Lilly
Carl Lutkehaus
Doni Lystra
Mainstreet Ventures
Ernest and Jeanne Merlanti
John Metzger
Michael Susannc Salon
Michigan Car Services, Inc.
and Airport Sedan, LTD Moe Sport Shops Inc. Robert and Mclinda Morris Music for Little People Joanne Navarre Nicola's Books,
Little Professor Book Co. Paesano's Restaurant Pfizer Global Research and
Development: Ann Arbor
Laboratories Preview Properties
Produce Station
Randy Parrish Fine Framing
Red Hawk Bar & Grill
Regrets Only
Rightside Cellar
Ritz Camera One Hour Photo
Don and Judy Dow Rumclhart
Safa Salon and Day Spa
Salon Vertigo
Rosalyn Sarver
Maya Savarino
Penny and Paul Schreiber
Shaman Drum Bookshop
Lorctta Skewes
Dr. Elaine R. Sollcr
Maureen Stoeffler
Tom Thompson Flowers
Two Sisters Gourmet
Van Bovens
Washington Street Gallery
Whole Foods
Weber's Restaurant
14 Ann Arbor Symphony
Orchestra 14 Automated Resource
Management 14 Bank of Ann Arbor
19 Bellanina Day Spa
20 Bodman LLP
25 Borders Downtown
26 Butzel Long
44 Christian Tennant
Custom Homes 20 Comerica, Inc. 26 Cottage Inn Restaurant 26 Dance Gallery Studio 18 The Earle Uptown 40 Edward Surovell
40 Forest Health Services 20 Format Framing &
28 Glacier Hills 42 Herb David Guitar
Studio 32 Howard Cooper
28 Jaffe Raitt Heuer and
16 King's Keyboard House
18 Lewis Jewelers
28 Mundus and Mundus
25 Performance Network
37 Psarianos Violins
28 Red Hawk
36 St. Joseph Mercy
Health System
38 Tisch Investments
37 Tom Thompson
25 Toyota
18 Ufer & Co.
16 U-M Museum of Art
28 Zanzibar

The "Michigan Difference" mpkes p difference for ums.
The Campaign for the University Musical Society is about the people who attend our performances and who support us. The following people are a few of our dedicated individual supporters who have made a commitment to the future of UMS through a planned gift: Carol and Herb Amster, Maurice and Linda Binkow, Carl and Isabelle Brauer, Barbara Everitt Bryant, Ken and Penny Fischer, Beverley and Gerson Geltner, Thomas and Connie Kinnear, Diane Kirkpatrick, Eva Mueller, M. Haskell and Jan Barney Newman, Prue and Ami Rosenthal, and Ann and Clayton Wilhite.
With a charitable gift to UMS, you can preserve for future generations the quality of our artistic programming and enrich?ing educational events. University of Michigan's investment professionals will expertly manage your gift and work with you and your financial advisor to help you select the plan that's best for you. Whatever you choose, your gift will make a difference and will continue the world-class standards of the University Musical Society.
COLL 734-647-1178 to start a conversation with UMS about making a planned gift, or visit the UMS website at WWW.UMS.ORG.

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