Press enter after choosing selection

UMS Concert Program, Friday Sep. 16 To Oct. 08: University Musical Society: Fall 2005 Friday Sep. 16 To Oct. 08 --

Download PDF
Rights Held By
University Musical Society
OCR Text

Season: FALL 2005
University Of Michigan Ann Arbor

University of Michigan Ann Arbor
university musical society
Fall 05 University of Michigan Ann Arbor
P2 Letters from the Presidents
P4 Letter from the Chair
UMSLeadership 6 Corporate LeadersFoundations
12 UMS Board of DirectorsSenateAdvisory Committee
P13 UMS StaffTeacher Advisory Committee
UMSServices 15 General Information
P17 UMS Tickets
19 Student Information
UMSAnnals 23 UMS History
P24 UMS Choral Union
P25 Venues and Burton Memorial Tower
UMSExperience 27 The 127th UMS Season
P29 UMS Education Programs
P35 UMS Preferred Restaurants and Businesses
P35 UMS Delicious Experiences
UMSSupport 37 UMS Advisory Committee
37 UMS Ushers
P39 Sponsorship and Advertising
P41 Annual Fund Support
P51 Annual Endowment Support
P52 UMS Advertisers
Cover: Handspring and Sogolon Puppet Companies production of Tall Horse presented in
Ann Arbor between October 18-22 at the Power Center. Geoffroy St.-Hilaire (Bheki Vilakazi)
and Sogo Jan with Atir (Felize Mpela) in his newly acquired French clothes. ptwto Gee) Gwndbch)

he University of Michigan joins the University Musical Society (UMS) in welcoming you to the spectacular array of events scheduled for the Fall 2005 season. Thank you for attending this per?formance.
Before noting our collaborative programs, I want to congratulate UMS on being one of six arts institu?tions nationally to receive a Wallace Foundation
Excellence Award in the inau?gural year of the award pro?gram. The award recognizes organizations that have expanded arts participation with imaginative efforts to broaden, deepen, and diversify their audiences. The award, announced this past June, came with a $1 million endow?ment grant, which must be
matched by $1 million in endowment contributions from the UMS community.
We are proud of the U-MUMS Partnership Program through which the University provides finan?cial support to UMS enabling it to offer educational programs to students, faculty, and townspeople that animate and provide context to many of the perform?ances on the UMS roster. UMS's partners throughout the University include a wide range of schools, col?leges, departments, programs, institutes, centers, museums, and libraries.
Our fall programs involve educational events surrounding performances by the legendary Mark Morris Dance Group; a concert version of Richard
Strauss's opera Daphne with soprano Renee Fleming; the play Tall Horse featuring puppet theaters from South Africa and Mali; Goldoni's Italian comedy Arlecchino, Servant of Two Masters; and Senegalese singer, songwriter, and social activist Youssou N'Dour. The Tall Horse and Youssou N'Dour performances are part of UMS's five-event Africa Series.
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 the University Musical Society during the exhilarating 0506 season. We share the goal of celebrating the arts in an exciting academic milieu.
Last year, we launched our ambitious capital campaign for the future of the University of Michigan, titled "The Michigan Difference." We have highlight?ed the arts as a specific area for support. We provide experiences, both in the classroom and throughout our museums and theaters, to stimulate creativity, 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.
Mary Sue Coleman
President, University of Michigan
hank you for attending this UMS performance. We hope we'll see you at other UMS events throughout our 127th season. For a complete list of performances, turn to page P27 in this program book or check out our website at
This fall marks a major change in the leadership of the UMS Board of Directors. After three years of outstanding service as Chair of the Board, Prudence
Rosenthal retired on June 30. In a characteristically thoughtful gesture as she left office, Prue and her husband Dr. Amnon Rosenthal established an endowment to support the UMS Education Program where Prue has been a dedicated volunteer for more than a decade. Many family and friends made gifts to the Rosenthal Endowment in honor of Prue and her leadership
of UMS, and they did so with great enthusiasm and generosity. Prue will remain on the Board for one more year as Immediate Past Chair and has now joined the distinguished group of predecessors that includes John Reed, David Kennedy, Norman Herbert, Herbert Amster, Bruce Kulp, and Beverley Geltner. Thank you, Prue.
Succeeding Prue is Clayton Wilhite, a University of Michigan BA and MBA and husband of Ann Douglass Wilhite, a former U-M School of Music stu?dent whom he met on campus. His connections to Michigan also include his membership on the winning 1965 Rose Bowl team. As past president of the inter?national advertising agency, D'Arcy Masius Benton & Bowles, Clayton is now Worldwide Managing Partner of the Claes Fornell International Group, an Ann Arbor-based international management consulting firm. CFI helps its clients strengthen their financial per?formance by improving their customer relationships -not an inappropriate experience for his new UMS role! To wit, Clayton and Ann also co-chair the UMS portion of The Michigan Difference Campaign. Please take a few minutes to read Clayton's pertinent message to
UMS patrons on the following page of your program. It's about vital donor opportunities to our beloved organization -a message I heartily endorse.
This summer saw the retirement of Board mem?bers Gloria James Kerry, Alberto Nacif, Randall Pittman, Judy Dow Rumelhart, Maya Savarino, and Karen Wolff as well as the election of new members Wadad Abed, Carol Amster, Robert Buckler, Cynthia Dodd, Christopher Kendall, Joetta Mial, Roger Newton, and Ed Schulak. UMS is fortunate to have the service of these and many other dedicated volunteers. For a complete list of Board, Senate, Advisory Committee, and Teacher Advisory Committee members, go to pagesP12andP13.
As I begin my 19th year as UMS President and direct more of my time toward working with Board and staff to secure our long-term financial stability, I look forward to visiting with many of you in the months ahead. I'm eager to hear your stories about how your experiences with UMS have enriched your lives and to discuss how you can help ensure that future generations will be touched in the same way. Your help will guarantee that UMS will continue its 126-year role as a distinctive cultural treasure to U-M, our community, state, and nation.
It's wonderful to have you with us for this per?formance. Feel free to get in touch with us if you have any questions or concerrs. 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 directly 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
Your Donations Matter -Now More Than Ever!
Beginning my term as Chair of the University Musical Society, I have one overriding initial goal. On behalf of my fellow Board members and our UMS colleagues, I want to make a
compelling case for convinc?ing you to share your phil?anthropic giving with this world-renowned cultural asset and jewel of artistic expression.
The timing of our request is particularly oppor?tune, since for the first time in our 127-year history, UMS
is an official part of a University of Michigan giving campaign -in this instance the $2.5 billion "Michigan Difference," which publicly commenced in 2004 and concludes on December 31, 2008.
To make my case, I'm going to address a few myths about UMS which may have pre?vented you from making a personally meaning?ful gift before now.
Myth 1:
The University of Michigan provides the necessary annual funding to ensure a balanced budget for UMS.
In reality, while affiliated with the University, UMS is an independent organization governed by its own Board of Directors. While the University has been a very generous direct and indirect contributor over many decades for spe?cial andor ad hoc purposes (as an example, the Royal Shakespeare Company visits in 2001 and 2003), in recent years, it has regularly funded only 5-10 percent of our Annual Operating Budget.
Myth 2:
I buy tickets to several UMS events each year which, when added to those pur?chased by 15,000 other ticket holders, covers the financial needs of UMS. Once again, reality is quite different. Ticket revenues cover, on average, only 47 of the annual UMS Operating Budget -which means the remaining funds to finance per?formance fees, educational outreach, produc?tion costs, and administrative expenses must come from government agencies, foundations, corporate friends, and private individuals.
Myth 3:
UMS has been around since 1879 so surely income from its endowment provides any cushion required to cover cost increases.
Unfortunately, UMS has only in recent years begun to focus on building its endowment assets, so the fund totals only a few million dollars -well below benchmark levels for comparable organizations. This need is one reason why we are so eager to approach many potential donors for the first time as a part of the official "Michigan Difference" campaign.
Before I finish and you sit back to enjoy anoth?er memorable artistic performance from UMS, let me ask you a question, the answer to which could, in large measure, determine your willingness to contribute to UMS.
"How has UMS made a difference in the per?sonal lives of you and your family over the last five, 15, or 30 years"
Was it by being able to drive a few minutes from your home and see a world-class perform?ance otherwise witnessed only in New York, London, or Vienna
Was it when your child participated in a UMS educational outreach program that helped inaugurate a life-long love of the arts
Was it when you or a colleague decided to join the U-M faculty partly because you didn't have to leave your artistic appetite behind on the East or West Coasts
While you're mulling over your own answer, let me close with a few specifics about the UMS portion of the "The Michigan Difference" cam?paign.
We have a goal of $25 million: $15 million for annual operations and $10 million for endowment.
Each category is vital to UMS right now.
@@@@Donations to our annual fund will help ensure continued, high-level performance excellence during 0506 and immediately thereafter, and;
Donations to our endowment will help ensure that same level of excellence in com? ing decades for future generations.
Thank you for the opportunity to lay out the case for your donating in a personally mean?ingful way to UMS. If you are like many of us who have made a decision to help, either for the first time or with an increased gift, it will be in part because your generosity will offer you the chance, after many years of rewarding music, dance, and theater events, to demon?strate a heartfelt "Thank you, UMS."
For more information on the many available giving options, please contact the office of Susan McClanahan, Director of Development, at 734.647.1177 or visit our website at and click on "Make a Gift."
Clayton Wilhite
Chair, UMS Board of Directors
Sandra Ulsh
President, 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 acknowledge the important role it plays in our community."
Brian P. Campbell
Chairman and CEO, Kaydon Corporation "For over a century, the University Musical Society has been a national leader in arts presentation. Kaydon Corporation is honored to be counted among the supporters of the proud tradition of musical and artistic excellence."
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."
Laurel R. Champion
Publisher, The Ann Arbor News "The people at The Ann Arbor News are honored and pleased to partner with and be supportive of the University Musical Society, which adds so much depth, color, excite?ment, and enjoyment to this incredible community."
Timothy G. Marshall
President and CEO, Bank of Ann Arbor "A commitment to the community can be expressed in many ways, each different and all appropriate. Bank of Ann Arbor is pleased to continue its long term support of the University Musical Society by our sponsorship of the 0506 season."
Greg Josefowicz
Chairman, 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."
Claes Fornell
Chairman, CFI Group, Inc.
"The University Musical Society is a marvelous magnet for attracting the world's finest in the performing arts. There are many good things in Ann Arbor, but UMS is a jewel. We are all richer because of it and we are proud to lend our support."
Charles E. Crone, Jr.
Ann Arbor Region President, Comerica Bank "Our communities are enriched when we work together. 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."
Fred Shell
Wee President Corporate and Government Affairs, DTE Energy "The DTE Energy Foundation is pleased to support exemplary organizations like UMS that inspire the soul, instruct the mind, and enrich the community."
James M. Cameron, Jr.
Ann Arbor Office Managing Member, DykemaGossett, PLLC "Dykema Gossett is honored to be a part of the University Musical Society team. We are particularly proud to be involved in UMS programs supporting education in the fine arts through its training and enrichment programs for students and teachers in the public schools of our com?munity. We will all reap the benefits of UMS's fine work with our young people."
Edward Surovell
President, Edward Surovell Realtors
"Edward Surovell Realtors and its 300 employees and sales asso?ciates 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 programming and educational workshops."
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 pub?lic 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."
Erik W. Bakker
Senior Vice President, JPMorgan Chase "JPMorgan Chase is honored to be a partner with the University Musical Society's proud tradition of musical excellence and artistic diversity."
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."
Paul A. Phillips
Wee President Business Development, LaSalle Bank "LaSalle Bank appreciates and understands the value that arts and music bring to the community. We are proud to be supporters of the University Musical Society."
Dennis Serras
Owner, Mainstreet Ventures, Inc. "As restaurant and catering service owners, we consider ourselves fortunate that our business provides so many opportunities for supporting the University Musical Society and its continuing success in bringing internationally acclaimed talent to the Ann Arbor 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, PL.C. "Miller Canfield is a proud supporter of the University Musical Society and its superior and diverse cultural events, which for 126 years, has brought inspiration and enrichment to our lives and to our community."
Alan Aldworth
Chairman and CEO, ProQuest Company "ProQuest Company is honored to be a supporter of the University Musical Society. I believe UMS is a major contrib?utor to the cultural richness and educational excellence of our community."
Joe Sesi
President, Sesi Lincoln Mercury Volvo Mazda "The University Musical Society is an important cultural asset for our community. The Sesi Lincoln Mercury Volvo Mazda team is delighted to sponsor such a fine organization."
Nicholas C. Mattera
Director, Client Services, TIAA-CREF
"TIAA-CREF is privileged to be a sponsor of the University Musical Society and to work with the University of Michigan and its employees. In fact, for more than 85 years, we've been proud to serve those whose life work serves the greater good."
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."
Robert R. Tisch
President, Tisch Investment Advisory "Thank you, Ann Arbor, for being a wonderful community in which to live, raise a family, and build a successful business."
Yasuhiko "Yas" Ichihashi
President, Toyota Technical Center, USA Inc. "Toyota Technical Center is proud to support UMS, an organiza?tion with a long and rich history of serving diverse audiences through a wide variety of arts programming. 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."
Jim Mattson
President, University of Michigan Credit Union "Thank you to the University Musical Society for enriching all of our lives. The University of Michigan Credit Union is proud to be a part of another great season of performing arts."
Thomas McDermott
Senior Vice President -Americas International, Western Union "Western Union is proud to support organizations and programs that showcase artistic diversity from around the world. We extend our sincere pleasure in being part of the University Musical Society season, and congratulate UMS on its commitment to fostering greater cultural understanding through the arts."
"Universal Classics Group, home of Deutsche Grammophon, Decca, and Philips Records -three great labels long synony?mous with the finest in classical music recordings -is proud to support our artists performing as part of the University Musical Society's 127th season."
UMS gratefully acknowledges the support of the following foundations and government agencies.
$100,000 or more
Doris Duke Charitable
Foundation JazzNet Michigan Council for Arts
and Cultural Affairs The Power Foundation The Wallace Foundation
Cairn Foundation Community Foundation for Southeastern Michigan
National Endowment for
the Arts The Whitney Fund
Arts Midwest Chamber Music America Maxine and Stuart Frankel
Foundation Heartland Arts Fund James A. and Faith Knight
Foundation National Dance Project of
the New England
for the Arts NEA Jazz Masters on Tour
Issa Foundation Japan Business Society of Detroit Foundation
(of R. and P. Heydon)
Akers Foundation Altria Group, Inc. Sarns Ann Arbor Fund
UNIVERSITY MUSICAL S 0 C I E T Y of the University of Michigan
Clayton E. Wilhite,
Chair Carl W. Herstein,
Vice-Chair Jan Barney Newman,
Secretary Michael C. Allemang,
Wadad Abed Carol L. Amster Kathleen Benton Charles W. Borgsdorf Robert J. Buckler Mary Sue Coleman Hal Davis Cynthia M. Dodd Sally Stegeman DiCarlo Aaron P. Dworkin George V. Fornero
Maxine J. Frankel Patricia M. Garcia Deborah S. Herbert Toni Hoover Christopher Kendall Marvin Krislov Barbara Meadows Joetta Mial Lester P. Monts Roger Newton Gilbert S. Omenn
Philip H. Power Prudence L. Rosenthal A. Douglas Rothwell Edward R. Schulak John J. H. Schwarz Erik H. Serr Cheryl L. Soper James C. Stanley
UMS SENATE (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 Kathleen G. Charla 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 Gloria James Kerry 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 Alberto Nacif Shirley C. Neuman Len Niehoff Joe E. O'Neal John D. Paul Randall Pittman John Psarouthakis Rossi Ray-Taylor John W. Reed Richard H. Rogel Judy Dow Rumelhart Maya Savarino Ann Schriber
Harold T. Shapiro George I. Shirley John 0. Simpson Herbert Sloan Timothy P. Slottow Carol Shalita Smokier 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 Karen Wolff
Norma Davis, Chair Meg Kennedy Shaw,
Wee Chair
Raquel Agranoff, Past Chair Phyllis Herzig, Secretary Milli Baranowski, Treasurer
Barbara Bach Paulett M. Banks Lois Baru Kathleen Benton Nishta Bhatia Mimi Bogdasarian Mary Breakey Jeannine Buchanan Heather Byrne
Laura Caplan Cheryl Cassidy Jean Connell Phelps Connell Nita Cox
H. Michael Endres Mary Ann Faeth Nancy Ferrario Anne Glendon Alvia Golden Ingrid Gregg Charlene Hancock Alice Hart Kathy Hentschel Anne Kloack Jean Kluge
Julame LeDuc Jill Lippman Stephanie Lord Judy Mac Jane Maehr Mary Matthews Joann McNamara Jeanne Merlanti Kay Ness Thomas Ogar Danica Peterson Lisa Psarouthakis Paula Rand Wendy Moy Ransom Ginny Reilly Stephen Rosoff
Swanna Saltiel Jen Sawall Penny Schreiber Bev Seiford Aliza Shevrin Alida Silverman Loretta Skewes Andrea Smith Louise Townley Mary Vandewiele Dody Viola Enid Wasserman 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
Jean Schneider, Accompanist Donald Bryant, Conductor Emeritus
Susan McClanahan, Director Lisa Michiko Murray, Manager of
Foundation and Government
Grants M. Joanne Navarre, Manager of
Annual Giving and Membership Marnie Reid, Manager of
Individual Support Lisa Rozek, Assistant to the
Director of Development Shelly Soenen, Manager of
Corporate Support Cynthia Straub, Advisory
Committee and Events
EducationAudience Development
Ben Johnson, Director Bree Juarez, Education and
Audience Development Manager Omari Rush, Education Manager
MarketingPublic Relations
Sara Billmann, Director Susan Bozell, Marketing and
Media Relations Manager Nicole Manvel, Community
Relations Manager Erika B. Nelson, Marketing Assistant
Douglas C. Witney, Director Emily Avers, Production Operations
Director Jeffrey Beyersdorf, Technical
Michael J. Kondziolka, Director Mark Jacobson, Programming
Manager Claire C. Rice, Associate
Programming Manager
Ticket Services
Nicole Paoletti, Manager Sally A. Cushing, Assistant Suzanne Dernay, Front-of-House
Coordinator Jennifer Graf, Assistant Ticket
Services Manager Alexis Pelletier, Assistant Sean Walls, Assistant Dennis Carter, Bruce Oshaben,
Brian Roddy, Head Ushers
Dave Abed Bridget Briley Patrick Chu Elizabeth Crabtree Caleb Cummings Sara Emerson Josh Hayward Bethany Heinrich Rachel Hooey Cortney Kellogg Lena Kim Michael Lowney Ryan Lundin Natalie Malotke Brianna McClellan Parmiss Nassiri-Sheijani Alex Puett Noah Reiiman Rosie Richards Erica Ruff Faith Scholfield Andrew Smith Amy Weatherford
Honorary Conductor of Philanthropy
Herbert E. Sloan, M.D.
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 Wendy Day Jacqueline Dudley Susan Filipiak Lori Fithian Jennifer Ginther Brenda Gluth Barb Grabbe
Joan Grissing Carroll Hart Susan Hoover Linda Jones Jeff Kass 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
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.
I istening Systems
For hearing-impaired persons, Hill Auditorium, Power Center, and Rackham Auditorium are equipped with assistive listening devices. Earphones may be obtained upon arrival, ('lease 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.
Please allow plenty of time for parking as the campus area may be congested. Parking is available in the 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 complimentary 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 0506 Choral Union series. Cars may be dropped off in front of Hill Auditorium beginning one hour before
each performance. There is a $20 fee for this service. UMS members at the Leader level and above are invited to use this service at no charge.
If you have a blue or gold U-M permit with the gate controlled access feature, please con?sider using the Palmer Drive parking structure. There is a light at the intersection of Palmer and Washtenaw, making it easier to access the structure, and we expect there to be less traffic through that entrance. ONLY for U-M employ?ees with bluegold permits and AVI access. There will not be an attendant for visitor park?ing at that entrance.
Other recommended parking that may not be as crowded as on-campus structures:
Liberty Square structure (formerly Tally Hall), entrance off of Washington Street between Division and State. About a two-block walk from most performance venues, $2 after 3 pm weekdays and all day SaturdaySunday.
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 (beginning 75 minutes prior to concerts entering through the west lobby doors), 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.
Start Time
UMS makes every effort to begin concerts at the published time. Most of our events take
place in the heart of central campus, which does have limited parking and may have sev?eral events occurring simultaneously in differ?ent theaters. Please allow plenty of extra time to park and find your seats.
Latecomers will be asked to wait in the lobby until seated by ushers. Most lobbies have been outfitted with monitors andor speakers so that latecomers will not miss the performance.
The late seating break is determined by the artist and will generally occur during a suitable repertory break in the program (e.g., after the first entire piece, not after individual movements of classical works). There may be occasions where latecomers are not seated until intermission, as determined by the artist. UMS makes every effort to alert patrons in advance when we know that there will be no late seating.
UMS tries to work with the artists to allow a flexible late seating policy for family per?formances.
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 deduc?tion. Please note that ticket returns 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 photocopy of your torn tickets to 734.647.1171.
Single Ticket Exchanges
Non-subscribers may exchange tickets for a $5-per-ticket exchange fee. Exchanged tickes
must be received by the Ticket Office (by mail or in person) at least 48 hours prior to the per?formance. You may fax a photocopy of your torn tickets to 734.647.1171. Lost or mis?placed tickets cannot be exchanged.
Group Tickets
Treat 10 or more friends, co-workers, and fami?ly members to an unforgettable 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 celebration, 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
One to three complimentary tickets for the group organizer (depending on size of group). Comp tickets are not offered for performances with no group discount.
For information, please contact Nicole Manvel at the UMS Group Sales Hotline at 734.763.3100 or e-mail
Gift Certificates
Available in any amount and redeemable for any of up to 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 no longer expire at the end of the season. For more information, please visit
Why should you log onto
Tickets. Forget about waiting in ticket lines. Order your tickets to UMS performances online. You can find out your specific seat location 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, and education events.
Education Events. Up-to-date information detailing educational programs planned around each performance.
Online Event Calendar. A list of all UMS performances, educational events, and other activities at a glance.
Sound and Video Clips. Check out the new UMS Playlists at the iTunes Music Store! Also view video clips from UMS performers online before the concert.
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 venue.
Development Events. Current information on special events and activities outside the concert hall. Make a tax-deductible donation online.
Student Ticket Information. Current info on rush tickets, special student sales, and other opportunities for U-M students.
Maps, Directions, and Parking. To help you get where you're going...including insider parking tips.
UMS Choral Union. Audition information and performance schedules for the UMS Choral Union.
UMS offers four programs designed to fit students' lifestyles and save students money. Since 1990, students have purchased over 150,000 tickets and have saved more than $2 million through these special student programs.
UMS Student Card
The UMS Student Card is a pre-paid punch card for Rush Tickets. The Card is valid for any event for which Rush Tickets are available, and can be used up to two weeks prior to the per?formance. The UMS Student Card is available for $50 for 5 performances or $100 for 10 performances plus a bonus CD. Please visit the "Welcome Students!" section of for more information.
Half-Price Student Ticket Sales
Each semester, UMS holds a Half-Price Student Ticket Sale, at which students can purchase tickets for any event for 50 off the published
price. A limited number of tickets are available for each event in select seating areas, and are sold on a first-come, first-served basis. This extremely popular event draws hundreds of students every fall, so get there early. Students must have a valid college ID and may purchase jp to two tickets per event for as many events as desired:
Fall Semester Sale: Saturday, September 17,
9 am-12 noon, Power Center;
Winter Semester Sale: Saturday, January 7,
10 am-1 pm, Power Center.
Sponsored by U-M Credit Union. Supported by Arts at Michigan.
Rush Tickets
Sometimes it pays to procrastinate! For weekday performances, $10 Rush Tickets are available the day of the performance from 9 am-5 pm in person only at the Michigan League Ticket Office, located on the first floor of the Michigan League. For weekend performances, $10 Rush Tickets are available on the Friday before the performance. Students may also purchase 50 Rush Tickets starting 90 minutes prior to an event at the performance venue. 50 Rush Tickets are 50 off the original ticket price, rush tickets are subject to availability and ticket office discretion. Students may purchase up to two rush tickets per valid student ID.
Arts at MichiganArts Adventure Series
Arts at Michigan offers several programs designed to help students get involved in arts and cultural opportunities at the University of Michigan. Arts at Michigan offers a weekly email newsletter of arts and cultural events on campus, provides transportation to arts and cultural activities throughout the area through the Culture Bus, and works in partnership with UMS to provide discounted ticket opportuni?ties for students, including the popular Arts Adenture Series, a series of four events each semester offered at discounted prices.
Please visit for the latest on events, auditions, contests, funding for arts initiatives, work and volunteer opportunities, arts courses, and much more.
Student Advisory Committee
As an independent council drawing on the diverse membership of the University of Michigan community, the UMS Student Advisory Committee works to increase student interest and involvement in the various pro?grams offered by UMS by fostering increased communication between UMS and the student community, promoting awareness and accessi?bility of student programs, and promoting the student value of live performance.
For more information or to participate on the Committee, please call 734.647.4020.
Internships and College Work-Study
Internships with UMS provide experience in performing arts administration, marketing, tick?et sales, programming, production, fundraising, 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.
hrough a commitment to Presentation, Education, and the Creation of new work, the University Musical Society (UMS) serves Michigan audiences by bringing to our community an ongo?ing series of world-class artists, who represent the diverse spectrum of today's vigorous and exciting live performing arts world. Over its 126 years, strong leadership coupled with a devoted community has placed UMS in a league of internationally recognized perform?ing arts presenters. Today, the UMS seasonal program is a reflection of a thoughtful respect for this rich and varied history, balanced by a commitment to dynamic and creative visions of where the performing arts will take us in this new millennium. Every day UMS seeks to culti?vate, nurture, and stimulate public interest and oarticipation 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
Every day UMS seeks to cultivate, nurture, and stimulate public interest and participation in every facet of the live arts.
theater. Through educational endeavors, com?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 up to 70 performances and more than 125 educational events each sea?son. UMS has flourished with the support of a generous 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, founda?tion and government grants, special project support from U-M, and endowment income.
hroughout its 126-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 175-voice Choral Union is known for its defini?tive performances of large-scale works for cho?rus and orchestra. Thirteen years ago, the Choral Union further enriched that tradition when it began appearing regularly with the Detroit Symphony Orchestra (DSO). The chorus has recorded Tchaikovsky's The Snow Maiden with the orchestra for Chandos, Ltd.
Led by newly appointed Conductor and Music Director Jerry Blackstone, the 0405 sea?son included a return engagement with the DSO (Orff's Carmina Burana), and performances of
Handel's Messiah and The Creation with the Ann Arbor Symphony.
The culmination and highlight of the Choral Union's 0304 season was a rare performance 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 released a three-disc set of this recording in October 2004, featuring the Choral Union and U-M School of Music ensem?bles. The recording was selected as one of the Weiv York Times "Best Classical Music CDs of 2004" released internationally that season.
The 0506 season includes collaborations with the DSO in Beethoven's Symphony No. 9 (December 15-18, 2005), Mahler's Symphony No. 3 (June 2-4, 2006), and a concert perform?ance of Rossini's opera Tancredi (March 25, 2006). The 127th annual performances of Handel's Messiah (December 3-4, 2005) will take place in Hill Auditorium. This season is further rounded out by performances of the Vaughan Williams Sea Symphony (February 21, 2006) with the U-M School of Music's Symphony Orchestra conducted by Jerry Blackstone, Shostakovich's Symphony No. 2 (March 17, 2006) with the Kirov Orchestra cf St. Petersburg, conducted by Valery Gergiev, and an additional performance of Beethove i's Symphony No. 9 (October 24, 2005) with the U-M School of Music's Symphony Orchestra conducted by Kenneth Kiesler.
Participation in the UMS Choral Union remains open to all students and adults by audition. For more information about the UMS Choral Union, please e-mail or call 734.763.89?7.
Hill Auditorium
After an 18-month $38.6-million dollar renova?tion overseen by Albert Kahn Associates, Inc. and historic preservation architects Quinn EvansArchitects, Hill Auditorium has re-opened. Originally built in 1913, renovations have updated Hill's infrastructure and restored much of the interior to its original splendor. Exterior enovations include the reworking of brick paving and stone retaining wall areas, restora?tion 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 mprovements, 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 theatrical 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 govern?ments 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 seemingly 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 exteri?or. 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 water to UMS artists backstage at the Power Center throughout the 0506 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 strongly in the importance of the study of human history 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 Wiliam 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 establish a chamber music series by faculty and students in 1938, UMS recently began presenting 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 1OOth May Festival's Cabaret Ball. This season the superlative Mendelssohn Theatre hosts UMS's presentation of Arlecchino, Servant of Two Masters and a recital by tenor Ian Bostridge with the Belcea Quartet.
Burton Memorial Tower
Seen from miles away, Burton Memorial Tower is one of the most well-known University o Michigan and Ann Arbor landmarks. 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 Tow.-1 in August 2001, following a year of significa it 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 wi?dow is now conveniently located at the Michigan League Ticket Office, on the r.orth end of the Michigan League building at 9(1 N. University Avenue. The UMS Ticket Office phone number and mailing address remains the same.
Fall 2005 Season 127th Annual Season
General Information
On-site ticket offices at performance venues open 90 minutes before each performance and remain open through intermission of most events.
Children of all ages are welcome at UMS Family and Youth Performances. Parents are encouraged not to bring children under the age of 3 to regular, full-length UMS performances. All chil?dren 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 discre?tion in choosing to bring a child.
Remember, everyone must have a tick?et, 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 predetermined 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 turn off your cellular phones and other digital devices so that every?one may enjoy this UMS event distur-oance-free. In case of emergency, advise your paging service of auditori?um and seat location in Ann Arbor venues, and ask them to call University Security at 734.763.1131.
In the interests of saving both dollars and the environment, please either retain this program book and return with it when you attend other UMS performances included in this edition or return it to your usher when leaving ihe venue.
Event Program Book
Friday, September 16 through Saturday, October 8, 2005
Mark Morris Dance Group
Friday, September 16, 8:00 pm 5
Saturday, September 17, 8:00 pm 11
Power Center
An Evening with Sonny Rollins 23
Saturday, October 1, 8:00 pm Hill Auditorium
Andras Schiff 27
Wednesday, October 5, 8:00 pm Rackham Auditorium
Pat Metheny Trio (& Quartet) 33
Saturday, October 8, 8:00 pm Hill Auditorium

ilestones are important occasions for celebration. The number 125 looms large at the University of Michigan at this time. Two years ago UMS celebrated its 125th season, last year Michigan Football recognized its 125th season, and this year the U-M School of Music celebrates its 125th anniversary. The years 1879 and 1880 have proven to be remarkable years for music and sports in Ann Arbor, launch?ing three distinctive and nationally prominent Michigan institutions.
I would like to note three other milestones being celebrated by valued UMS colleagues this fall.
Director of Finance and Administration and Ann Arbor native John Kennard marks his 30th anniversary with the University, more thai half of which has been with UMS. John consistently brings UMS in under-budget on expenses and is applauded each year by our auditors for the quality and accuracy of UMS's financial records. When John joined our staff in 1989, his son Tony was five years old. Tony, who made frequent visits to the office with his dad over the years and helped out during several sun -mers, is now a US Marine about to begin his third tour in Iraq.
Education and Audience Development Director Ben Johnson, Minnesota native, is celebrating ten years with UMS. Ben oversees all of our education programs and is at the heart of many of our communi'.y partnerships, such as those with Neutral Zone, Arab Community Center for Education and Social Services, Mosaic Youth Theater, and Ann Arbor and Detroit Public Schools, to name just a few. Ben's education programs have been called "exemplary" by the Michigan Council for Arts and Cultural Affairs and by the Dana Foundation. His effective work with our commu?nity partners has not only led to more diverse and engaged UMS audiences but has been rewarded with significant corporate, government, and foun?dation grant support over the past decade.
Assistant to the President Elizabeth Jahn, a U-M alumna, is not only a dedicated assistant, but serves as staff liaison to the UMS Board of Directors, keeps superb records of Board and committee deliberations, assists scores of patrons with special needs, and serves as the "glue" that has kept UMS together since she arrived. Additionally, I know of no one more skilled and dedicated to finding cost-saving itineraries on air travel, lodging, and ground transportation on the Internet for our organization
Thank you John, Ben, and Elizabeth for your outstanding and contin?ued service to UMS.
Kenneth C. Fischer UMS President
UMS Educational Events
through Saturday, October 8, 2005
All UMS educational activities are free, open to the public, and in Ann Arbor unless otherwise noted. For complete details and updates, please visit or contact the UMS Education Department at 734.647.6712 or e-mail
Mark Morris Dance Group
Meet the Artist: Q&A with Mark Morris
Friday, September 16, post-performance, Power Center
A brief post-performance audience Q&A with choreographer Mark Morris.
Open Panel Discussion: Snapshot of the Michigan Dance Community
Saturday, September 17, 4:00-6:00 pm, Dance Gallery Studio, 815 Wildt Street This gathering is a "coming together" for those concerned with the future of dance in Michigan. Featuring a panel of experts from throughout the state, this is a chance to ana?lyze and discuss the trends currently affecting the dance community, as well as begin to develop creative solutions to the most preva?lent issues being faced.
0506 UMS Season Opening Celebration
Saturday, September 17, post-performance, Power Center Lobby
UMS will host a dessert reception for all atten?dees of the Mark Morris Dance Group perform?ance to celebrate the launch of the 0506 UMS season.
An Evening with Sonny Rollins
Study Club: Sonny Rollins -The Last Jazz Immortal
Led by Michael Jewett, Program Host, WEMU 89.1
Tuesday, September 27, 6:30-8:45 pm, Ann Arbor Public Library, Basement Level, 343 South Fifth Avenue For nearly 50 years, Sonny Rollins has been a formidable force in the music scene. He is one of the few surviving icons from the golden era of jazz, and he has worked with nearly every important jazz master from Thelonius Monk to Miles Davis. This special lecture, by local jazz expert and WEMU program host Michael Jewett, will discuss the legacy of Sonny Rollins and his important contributions to the form. It will be followed by a rare public showing of the performance documentary, Saxophone Colossus, which captures one of the most revered saxophonists of our time during one of his most intensely creative periods.
ums University Musical Society
Mark Morris Dance Group
Craig Biesecker Joe Bowie Charlton Boyd
Amber Darragh Rita Donahue Lorena Egan Marjorie Folkman
Lauren Grant John Heginbotham David Leventhal Bradon McDonald
Gregory Nuber Maile Okamura June Omura
Noah Vinson Julie Worden Michelle Yard -apprentice
Artistic Director Mark Morris Executive Director Nancy Umanoff MMDG Music Ensemble
Friday Evening, September 16, 2005 at 8:00 Power Center, Ann Arbor
My Party (1984)
Pause All Fours (2003)
Silhouettes (1999)
Pause V(2001)
Opening Performance of the 127th Annual Season
15th Annual Dance Series
The photographing or sound recording of this performance or possession of any device for such photographing or sound recording is prohibited.
Special thanks to Arts at Michigan for their generous support of the Mark Morris Dance Company Residency.
Media partnership for this performance provided by WDET 101.9 FM, Michigan RadioMichigan Television, and Metro Times.
The Steinway piano used in this evening's performance is made possible by Hammell Music, Inc., Livonia, Michigan.
Altria Group, Inc. is the Premiere Sponsor of the Mark Morris Dance Group's 25th Anniversary Season.
Metlife Foundation is the official sponsor of the Mark Morris Dance Group's 25th Anniversary National Tour.
Major support for the Mark Morris Dance Group is provided by Carnegie Corporation of New York, MetLife Foundation, The Fan Fox and Leslie R. Samuels Foundation, The Shubert Foundation, and Target.
The Mark Morris Dance Group New Works Fund is supported by The Howard Gilman Foundation, The Andrew W. Mellon Foundation, and The Gladys Krieble Delmas Foundation.
The Mark Morris Dance Group's education and performance activities are supported by Independence Community Foundation.
The Mark Morris Dance Group's performances are made poss ble with public funds from the National Endowment for the Arts Dance Program and the New York State Council on the Arts, a State Agency.
Large print programs are available upon request.
My Party
Choreography Mark Morris
Jean Frangaix, Trio in C for Violin, Viola and Cello (1933)
Michael Chybowski
Marc Rovetti, Violin Jessica Troy, Viola Wolfram Koessel, Cello
Craig Biesecker, Marjorie Folkman, Lauren Grant, John Heginbotham, David Leventhal, Gregory Nuber, Maile Okamura, Michelle Yard
Premiere: June 7, 1984 -Washington Hall Performance Gallery, Seattle, WA
All Fours
Choreography Mark Morris
Bela Bartok, String Quartet No. 4 (1928)
Costumes Martin Pakledinaz
Lighting Nicole Pearce
Marc Rovetti, Violin Jennifer Curtis, Violin Jessica Troy, Viola Wolfram Koessel, Cello
I. Allegro
Joe Bowie, Amber Darragh, Rita Donahue, John Heginbotham, David Leventhal, Maile Okamura, June Omura, Noah Vinson
II. Prestissimo, con sordino
Craig Biesecker, Gregory Nuber
III. Non troppo lento
Craig Biesecker, Marjorie Folkman, Gregory Nuber, Julie Worden
IV. Allegretto pizzicato
Marjorie Folkman, Julie Worden
V. Allegro molto
Joe Bowie, Amber Darragh, Rita Donahue, John Heginbotham, David Leventhal, Maile Okamura, June Omura, Noah Vinson
Commissioned in part by Cal Performances, Zellerbach Hall, Berkeley, California. Premiere: September 12, 2003 -Cal Performances, Zellerbach Hall, Berkeley, California
Bela Bart6k's String Quartet No. 4 is performed by arrangement with Boosey & Hawkes, Inc., publisher and copyright owner.
Choreography Mark Morris
Richard Cumming, Silhouettes -Five Pieces for Piano (1993)
Michael Chybowski
Steven Beck, Piano
Joe Bowie, David Leventhal
Premiere: June 10, 1999 -Maximum Dance Company, Coconut Grove Playhouse, Miami, Florida
Company Premiere: August 2, 1999 -Ted Shawn Theatre, Jacob's Pillow Dance Festival, Becket, Massachusetts
Choreography Mark Morris
Robert Schumann, Quintet in E-flat for Piano and Strings, Op. 44 (1842)
Allegro brillante
In modo d'una Marcia. Un poco largamente -Agitato
Scherzo molto vivace
Allegro, ma non troppo
Costumes Martin Pakledinaz
Michael Chybowski
Marc Rovetti, Violin Jennifer Curtis, Violin Jessica Troy, Viola Wolfram Koessel, Cello Steven Beck, Piano
Craig Biesecker, Joe Bowie, Charlton Boyd, Amber Darragh, Marjorie Folkman, Lauren Grant, John Heginbotham, David Leventhal, Gregory Nuber, Maile Okamura, June Omura, Noah Vinson, Julie Worden, Michelle Yard
Dedicated to the City of New York.
Premiere: October 16, 2001 -Dance Umbrella, Sadler's Wells, London, England
Please turn to page 16 for complete biographical information on the Mark Morris Dance Group.
ums University Musical Society
Mark Morris Dance Group
Craig Biesecker Joe Bowie Charlton Boyd
Amber Darragh Rita Donahue Lorena Egan Marjorie Folkman
Lauren Grant John Heginbotham David Leventhal Bradon McDonald
Gregory Nuber Maile Okamura June Omura
Noah Vinson Julie Worden Michelle Yard -apprentice
Artistic Director Mark Morris Executive Director Nancy Umanoff MMDG Music Ensemble
Saturday Evening, September 17, 2005 at 8:00 Power Center, Ann Arbor
The "Tamil Film Songs in Stereo" Pas de Deux (1983)
Pause Mosaic and United (1993)
Intermission Rock of Ages (2004)
Pause V(2001)
Second Performance of the127th Annual Season
15th Annual Dance Series
The photographing or sound recording of this performance or posses?sion of any device for such photographing or sound recording is pro?hibited.
Special thanks to Arts at Michigan for their generous support of the Mark Morris Dance Company Residency.
Media partnership for this performance provided by WDET 101.9 FM, Michigan RadioMichigan Television, and Metro Times.
The Steinway piano used in this evening's performance is made possible by Hammell Music, Inc., Livonia, Michigan.
Altria Group, Inc. is the Premiere Sponsor of the Mark Morris Dance Group's 25th Anniversary Season.
Metlife Foundation is the official sponsor of the Mark Morris Dance Group's 25th Anniversary National Tour.
Major support for the Mark Morris Dance Group is provided by Carnegie Corporation of New York, MetLife Foundation, The Fan Fox and Leslie R. Samuels Foundation, The Shubert Foundation, and Target.
The Mark Morris Dance Group New Works Fund is supported by The Howard Gilman Foundation, The Andrew W. Mellon Foundation, and The Gladys Krieble Delmas Foundation.
The Mark Morris Dance Group's education and performance activities are supported by Independence Community Foundation.
The Mark Morris Dance Group's performances are made possible with public funds from the National Endowment for the Arts Dance Program and the New York State Council on the Arts, a State Agency.
Large print programs are available upon request.
The "Tamil Film Songs In Stereo" Pas De Deux
Choreography Mark Morris
Music Contemporary Indian
Phil Sandstrom
Marjorie Folkman, Gregory Nuber
Premiere: December 15, 1983 -Bessie Schonberg Theater, Dance Theater Workshop, New York, NY
Mosaic And United
Choreography Mark Morris
Henry Cowell, String Quartet No. 3, "Mosaic," I-II-III-IV-V-III-I (1935)
and String Quartet No. 4, "United," I-II-III-IV-V (1936)
Costumes Isaac Mizrahi
Michael Chybowski
Jennifer Curtis, Violin Marc Rovetti, Violin Jessica Troy, Viola Wolfram Koessel, Cello
Joe Bowie, Lauren Grant, David Leventhal, Craig Biesecker, June Omura
Premiere: April 29, 1993 -Brooklyn Academy of Music, Brooklyn, NY
String Quartet No. 3, (Mosaic Quartet) by Henry Cowell used by arrangement with Associated Music Publishers, Inc., publisher and copyright owner.
String Quartet No. 4 (United Quartet) by Henry Cowell used by arrangement with the publisher and copyright holder, C.F. Peters Corporation.
Photo: Stephanie Berger
Rock of Ages
Choreography Mark Morris
Franz Schubert, Piano Trio in E-flat, D 897 (1828) Adagio
Costumes Katherine McDowell
Nicole Pearce
Marc Rovetti, Violin Wolfram Koessel, Cello Steven Beck, Piano
Craig Biesecker, Joe Bowie, Rita Donahue, Julie Worden
Commissioned in part by Cal Performances, Zellerbach Hall, Berkeley, California Premiere: October 28, 2004 -Cal Performances, Zellerbach Hall, Berkeley, California
Choreography Mark Morris
Robert Schumann, Quintet in E-flat for Piano and Strings, Op. 44 (1842)
Allegro brillante
In modo d'una Marcia. Un poco largamente -Agitato
Scherzo molto vivace
Allegro, ma non troppo
Costumes Martin Pakledinaz
Michael Chybowski
Marc Rovetti, Violin Jennifer Curtis, Violin Jessica Troy, Viola Wolfram Koessel, Cello Steven Beck, Piano
Craig Biesecker, Joe Bowie, Charlton Boyd,
Amber Darragh, Marjorie Folkman, Lauren Grant,
John Heginbotham, David Leventhal,
Gregory Nuber, Maile Okamura, June Omura, Julie Worden,
Noah Vinson, Michelle Yard
Dedicated to the City of New York.
Premiere: October 16, 2001 -Dance Umbrella, Sadler's Wells, London, England
ark Morris was born on August 29, 1956 in Seattle, Washington, where he studied as a young man with Verla Flowers and Perry Brunson. In the early years of his career, he performed with Lar Lubovitch, Hannah Kahn, Laura Dean, Eliot Feld, and the Koleda Balkan Dance Ensemble. He formed the Mark Morris Dance Group in 1980, and has since created over 100 works for the company. Between 1988-1991, he was Director of Dance at the Theatre Royal de la Monnaie in Brussels, the national opera house of Belgium. Among the works created during his tenure were three evening-length dances: The Hard Nut; L'Allegro, il Penseroso ed il Moderate; and Dido and Aeneas. In 1990, he founded the White Oak Dance Project with Mikhail Baryshnikov. Mr. Morris is also much in demand as a ballet cho?reographer. He has created five works for the San Francisco Ballet since 1994 and received commissions from such companies as American Ballet Theatre, Boston Ballet, and the Paris Opera Ballet. His work is in the repertory of the Geneva Ballet, New Zealand Ballet, English National Ballet, and the Royal Ballet, Covent Garden. He has worked extensively in opera, directing and choreographing productions for the New York City Opera, English National Opera, and the Royal Opera, Covent Garden. Mr. Morris was named a Fellow of the
MacArthur Foundation in 1991. He has received honorary doctorates from The Boston Conservatory of Music, The Juilliard School, Long Island University, Pratt Institute, Bowdoin College, and George Mason University. Mr. Morris is the subject of a biography by Joan Acocella (Farrar, Straus & Giroux). In 2001, Marlowe & Company published Mark Morris' L'Allegro, il Penseroso ed il Moderate: A Celebration, a volume of photographs and criti?cal essays.
ark Morris Dance Group (MMDG), now celebrating its 25th anniversary, was formed in 1980 and gave its first concert that year in New York City. The compa?ny's touring schedule steadily expanded to include cities both in the US and in Europe, and in 1986 it made its first national television pro?gram for the PBS series Dance in America. In 1988, the Dance Group was invited to become the national dance company of Belgium, and spent three years in residence at the Theatre Royal de la Monnaie in Brussels. The company returned to the United States in 1991 as one of the world's leading dance companies, perform?ing across the US and at major international fes?tivals. It has maintained and strengthened its ties to several cities around the world, most notably Berkeley, CA, where Cal Performances presents the company in two annual seasons, including engagements of The Hard Nut each December It appears regularly in Boston, MA; Fairfax, VA; Seattle, WA; Urbana, IL; and at the Jacob's Pillow Dance Festival in Becket, MA. MMDG made its debut at the Mostly Mozart Festival in
and at the Tanglewood Music Festival in
and has since returned to both festivals annually. The company's London seasons have garnered two Laurence Olivier Awards. MMDC is noted for its commitment to live music, a fea? ture of every performance on its full internation? al touring schedule since 1996. Cellist Yo-Yo Ma has frequently collaborated with the Dance Group; their projects include the 1997 Emmy Award-winning film Falling Down Stairs and the 2002 dance Kolam, created for The Silk Roa:i Project in collaboration with Indian composer
Mark Morris
Zakir Hussain and jazz pianist Ethan Iverson of The Bad Plus. MMDG's film and television proj?ects include Dido and Aeneas, The Hard Nut, and two documentaries for the UK's South Bank Show. In fall 2001, the Dance Group opened the Mark Morris Dance Center in Brooklyn, New York, the company's first permanent headquar?ters in the US, housing rehearsal space for the dance community, outreach programs for local children, as well as a school offering dance class?es to students of all ages.
MMDG Music Ensemble was formed in 1996 and since that time has joined the Mark Morris Dance Group on tour throughout the US, UK, Australia, and Japan. The Ensemble's repertory ranges from 17th-century works by John Wilson and Henry Purcell to more recent scores by Lou Harrison and Henry Cowell. In addition, the Ensemble presents concerts at the Mark Morris Dance Center in Brooklyn and other venues, and participates in the Mark Morris Dance, Music, and Literacy program in the New York City pub?lic school system. The Ensemble is under the direction of Wolfram Koessel.
Steven Beck (Piano) was born in 1978 and is a graduate of The Juilliard School, where his teachers were Seymour Lipkin and Peter Serkin. He made his debut with the National Symphony Orchestra and toured Japan as soloist with the New York Symphonic Ensemble. Other orches?tras with which he has appeared include the New Juilliard Ensemble (under David Robertson), Sequitur, and the Virginia Symphony. Mr. Beck has performed as soloist and chamber musician at the Kennedy Center, Alice Tully Hall, Merkin Hall, Miller Theater, Steinway Hall, and Tonic, as well as on WNYC; summer appearances include the Aspen Music Festival, Lincoln Center Out of Doors, and the Woodstock Mozart Festival. He is an Artist Presenter and frequent performer at Bargemusic. He has worked with Elliott Carter, Henri Dutilleux, and George Perle, and has appeared with ensembles such as Speculum Musicae, Sospeso, Friends and Enemies of New Music, and Counterinduction, and is also a member of the notorious Knights of the Many-Sided Table. His recordings are on the Albany, Monument, and Annemarie Classics labels. He has played with the MMDG Music Ensemble since 2004.
t comes as a great surprise for many UMS patrons to learn that UMS presentations of dance first appeared on the radar as recently as 1961. The 196162 season included visits to Ann Arbor by American Ballet Theater, Mazowse (from Poland), the Bayanihan Philippine Dance Company, and a Ukranian Dance Company from Kiev...all in Hill Auditorium!
Since that time, modern, contemporary, classical, and world dance have been an integral part of all UMS seasons. UMS strives to serve the larger Michigan community of dance lovers by making sure that what is happening in the international world of dance comes to Michigan.
MMDG is an important part of our recent history. The company first appeared in Ann Arbor in March of 1993 with two repertory programs in the Power Center, followed three seasons later with performances of Mr. Morris's masterful staging of Pucell's opera Dido and Aeneas in the Michigan Theater. Subsequent Power Center performances have included Brahms's Liebeslieder Waltzes in October 1996 (New Love Song Waltzes and Love Song Waltzes) and repertory programs in April 2001.
This weekend's performances mark the Mark Morris Dance Group's ninth and 10th appearances under UMS auspices.
Craig Biesecker, from Waynesboro, Pennsylvania, received a BS in Music Education from West Chester University of PA. While teaching music in Philadelphia, he studied ballet with John White, Margarita de Saa, and Bryan Koulman, and worked with choreographers Tim and Lina Early. In New York City, he has worked with Pascal Rioult, Carolyn Dorfman, New York Theater Ballet, Mark Dendy, and Gerald Casel. Craig joined the Mark Morris Dance Group in 2003.
Joe Bowie, born in Lansing, Michigan, began dancing while attending Brown University. After graduating with honors in English and American Literature, he moved to New York and per?formed in the works of Robert Wilson, Ulysses Dove, and danced with The Paul Taylor Dance Company for two years before going to Belgium to work with Mark Morris in 1989.
Charlton Boyd was born in New Jersey where he studied and performed with Inner City Ensemble Theater & Dance Company. He is a graduate of The Juilliard School and has danced with the Limon Dance Company. He appears in the Jose Limon Technique Video, Volume 1, and other music videos. He first appeared with the Mark Morris Dance Group in 1989 and became a company member in 1994.
Jennifer Curtis (Violin) a recent graduate of The Juilliard School, gives her New York debut at Carnegie Hall's Weil Recital Hall in May 2006. Jennifer recently performed Dutilleux's violin concerto I'Arbre des Songes, in Alice Tully Hall with the Juilliard Orchestra. Last fall the New York Times recognized Jennifer's "fine solos" from her performance as concertmaster of the Juilliard Orchestra for Mahler's Symphony No. 9 in Avery Fisher Hall. Jennifer is also a composer whose music has been performed throughout the US, Central America, and Europe. Her recent endeavor, Tres Americas Project, began with a tour in Panama, where Jennifer performed several of her own works for violin, mandolin, guitar, and vocals. In the 0001
season Jennifer was the percussionist for Strong Current Dance Company in San Francisco, California. This is Jennifer's first season with the MMDG Music Ensemble.
Amber Darragh began her dance training with Nancy Mittleman in Newport, Oregon. She received her BFA from The Juilliard School in 1999 and went on to dance with the Lim6n Dance Company for two years. She is a recipient of the 2001 Princess Grace Award and has pre?sented her own choreography in various venues, including Alice Tully Hall and the Joyce SoHo. Amber joined the Mark Morris Dance Group in 2001.
Rita Donahue was born and raised in Fairfax, Virginia. She graduated with honors with a BFA in dance and a BA in English from George Mason University in 2002 and joined bopi's black sheep, dances by Kraig Patterson. Rita began working with the Mark Morris Dance Group in 2003.
Lorena Egan began her training at the Phoenix School of Ballet in Arizona. She received her BFA from The Juilliard School in 1998. Lorena joined the Pascal Rioult Dance Theater in 1999 and was an integral part of the company for five years before joining MMDG as an apprentice in February 2005. She is very excited and honored to be working with MMDG.
Marjorie Folkman began dancing for Mark Morris in 1996. She graduated summa cum laude from Barnard College and has attended Columbia University's Graduate Program in American Studies. She has also danced with Amy Spencer and Richard Colton, Kraig Patterson, Neta Pulvermacher, Sally Hess, Ellen Cornfield, the Repertory Understudy Group foi the Merce Cunningham Dance Company, and Sara Rudner.
Lauren Grant was born in Highland Park. Illinois, and began dancing at age three. She continued training, primarily in classical balle!
through high school. At New York University's Tisch School of the Arts, Lauren received her modern dance training and graduated with a BFA. Lauren joined MMDG in 1998.
John Heginbotham is from Anchorage, Alaska, and graduated from The Juilliard School in 1993. He has performed with Susan Marshall and Company, John Jasperse, Ben Munisteri, and as a guest artist with Pilobolus Dance Theater. John's choreography is featured in the performances and "Emerge" music video of recording artists Fischerspooner. He joined the Mark Morris Dance Group in 1998.
Wolfram Koessel (Cello) made his critically acclaimed debut at Weill Recital Hall at Carnegie Hall in 1994, and since then has performed as soloist and chamber musician in concert halls throughout the world. Based in New York City, Mr. Koessel appears with a wide range of ensembles and chamber music groups, most notably the Orpheus Chamber Orchestra and The Jupiter Symphony. As a soloist, Mr. Koessel has performed the standard as well as unusual cello concerto repertoire with the Jupiter Symphony, the New York Metamorphoses Orchestra (which he co-founded in 1994), the Mannes Orchestra, and the Symphony Orchestras of Cordoba, Mendoza, Costa Rica, and Stuttgart. Multifaceted as a chamber musi?cian, Mr. Koessel is on the faculty of the New York Youth Symphony Chamber Music Program and is the music director of "Sundays on the Island" (a chamber music series on New York's City Island). He served until recently as cellist with the award-winning Meridian String Quartet. His performance of Tchaikovsky's Rococo Variations was featured on WQXR's "Young Artists Showcase." Upon completion of his master's degree at the Mannes College of Music, he was the recipient of the George and Elizabeth Gregory Award for Excellence in Performance. He has played with the MMDG Music Ensemble since 2000 and was named its Music Director in 2004.
David Leventhal, raised in Newton, Massachusetts, has danced with the Mark Morris Dance Group since 1997. Previously, he worked with Jose Mateo's Ballet Theatre and the companies of Marcus Schulkind, Amy SpencerRichard Colton, Ben Munisteri, and Zvi Gotheiner. He graduated from Brown University in 1995 with honors in English Literature.
Bradon McDonald received his BFA from The Juilliard School in 1997. He danced with the Lim6n Dance Company for three years and was the recipient of the 1998 Princess Grace Award. He has choreographed and presented his own works internationally, served as choreographer for seven Juilliard Opera Company productions under director Frank Corsaro, and was the choreographic assistant to Donald McKayle at the Alvin Ailey American Dance Theater. Bradon joined the Mark Morris Dance Group in 2000.
Gregory Nuber began working with MMDG in 1998 and became a company member in 2001. He was a member of Pascal Rioult Dance Theatre for three years, has appeared as a guest artist with New York City Opera, Cleveland Opera, and Tennessee Repertory Theatre, and has worked with numerous New York based choreographers. Gregory is a graduate of Arizona State University where he studied acting and dance.
Maile Okamura was born and raised in San Diego, California. She was a member of Boston Ballet II and Ballet Arizona before moving to New York in 1996. Since then she has had the pleasure of dancing with Neta Pulvermacher, Zvi Gotheiner, and Gerald Casel. Maile began work?ing with MMDG in 1998 and became a compa?ny member in 2001.
June Omura spent her first six years in New York City, and then moved to Birmingham, Alabama. She returned to New York to attend Barnard College, graduating in 1986 with hon?ors in dance and English, and has been dancing for Mark Morris since 1988. She is the proud
mother of twin girls, born in July 2003, and is indebted to her husband, her family, and MMDG for their love and support.
Marc Rovetti (Violin) recently appeared with the Sacramento Philharmonic in addition to per?forming at the Kennedy Center and the Tenri Cultural Institute at New York University. Mr. Rovetti is a member of the International Contemporary Ensemble and the Rothko String Quartet, and the winner of the Third Prize of the Fischoff National Chamber Music Competition of 2004. He has attended the Tanglewood Music Center for the past four summers, most recently as a member of the New Fromm Players, the resident contemporary ensemble. Mr. Rovetti's 2003 performance of Augusta Read Thomas' violin concerto Spirit Musings was included on a CD celebrating the 10th anniver?sary of Seiji Ozawa Hall. Marc Rovetti recently completed an Advanced Certificate from NYU as a student of Pamela Frank and as a recipient of the Alberto Vilar Global Fellowship in the Performing Arts. Mr. Rovetti has also attended The Juilliard School where he received both his Bachelor and Master of Music degrees as a stu?dent of Ronald Copes while receiving chamber music coaching from the Juilliard String Quartet. At Juilliard, Mr. Rovetti served as concertmaster of the Juilliard Orchestra numerous times under Sir Roger Norrington, David Atherton, and Julius Rudel. This is his first season performing with MMDG as a member of the MMDG Music Ensemble.
Jessica Troy (Viola) has played for MMDG since 1998. A native New Yorker, she holds degrees from Amherst College, the State University of New York at Stony Brook, and the Musikhochschule in Luebeck, Germany, where her major teachers were Philipp Naegele, Caroline Levine, and Barbara Westphal. She has been a participant at many chamber music festi?vals, including Marlboro and Prussia Cove, per?forming with Felix Galimir, Nobuko Imai, Isidore Cohen, Siegfried Palm, Ida Levin, and James Tocco. She has had the opportunity to work
with many composers on their own works, including Roger Reynolds, Jacob Druckman, Oliver Knussen, and Gyorgy Kurtcig; her per?formance of music by the latter can be heard on a recent Bridge CD celebrating the 50th anniver?sary of the Marlboro Music Festival. A member of the Brooklyn Philharmonic, she is also an active chamber musician, performing with Sequitor, the Jupiter Symphony Chamber Players, and the Eberli Ensemble, as well as with the Acacia, Maia, and Meridian String Quartets
Noah Vinson received his BA in dance from Columbia College Chicago, where he worked with Shirley Mordine, Jan Erkert, and Brian Jeffrey. In New York he has danced with Teri and Oliver Steele and the Kevin Wynn Collection. He has been working with MMDG since 2002 and became a company member in 2004.
Julie Worden, from Naples, Florida, is a gradu?ate of the North Carolina School of the Arts. She worked with Chicago choreographers Bob Eisen, Jan Erkert, and Sheldon B. Smith. She has been dancing with Mark Morris since 1994.
Michelle Yard was born in Brooklyn, New York. She began her professional dance training at the New York City High School of the Performing Arts. Upon her graduation she received the Helen Tamiris and B'nai Brith awards. For three years she was also a scholarship student at The Alvin Ailey Dance Center. She attended New York University's Tisch School of the Arts, where she graduated with a BFA. Michelle began danc?ing with MMDG in 1997. Mom, thank you.
Mark Morris Dance Group Staff
Johan Henckens, Technical Director Matthew Eggleton, Producton Manager Wolfram Koessel, Music Director Nicole Pearce, Lighting Supervisor Katherine McDowell, Wardrobe Supervisor Jim Abdou, Sound Supervisor
Aaron Mattocks, Company Manager
Karyn La Scala, Studio Manager
Kathleen Cannucci, Administrative Assistant
Adrienne Bryant, Management Assistant
lose Suarez, Facility Manager
David Baez, Maintenance
lay Selinger, Office Assistant
Eva Nichols, Director of Education Diane Ogunusi, School Administrator Marc Castelli, Administrative Assistant
Lauren Cherubini, Director of Development Alex Pacheco, Special Projects Manager Jenna Parks, Development Associate Laura Wall, Marketing Manager Chelsea Dunlap, Richard Schnoor, Interns
Elizabeth Fox, Director of Finance Liz Bloomfield, Finance Assistant
Booking Representation
Michael Mushalla, Double M Arts & Events
Media and General Consultation Services
William Murray, Better Attitude, Inc.
Legal Counsel
Mark Selinger, McDermott, Will, & Emery
Kathryn Lundquist, CPA
David S. Weiss, M.D., NYU-HJD Department of Orthopedic Surgery
Thanks to Maxine Morris.
Sincerest thanks to all the dancers for their dedication, support, and incalculable contribution to the work.
For further information on MMDG please contact:
Additional funding has been received from the American Music Center Live Music for Dance Program; The CapezioBallet Makers Dance Foundation; Con Edison; Aaron Copland Fund for Music; Dance Heritage Coalition; The Harkness Foundation for Dance; The lovino Family Foundation; JPMorgan Chase & Co.; Leon Lowenstein Foundation; Materials for the Arts; McDermott, Will, & Emery; The New York City Department of Cultural Affairs; The New York Community Trust; and the Friends of the Mark Morris Dance Group.
ums University Musical Society
An Evening with Sonny Rollins
Sonny Rollins, Tenor Saxophone Clifton Anderson, Trombone Bobby Broom, Guitar Bob Cranshaw, Bass Kimati Dinizulu, Percussion Al Foster, Drums
Saturday Evening, October 1, 2005 at 8:00 Hill Auditorium, Ann Arbor
Tonight's program will be announced by the artists from the stage.
Third Performance of the 127th Annual Season
12th Annual Jazz Series
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
Funded in part by NEA Jazz Masters on Tour, an initiative of the National Endowment for the Arts sponsored by Verizon in partnership with Arts Midwest. Additional support is provided by the Doris Duke Charitable Foundation through a grant to Chamber Music America.
Media partnership for this performance provided by WEMU 89.1 FM and WDET 101.9 FM.
Sonny Rollins appears by arrangement with Ted Kurland Associates.
Large print programs are available upon request.
onny Rollins is a saxophone colossus. The revered tenor saxophonist first received that appellation via the name of his 1956 Prestige Records album. Even then, at age 26, the title seemed fitting. He had already played andor recorded with bebop giants Charlie Parker, Bud Powell, Miles Davis, Thelonious Monk, and J.J. Johnson -and had established himself as the prominent young voice on his instrument via recordings and performances as a leader.
The sobriquet has lasted through the years. It recently served as the title of the June 2005 cover story in Jazz Times, in which saxophonist Joshua Redman interviewed Mr. Rollins. It was also employed -"The Colossus" -as the title of Stanley Crouch's profile of Mr. Rollins in the May 9, 2005 issue of The New Yorker.
And Rollins has shown himself continually deserving of the honorific. A melodically dynam?ic and incredibly hard-swinging improviser, he has often been called the premiere jazz soloist alive.
Walter Theodore Rollins was born in New York City on September 7, 1930; his name has been incorrectly stated as Theodore Walter, a switch Mr. Rollins made in the mid-'50s. A child of music-loving parents of West Indian ancestry, he first played piano and then turned to saxo?phone around age seven. Young Sonny was enthralled.
"I used to play for hours and hours at home," the mostly self-taught musician recalled recently. "I was in my own world, my own rever?ie. I did a lot of free association, just ideas that came to my mind, which is why I have told peo?ple -what I told Joshua Redman -that I con?sider myself a free musician."
In 1951, Sonny Rollins began to record as a leader, first for Prestige. His nine albums, includ?ing Saxophone Colossus and Tenor Madness (with John Coltrane) and featuring Thelonius Monk, Jackie McLean, and others, have been collected in the 7-CD set, The Complete Prestige Recordings.
In 1959, Mr. Rollins took a sabbatical from performing to further develop his musicianship. He lived on Manhattan's Lower East Side, and often practiced on the Williamsburg Bridge. He returned to performing in 1962, and released The Bridge (RCA), a now-classic album featuring guitarist Jim Hall and Bob Cranshaw, his bassist almost nonstop ever since. Mr. Rollins also later led a quartet with trumpeter Don Cherry and drummer Billy Higgins, both of whom had played with maverick saxophonist and compos?er Ornette Coleman; and recorded with his idol, Coleman Hawkins. In 1966, he wrote and per?formed a jazz score for the film, Alfie, and, in 1969, took another sabbatical, this time travel?ing to India and studying with a guru.
In 1972, with the encouragement and sup?port of Lucille, whom he had met in 1956 ir Chicago, and married in 1965, Sonny Rollins again returned to performing and recording -beginning his present association with Milestone Records. In November 2004, Mr Rollins suffered tremendous loss when Lucille, who had not fully recovered from a stroke, died "We were together 48 years," he said. "I miss her." In the wake of Lucille's death, Mr. Rollins has maintained his performing schedule of 20-25 concerts per year, playing recently in Los Angeles, San Francisco, and on Long Island.
Tonight's performance marks Sonny Rollins s UMS debut.
used to play for hours and hours at home," the mostly self-taught musician recalled recently. "I was in my own world, my own reverie. I did a lot of free association, just ideas that came to my mind, which is why I have told people -what I told Joshua Redman -that I consider myself a free musician."
ums University Musical Society
Ann and Clayton Wilhite
Andras Schiff
Wednesday Evening, October 5, 2005 at 8:00 Rackham Auditorium, Ann Arbor
Franz Joseph Haydn Haydn
Ludwig van Beethoven
Capriccio in G Major on "Acht Sauschneider miissen sein. Hob. XVII:1
Sonata No. 53 in e minor. Hob. XVI:34
Vivace molto innocentemente
Sonata No. 16 in G Major, Op. 31, No. 1
Allegro vivace Adagio grazioso Rondo: Allegretto
@@@@Haydn Beethoven
Variations in f minor. Hob XVII:6
Sonata No. 21 in C Major, Op. 53
Allegro con brio Introduzione: Adagio molto Rondo: Allegretto moderato
Fourth Performance of the 127th Annual Season
43rd Annual Chamber Arts Series
The photographing or sound recording of this recital or possession of any device for such photo?graphing or sound record?ing is prohibited.
Special thanks to Ann and Clayton Wilhite for their continued and generous support of UMS.
Media partnership for this performance provided by WGTE 91.3 FM.
Special thanks to Tom Thompson of Tom Thompson Flowers, Ann Arbor, for his generous contribution of floral art for tonight's recital.
Mr. Schiff's recordings are available on the DeccaLondon, TeldecWarner, and ECM labels.
Mr. Schiff appears by arrangement with Kirshbaum Demler & Associates, Inc., New York, NY.
Large print programs are available upon request.
Capriccio in G Major on "Acht Sauschneider miissen sein," Hob. XVII: 1
Sonata No. 53 in e minor. Hob. XVI:34
Franz Joseph Haydn
Born March 31, 1732 in Rohrau, Lower Austria
Died May 31, 1809 in Vienna
The Haydn with whom music-lovers around the world are familiar is still, by and large, the com?poser of the London symphonies and the great oratorios, works written around and after the age of 60. Of his string quartets, too, the later sets are much more frequently performed than the earlier ones. It is all too easy to come to the conclusion that Haydn was a late bloomer who didn't really hit his stride until middle age. In his earlier music, he was supposedly too indebted to the music of the preceding generation to speak in a voice of his own.
Nothing could be further from the truth, and a work like the Capriccio in G Major -a sparkling, endlessly ingenious work based on a simple folksong -is a case in point. Haydn used the title "Capriccio" in several of his early works (some of these are individual movements within larger compositions); each time, the term implies adventurous experimentation with form and harmony. This kind of freedom in 18th-cen?tury keyboard music is usually associated with the name of Carl Philipp Emanuel Bach (1714-1788) who was certainly a major influence on Haydn. Yet it should be remembered that C.P.E. Bach's greatest keyboard works were written late in his career; in fact, the most daring among these were written in the 1770s and '80s, long after the present Haydn Capriccio.
The folksong on which the Capriccio was based has the following, rather un-poetic text:
It takes eight people
to castrate a boar.
Two in front and two behind,
Two to cut and two to bind,
It takes eight people
To castrate a boar.
The melody must have been really popular at the time because just a year after Haydn, the 10-year-old Mozart included it in his quodlibet (medley) Galimathias Musicum.
In Haydn's Capriccio, a set of free variations on the melody alternates with long figurative passages that contain some extremely bold key changes. The simple folk tune travels very far in this piece, which stands out as one of the young Haydn's most original achievements.
Works like the Capriccio are the exception rather than the rule in the keyboard music of the Classical era. The vast majority of this repertoire is made up of sonatas -compositions in two or more movements where each movement adheres to a specific type: sonata-allegro, slow movement, minuet, and finale. Within this framework, Haydn's 55 extant keyboard sonatas contain an amazing variety of styles and approaches. As Andras Schiff has pointed out in a penetrating essay, some of Haydn's most pro?found musical utterances may be found amonj the piano works.
Haydn usually associated the minor mooe with heightened emotions; works in minor are often more intense and more agitated than their major-mode counterparts. Sonata No. S3 in e minor is no exception. Its tempos are extreme: the opening movement is faster than usu si (presto instead of allegro) and its second move?ment slower than usual (adagio instead of andante). The range of harmonies is rather wide, and so is the range of pianistic techniques employed. In the first movement, Haydn exploi.s the contrast between staccato, or separated notes, and legato, or connected ones, and the second-movement "Adagio" is a lavishly orna?mented instrumental aria, with plenty of brilliant passagework surrounding a relatively simple melody.
In his aforementioned essay, Mr. Schiff notes that for all the individuality of Haydn's musical language, the Sonata in e minor retains strong links to the past: the first movement is reminis?cent of Domenico Scarlatti's sonatas, while tl e last movement has the formal outline of a ron?deau by Francois Couperin. Two themes -ore
in minor and the other in major -alternate in this finale, with variations on both themes at each repeat. One would expect the last word to belong to the brighter and more comforting major mode, but in this case the opposite hap?pens: it is the dramatic minor that "wins" at the end.
Sonata No. 16 in G Major, Op. 31, No. 1
Ludwig van Beethoven
Born December 15 or 16, 1770 in Bonn, Germany
Died March 26, 1827 in Vienna
Around the time he penned his intensely moving Heiligenstadt Testament, the famous un-mailed letter in which he poured out his heart, Beethoven told his pupil Carl Czerny: "I am not very well satisfied with the work I have thus far done. From this day on I shall take a new way." That "new way" is readily apparent in the three piano sonatas published as Op. 31, which include, in addition to the sonata heard tonight, the d-minor work known as the "Tempest" and a highly innovative piece in E-flat Major.
One of the novelties in Op. 31 is the deci?sion not to open the sonata with a symmetrical musical phrase in the form of question and answer, as Mozart and Haydn had most often done. Instead, Beethoven starts with something less definite, less fully formed, a motif that can be built up and transformed in the course of a complex development. In Sonata No. 16, there are two such motifs: a scale and a series of chords in which the two hands seem to be oddly out of sync. This "raw material" is then repeat?ed a whole step lower, which means jumping, without any warning, into a relatively remote new key. (Beethoven will repeat the exact same procedure in the "Waldstein" sonata that closes tonight's program.) There are many more unex?pected twists and turns along the way in this movement, which Alfred Brendel described as having a "compulsive, but scatterbrained, deter?mination." This sonata is also one of the first to establish thematic links among the different movements; at the end of the opening "Allegro
vivace," Beethoven introduces the germ of what will be the main theme of the finale. (The end of the finale then "returns the favor" by recalling the first movement.)
The second-movement "Adagio grazioso" belongs to the same type of highly embellished "song without words" as the "Adagio" of Haydn's Sonata in e minor, taken a step further. This time, the inspiration is definitely operatic; pianist-musicologist William Kinderman feels there is "a hint of sophisticated mockery" in the music.
The finale is a rondo on a graceful theme followed by some more turbulent episodes. A most extraordinary passage occurs right before the end, where the last statement of the main theme is broken up into isolated fragments, sep?arated by long rests with the tempo oscillating between adagio and allegro. It is a moment of great suspense, finally relieved by a thunderous presto to close the sonata.
Variations in f minor. Hob XVII:6
Here, the 61-year-old Haydn shows a side of his personality that can only be qualified as Romantic. From a purely formal point of view, he expands on the idea of "double variation" with alternating minor and major themes, an idea that already appears in the finale of the Sonata in e minor. It was an idea he grew increasingly fond of in his later years. This time, however, the themes are more poignant than ever, the harmonies more striking and the tex?tures much more virtuosic. After each theme has been presented in three variations, Haydn appends an astonishing coda that exceeds everything heard before in boldness and expres?sivity. The rapid scales heard in this section, with their asymmetrical divisions of the measure, are close to the kind of writing one encounters in the works of Chopin.
In one manuscript, Haydn called this piece a "sonata," even though it has only one move?ment. In another, he entitled it, perhaps surpris-
ingly (given the serious tone of the work), un piccolo divertimento. The dedicatee was Barbara von Ployer, a Viennese pianist who had studied with Mozart and for whom Mozart wrote two of his piano concertos (K. 449 and K. 453).
Sonata No. 21 in C Major, Op. 53 ("Waldstein")
The "Waldstein" sonata is as much of a quan?tum leap in Beethoven's oeuvre as the "Eroica" is after Symphony No. 2. Composed around the same time, both symphony and sonata revolu?tionized their respective genres, and not only because of their increased length and their numerous harmonic, melodic, and structural innovations -although these are certainly part of the reason why these works are such impor?tant milestones in the history of music. But there is something else, something larger, having to do with the very idea of what a symphony or a sonata is all about. More than a means to mark a festive occasion or to brighten up a cultivated amateur's home, the music of Beethoven's mid?dle period communicates with an intensity never seen before, plumbs levels of emotional depth no previous music had ever reached, and por?trays the notions of conflict and struggle in com?pletely unprecedented ways.
To reach these new goals, Beethoven had to resort to new methods. Transposition, fragmen?tation, and rhythmic acceleration are just techni?cal terms that superficially describe what hap?pens; they do not do justice to the gradual "opening-up" of the music, its constantly grow?ing excitement, and its irresistible momentum. The concept of "secondary theme" receives a whole new meaning in the "Waldstein" sonata; all the motion suddenly seems to come to a halt as we hear a chorale-like melody in a distant key, as if coming from a different universe. The way the two worlds are subsequently integrated is one of the greatest wonders of the piece, and it is through that integration that the internal con?flicts are resolved.
Beethoven had originally planned a full-fledged slow movement for this sonata, one he later chose to publish separately (this movement is known as the "Andante favori"). Yet in the sonata, he replaced it with a much shorter state?ment, a dramatic transition and introduction to the radiant and expansive finale. The struggles and sharp contrasts of the first movement give way to a bright and sunny landscape. This time we get the big opening melody that was with?held in the first movement: a soaring theme that reigns supreme through much of the move?ment. There are a few darker moments when this theme temporarily yields to other ideas, some in the poignant minor mode. Yet the end?ing, with one of Beethoven's favorite devices -the seemingly endless trill in the high register, is positively ecstatic.
Count Waldstein, the dedicatee of the sonata, was the nobleman from Bonn who hac sent Beethoven on his way to Vienna with the words: "You shall receive Mozart's spirit from Haydn's hands." More prophetic words were never spoken. Even though Beethoven's appren ticeship with Haydn didn't work out as planned, it soon became clear that he was the only true musical heir of Haydn and Mozart. It was Waldstein's good fortune not only to see his pre?diction come true, but also to continue enjoyini; the friendship of his now-famous protege.
Program notes by Peter Laki.
ndras Schiff was born in Budapes; Hungary, in 1953. He began piano les?sons at the age of five with Elisabeth Vadasz and continued his musical studies at the Ferenc Liszt Academy with Professor Pal Kadosa Gyorgy Kurtag, and Ferenc Rados; he also worked with George Malcolm in London Recitals and special projects take him to all of the international music capitals and include cycles of the major keyboard works of Bach, Haydn, Mozart, Beethoven, Schuben, Schumann, Chopin, and Bartdk. In 2004, he began a series of performances that explore th:
32 Beethoven piano sonatas in chronological order -a project to be recorded live for ECM New Series and released in September of 2005. The Beethoven Sonata Project will be repeated throughout North America, including Carnegie Hall, San Francisco's Symphony Hall, and Los Angeles's Disney Hall commencing the 0708 season.
In 1999, Mr. Schiff created his own chamber orchestra, the Cappella Andrea Barca, for a seven-year series of the complete Mozart piano concertos, taking place at the Mozartwoche of the Internationale Stiftung Mozarteum in 5alzburg. The group, which consists of interna-
tional soloists, chamber musicians and close friends, is currently slated to tour North America during the current and 0607 seasons in a series of concerts slated for Carnegie Hall and Avery Fisher Hall to commemorate the 250th anniver?sary of Mozart's death.
In October 2005, Mr. Schiff embarks on an extensive recital tour throughout North America with performances in New York, Ann Arbor, Boston, Chicago, Fort Worth, Kansas City, Vancouver, Seattle, Carmel, and Berkeley. He also performs as conductor and soloist with the Los Angeles Philharmonic in a program of Mendelssohn, Schumann, and Haydn.
During the next few seasons, the focus of Mr. Schiff's orchestral activities will be conduct?ing programs of Bach, Beethoven, and Mozart from the keyboard. He has annual engagements with the Philharmonia Orchestra, London, and the Chamber Orchestra of Europe as conductor and soloist. He has conducted Bach's B Minor Mass and Haydn's The Creation with the London Philharmonia and was conductor and soloist with the Chamber Orchestra of Europe on a crit?ically acclaimed tour of New York, Chicago, and San Francisco.
Since childhood, Mr. Schiff has enjoyed playing chamber music and was artistic director of the Musiktage Mondsee, an annual chamber music festival near Salzburg from 1989 until 1998. He is presently joint artistic director of the Ittinger Pfingstkonzerte, a chamber music festi-
r. Schiff made his UMS debut with the Budapest Festival Orchestra in October 199S as part of the Choral Union Series in Hill Auditorium. UMS is pleased to have him back for this second appearance as the opening recitalist of our 43rd Annual Chamber Arts Series.
The history of Beethoven's Sonata No. 21 in C Major, Op. 53 -commonly referred to as the "Waldstein Sonata" -on UMS recital programs is remarkable. The sonata has been per?formed 12 pervious times by none other than Louis Maas (1883), Adele Aus der Ohe (1890), Josef Hofmann (1920, 1943), Jose Iturbi (1935), Vladimir Horowitz (1945), Solomon (1950), Eugene Istomin (1964), Vladimir Ashkenazy (1968), Rudolf Serkin (1969, 1980), and Shura Cherkassky(1985).
nli.i'. Schiff
val he founded in Switzerland with Heinz Holliger in 1995. In 1998, Mr. Schiff started a similar series entitled "Hommage to Palladio" at the Teatro Olimpico in Vicenza. In September 2004 he became artist-in-residence of Kunstfest Weimar, a new festival in Germany.
Mr. Schiff has established a prolific discogra-phy, including recordings for Teldec, LondonDecca, and, since 1997, ECM New Series. Recordings for ECM include the complete solo piano music of Janacek, a solo disc of Schumann piano pieces, and his second record?ing of the Bach Goldberg Variations. He has received several international recording awards, including two Grammy Awards for "Best Classical Instrumental Soloist (Without Orchestra)" for the Bach English Suites, and "Best Vocal Recording" for Schubert's Schwanengesang with tenor Peter Schreier.
Among other honors, Andras Schiff was awarded the Bart6k Prize in 1991 and the Claudio Arrau Memorial medal from the Robert Schumann Society in Dusseldorf in 1994. In March 1996, Mr. Schiff received the highest Hungarian distinction, the Kossuth Prize, and in May 1997 he received the Leonie Sonnings Music Prize in Copenhagen. He was awarded the Palladio d'Oro by the city of Vicenza, and the Musikfest-Preis Bremen for "outstanding international artistic work" in 2003. In 2001 he became a British citizen. Mr. Schiff resides in Florence and London and is married to the vio?linist Yuuko Shiokawa.
Pat Metheny Trio (& Quartet)
Pat Metheny, Guitars Christian McBride, Bass Antonio Sanchez, Drums
with special added guest David Sanchez, Saxophones
Saturday Evening, October 8, 2005 at 8:00 Hill Auditorium, Ann Arbor
Tonight's program will be announced by the artists from the stage.
Fifth Performance of the 127th Annual Season
12th Annual Jazz Series
The photographing or sound recording of this concert or possession of any device for such pho?tographing or sound recording is prohibited.
Media partnership for this performance provided by WEMU 89.1 FM and WDET 101.9 FM
Pat Metheny Trio (& Quartet) appear by arrangement with Ted Kurland Associates.
Large print programs are available upon request.
at Metheny was born in Kansas City on August 12, 1954 into a musical family. Starting on trumpet at the age of eight, Mr. Metheny switched to guitar at age 12. By the age of 15, he was working regularly with the best jazz musicians in Kansas City, receiving valuable on-the-bandstand experience at an unusually young age. Mr. Metheny first burst onto the international jazz scene in 1974. Over the course of his three-year stint with vibra-phonist Gary Burton, the young Missouri native already displayed his soon-to-become trade-marked playing style, which blended the loose and flexible articulation customarily reserved for horn players with an advanced rhythmic and harmonic sensibility -a way of playing and improvising that was modern in conception but grounded deeply in the jazz tradition of melody, swing, and the blues. With the release of his first album, Bright Size Life (1975), he reinvented the traditional "jazz guitar" sound for a new gener?ation of players.
Pat Metheny's versatility is almost nearly without peer on any instrument. Over the years, he has performed with artists as diverse as Steve Reich, Ornette Coleman, Herbie Hancock, Jim Hall, Milton Nascimento, and David Bowie. He has been part of a compositional writing team with keyboardist Lyle Mays for more than 20 years -an association that has been compared to the LennonMcCartney and EllingtonStrayhorn partnerships. Mr. Metheny's body of work includes compositions for solo guitar, small ensembles, electric and acoustic instruments, large orchestras, and ballet.
As well as being an accomplished musician, Pat Metheny has also participated in the aca?demic arena as a music educator. At 18, he was the youngest teacher ever at the University of Miami. At 19, he became the youngest teacher ever at the Berklee College of Music, where he also received an honorary doctorate in 1996. He has also taught music workshops all over the world, including the Dutch Royal Conservatory, the Thelonius Monk Institute of Jazz, and clinics in Asia and South America. He has been a true musical pioneer in the realm of electronic music, and was one of the very first jazz musicians to
treat the synthesizer as a serious musical instru?ment. He has been instrumental in the develop?ment of several new kinds of guitars such as the soprano acoustic guitar, the 42-string Pikasso guitar, Ibanez's PM-100 jazz guitar, and a variety of other custom-made instruments.
It is one thing to attain popularity as a musi?cian, but it is another to receive the kind of acclaim Metheny has garnered from critics and peers. Over the years, Mr. Metheny has won countless polls as "Best Jazz Guitarist" and awards, including three gold records for (Still Life) Talking, Letter from Home, and Secret Story. He has also won 15 Grammy Awards spread out over a variety of different categories including "Best Rock Instrumental," "Best Contemporary Jazz Recording," "Best Jazz Instrumental Solo," and "Best Instrumental Composition." The Pat Metheny Group won an unprecedented seven consecutive Grammies for seven consecutive albums. Mr. Metheny has spent most of his life on tour, averaging between 120-240 shows a year since 1974. Presently, he con?tinues to dedicate time to both his own projects and those of emerging artists and established vet?erans alike, helping them to reach their audience as well as realizing their own artistic visions.
Christian McBride was born in May 1972 in Philadelphia. While jazz lies at the root of Mr. McBride's accomplishments, his passion for musical diversity has led him to work with artists including Chick Corea, Pat Metheny, Kathleen Battle, D'Angelo, Diana Krall, Bruce Hornsby, Quincy Jones, and Sting.
Christian McBride grew up with two profes?sional bassists in the family. While attending Philadelphia's fertile High School for the Creative and Performing Arts, Mr. McBride found himself in the company of other young talents such as members of what would become The Roots, Boyz II Men, Joey DeFrancesco, and guitarist Kurt Rosenwinkel. In 1989, Mr. McBride was awarded a partial scholarship to attend The Juilliard School.
In 1992, Mr. McBride was named Rolling Stone magazine's "Hot Jazz Artist." The next
year, he toured as a member of Pat Metheny's "Special Quartet" which included the late, great drum master, Billy Higgins, and the (then) up-and-coming saxophonist Joshua Redman.
In addition to his solo recordings, through?out the last decade Mr. McBride has been fea?tured on over 200 recordings. Mr. McBride graced the big screen playing bass in director Robert Altman's 1940's period piece, Kansas City 1996), as well as its two soundtracks.
In 2003, Pat Metheny tapped Christian McBride and Antonio Sanchez to be the latest members in his acoustic trio format. A live album is scheduled for release by Nonesuch in 2006.
Christian McBride does numerous work?shops and clinics at universities around the country, and in 2000 was named artistic director of the Jazz Aspen Snowmass Summer Program, and, in 2001, was named artistic director of the University of Richmond's summer jazz program and for the Dave Brubeck Institute at the University of the Pacific in Stockton, CA. He is also the newly appointed co-director of The Jazz Museum in Harlem.
Mr. McBride currently resides in New York City.
Antonio Sanchez was born in Mexico City in 1971.
At age 17 he enrolled in the National Conservatory of Music in Mexico City where he pursued a degree in classical piano and compo?sition. In 1993, Mr. Sanchez earned a scholar-
ship to pursue Jazz Studies at Boston's Berklee College of Music. He was soon the "first-call" drummer for some of New England's most active recording studios where he recorded for a wide variety of artists and producers, including Boston-based renowned musicians Gary Burton, Mick Goodrick, and Danilo Perez.
After graduating magna cum laude, Mr. Sanchez obtained a scholarship for a Masters in Jazz Improvisation at the New England Conservatory (NEC) in Boston. Later that year, pianist Danilo Perez requested his talents to be a part of his acoustic trio. They toured extensively for a couple of years and recorded the Grammy-nominated Motherland.
During a double-bill concert in Europe which included Mr. Perez's trio playing opposite Pat Metheny's trio, the legendary guitarist took notice in Mr. Sanchez's drumming. After a few months of auditions he was offered the drum chair of the Pat Metheny Group for their upcom?ing recordings and tours.
The Group has recorded two albums since Mr. Sanchez's addition. The first, Speaking of Now, won a Grammy in 2003 under the "Best Contemporary Jazz Album" category. A DVD under the same name documenting the tour has also been released. The second effort, The Way Up, was released in January 2005.
Antonio Sanchez has conducted clinics and master classes in Europe, Japan, and in North and Latin America including the prestigious Modern Drummer Festival Weekend 2003, The
at Metheny made his UMS debut in November 1997 at the Michigan Theater in the Pat Metheny Group Imaginary Day world tour. Tonight's performance marks his second appearance on the UMS Jazz Series.
Bassist Christian McBride's UMS performance history leads back to his December 1996 UMS debut with soprano Kathleen Battle. He would later appear on the Hill stage leading his own quartet in February 1997 in a program entitled "Blues, Roots, Honks, and Moans." Tonight marks his third appearance on the UMS concert series.
Saxophonist David Sanchez made his UMS debut nine years ago in October 1996 as a band member of Slide Hampton and the JazzMasters at the Power Center. Tonight marks his second appearance under UMS auspices.
UMS is pleased to have drummer Antonio Sanchez sharing the stage with these musicians in his UMS debut.
Montreal Drum Festival, and PASIC. Some of the institutions that have hosted him as a visiting artist are the Musician's Institute in L.A., Berklee College of Music, and Drummer's Collective in New York City. He has also been the recipient of several scholarships and awards including the Buddy Rich Memorial Scholarship, The Zildjian Award, The Boston Jazz Society Scholarship Achievement Award, and Berklee's "Most Outstanding Performer" Award.
Antonio Sanchez is endorsed by Yamaha Drums and Hardware, Zildjian Cymbals and Sticks, Evans Drumheads, and LP Percussion.
Mr. Sanchez currently resides in New York City.
David Sanchez, born 35 years ago in Hato Rey, Puerto Rico, began playing percussion and drums at age eight before migrating to tenor saxophone four years later. While a student at the prestigious La Escuela Libre de Mcesica in San Juan, he also took up soprano and alto sax?ophones as well as flute and clarinet. The
bomba and plena rhythms of Puerto Rico, along with Cuban and Brazilian traditions, were among the strongest influences on Mr Sanchez's early taste in music.
In 1986, Mr. Sanchez enrolled at the Universidad de Puerto Rico in Rio P'edras, but the pull of New York was irresistible. His 1995 debut for Columbia, The Departure, garnerec critical kudos as did the album's successors Sketches of Dreams, and Street Scenes Produced by Branford Marsalis, Obsesion would garner the saxophonist his first Grammy nomi nation. In 2001, Mr. Sanchez appeared on high profile recordings with bassist Charlie Haden and trombonist Steve Turre before issuing another release on Columbia, Travesia.
With Dizzy Gillespie, Eddie Palmieri, Charlie Haden, and his other jazz mentors, as well as under his own name, David Sanchez has toured extensively, bringing his mix of straight-ahead jazz with Afro-Latin influences to audience around the world.

lease note that a complete listing of all UMS Educational programs is conveniently located within the concert program section of your pro?gram book and is posted on the UMS website at
16-17 Fri-Sat Mark Morris Dance Group
1 Sat An Evening with Sonny Rollins 5 Wed Andras Schiff
8 Sat Pat Metheny Trio (& Quartet)
13 Thu Renee Fleming in Richard Strauss's Daphne (concert opera) l8-22Tue-Sat Tall Horse
Handspring and Sogolon Puppet Companies 29 Sat The King's Singers
3-6 Thu-Sun Carlo Goldoni's Arlecchino, Servant of Two Masters
Piccolo Teatro di Milano
5 Sat Youssou N'Dour and Fathy Salama's Cairo Orchestra 6 Sun Jean-Yves Thibaudet
13 Sun Michigan Chamber Players (complimentary admission) 19 Sat Concertante
3-4 Sat-Sun Handel's Messiah
8 Thu Chicago Symphony Orchestra and Marcus Roberts Trio 10 Sat Dianne Reeves: Christmas Time is Here
13-15 Fri-Sun Jose Limon Dance Company
14 Sat Jose Lim6n Dance Company (Family Performance) 14 Sat Leif Ove Andsnes
Norwegian Chamber Orchestra 16 Mon Take 6 19 Thu Orchestre Revolutionnaire et Romantique
The Monteverdi Choir 21 Sat Tokyo String Quartet with Sabine Meyer
22 Sun Lincoln Center Jazz Orchestra and Wynton Marsalis:
A Tribute to John Coltrane
4 Sat Louis Lortie
10 Fri Mariachi Los Camperos de Nati Cano
12 Sun Michigan Chamber Players (complimentary admission)
15 Wed Louis Andriessen in Concert
19 Sun Soweto Gospel Choir
22 Wed Takacs Quartet with James Dunham
23 Thu Pappa Tarahumara: Ship in a View
9 Thu Vienna Philharmonic with Riccardo Muti
10 Fri Marc Bamuthi Joseph: Word Becomes Flesh 11 Sat Belcea Quartet and Ian Bostridge
17 Fri Kirov Orchestra of St. Petersburg: Shostakovich Festival (Concert 1)
19 Sun Kirov Orchestra of St. Petersburg: Shostakovich Festival (Concert 2) 23-24 Thu-Fri Children of Uganda
25 Sat Ewa Podles in Rossini's Tancredi (concert opera)
30 Thu The Tallis Scholars
31 Fri SFJAZZ Collective: A Tribute to Herbie Hancock
2 Sun Los Angeles Guitar Quartet
7 Fri Mory Kante 15 Sat Arab World Music Summit 19 Wed Nrityagram
20 Thu Chanticleer
21 Fri Nadja Salerno-Sonnenberg
Anne-Marie McDermott 22 Sat Sweet Honey in the Rock
13 Sat Ford Honors Program: Dave Brubeck
MS's Education and Audience Development Program deepens the relationship between audiences and the arts and raises awareness of the impact that multi-disciplinary performing arts and education can have by enhancing the quality of life of our community. Our program creates and presents the highest quality arts education experiences to a broad spectrum of community constituencies, proceeding in the spirit of partnership and collaboration.
Details about all educational events and residency activities are posted one month before the performance date. Join the UMS Email Club to have updated event information sent directly to you. For immediate event info, please email, or call the numbers listed below.
UMS Community Education Program
Please call 734.647.6712 or email for more information.
Public Programs
UMS hosts a wide variety of educational opportunities to provide context and inform audiences about the artists, art forms, and cultures we present. Events include:
PREPs Pre-performance lectures
Meet the Artists Post-performance artist interviews
Artist Interviews Public dialogues with performing artists
Master Classes Interactive workshops
PanelsRound Tables In-depth adult education related to a specific artist or art form
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 is grateful to the University of Michigan for its support of many edu?cational activities scheduled in the
0506 season. These programs provide opportunities for students and members of the University commu?nity to further appreciate the artists on the UMS series.
UMS Partnership Program
UMS partners with over 100 university and community based organizations annually. If you would like your organization to be more involved with the many different pro?grams offered by UMS, please contact us at 734.764.6179.
The NETWORK: African American Arts Advocacy Committee
The NETWORK was a new initiative launched by UMS last season to create an opportunity for African Americans and the broader com?munities to celebrate the world-class artistry by today's leading African and African-American performers and creative artists. NETWORK members connect, socialize, and network with the African-American community through attendance at UMS events and free preor post-performance receptions. Members receive discounted tickets for all NETWORK events. This season's NETWORK performances include:
Tall Horse
Youssou N'Dour and Fathy Salama's Cairo Orchestra
Dianne Reeves: Christmas Time is Here
Soweto Gospel Choir
Children of Uganda
Rossini's Tancredi
Sweet Honey in the Rock
UMS Youth Education Program
Please call 734.615.0122 or email for more information.
UMS has one of the largest K-12 arts educa?tion initiatives in the state of Michigan. Designated as a "Best Practice" program by ArtServe Michigan and the Dana Foundation, UMS is dedicated to making world class per?formance opportunities and professional devel?opment activities available to K-12 students and educators. Please visit www.ums.orgedu-cation for complete details.
0506 Youth Performance Series
These world-class daytime performances serve pre-K through high school students. The 0506 season features special youth presentations of Tall Horse, Marc Bamuthi Joseph's Word Becomes Flesh, Jose Limon Dance Company, Nrityagram, Mariachi Los Camperos de Nati Cano, Mory Kante, and the Children of Uganda. All tickets are $6 and each school receives free curriculum materials.
Teacher Workshop Series
UMS offers two types of professional develop?ment activities for K-12 Educators: Performing Arts Workshops and Kennedy Center Workshops. Both focus on teaching educators techniques for incorporating the arts into class?room instruction.
K-12 Arts Curriculum Materials
UMS Educational materials are available online at no charge to all educators. All materials are designed to connect the curriculum via the Michigan State Benchmarks and Standards.
Teacher Appreciation Month!
March 2006 has been designated UMS Teacher Appreciation Month. All teachers will be able to purchase tickets for 50 off at the venue on the night of the performance (subject to availability). Limit of two tickets per teacher, per event. Teachers must present their official school I.D. when purchasing tickets. Check out the UMS website at for March events!
School FundraisersGroup Sales
Raise money for your school and support the arts. UMS offers a wide range of fundraising opportunities and discount programs for schools. It is one of the easiest and most rewarding ways to raise money for schools.
UMS is in partnership 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 Schools "Partners in Excellence" program.
UMS Teen
Teen Ticket
All teens can attend UMS events for the cost of $10 per ticket the day of the performance at the Michigan League Ticket Office, or 50 off tickets at the venue 90 minutes prior to performances. Teens must show valid I.D. Limit of one ticket per teen, based on night-of-show availability.
Breakin' Curfew
In a special collaboration with the Neutral Zone, Ann Arbor's teen center, UMS presents this yearly performance highlighting the area's best teen performers. Details about this per?formance will be announced in Spring 2006.
UMS Family
Ann Arbor Family Days: Saturday, January 14 and Sunday, January 15, 2006 Area community organizations, libraries, arts centers, museums, and performance groups collaborate on this yearly festival designed for all families. Details of Ann Arbor Family Days will be announced in November 2005.
Classical Kids Club New Program!
Presented by ProQuest Company Parents can introduce their children to world-renowned
classical music artists through this new pro?gram. Designed to nurture and create the next generation of musicians and music lovers, the Classical Kids Club allows students in grades 1-12 to purchase tickets to all concerts on the UMS Choral Union Series at a significantly dis?counted rate. Ninety minutes prior to any Choral Union Series performance, parents can purchase up to two children's tickets for $10 each with the purchase of each full price adult ticket. Seating is subject to availability, and Classical Kids Club tickets may not be available in the case of a sellout. Please register your children for this program by calling the UMS Ticket Office at 734.764.2538.
Education Program Supporters
Ford Motor Company Fund
Michigan Council for Arts and Cultural Affairs University of Michigan
Arts at Michigan
Linda and Maurice Binkow
Borders Group, Inc.
Chamber Music America
DaimlerChrysler Corporation Fund
Doris Duke Charitable Foundation
DTE Energy Foundation
Dykema Gossett, PLLC
Heartland Arts Fund
Dr. Toni Hoover in memory of Dr. Isaac Thomas III
JPMorgan Chase
JazzNet Endowment
Masco Corporation
National Dance Project of the New England
Foundation for the Arts
National Endowment for the Arts
Office of the Senior Vice Provost for Academic Affairs
Pfizer Global Research and Development
ProQuest Company
Prudence and Amnon Rosenthal K--12 Education
Endowment Fund TCF Bank TIAA-CREF
Toyota Technical Center UMS Advisory Committee University of Michigan Credit Union Wallace Foundation
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 determining K-12 programming, policy, and professional development. To join, please call 734.764.6179 or e-mail
Join us in thanking these fine area restaurants and businesses for their generous support of UMS:
The Blue Nile Restaurant
221 East Washington 734.998.4746
Carson's American Bistro
2000 Commonwealth Boulevard 888.456.DINE
The Chop House
322 South Main 888.456.DINE
The Original Cottage Inn
512 East William 734.663.3379
The Earle
121 West Washington 734.994.0211
The Earle Uptown
300 South Thayer 734.994.0222
The Eighth Street Trekkers' Lodge B & B
120 Eighth Street734.369.3107
Golden Limousine
Graham's Restaurant
610 Hilton Boulevard 734.761.7800
Gratzi Ristorante
326 South Main 888.456.DINE
Great Harvest Bread Company
2220 South Main 734.996.8890
Kensington Court Ann Arbor
610 Hilton Boulevard 734.761.7800
La Dolce Vita
322 South Main 888.456.DINE
Michigan Car Services, Inc.
30270 Spain Court, Romulus 800.561.5157
Paesano's Restaurant
3411 Washtenaw734.971.0484
347 South Main 888.456.DINE
Pen in Hand
207 South Fourth 734.662.7276
Real Seafood Company
341 South Main 888.456.DINE
Red Hawk Bar & Grill
316 South State 734.994.4004
Schakolad Chocolate Factory
110 East Washington734.213.1700
Swedish EngineeringAsian Import RepairAnn Arbor Tire
669 State Circle734.761.1081
216 South State 734.994.7777
Back by popular demand, friends of UMS are offering a unique donation by hosting a variety of dining events to raise funds for our national?ly 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 734.764.8489 or visit UMS online at
Last season's Delicious Experiences raised over $15,000 to support the educational pro?grams presented by UMS. Thank you to the following hosts who open their homes for din?ners, brunches, wine, and hors d'oeuvres -even an English tea party! UMS is grateful for their generous support and gracious hospitality.
Lois and David Baru Kathy Benton and
Robert Brown Victoria and Bob Buckler Kathleen and Robert Dolan Damian and
Katherine Farrell Ken and Penny Fischer Bev and Gerson Geltner
Richard LeSueur
Deanna Relyea
Adrienne and Jim Rudolph
Jeri Sawall and Gene Laskowski
Tom and Ann Schriber
Meg Kennedy Shaw
Jim and Nancy Stanley
Ed and Natalie Surovell
Mary Kate and Jay Zelenock
MS Volunteers are an integral part of the success of our organi?zation. There are many areas in which volunteers can lend their expertise and enthusiasm. We would like to welcome 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 activities, assisting in artist services and mailings, escorting students for our popular youth performances, and a host of other projects.
The 60-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, 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.
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 program 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 pleasant and efficient. Orientation and training sessions are held each fall and winter, and are open to anyone 18 years of age or older. Ushers may commit to work all UMS perform?ances in a specific venue or sign up to substi?tute for various performances throughout the concert season.
If you would like information about becoming a UMS volunteer usher, please call 734.615.9398 or e-mail
July 1, 2004-August 15, 2005
hank you to those who make UMS programs and presentations possible. The cost of presenting the very best in performance arts exceeds the revenue UMS receives from ticket sales. The difference is made up through the generous support of individuals, corporations, founda?tions, and government agencies. We are grateful to those who have chosen to make a differ?ence for UMS! This list includes current donors as of August 15, 2005. Every effort has been made to ensure its accuracy. Please call 734.647.1175 with any errors or omissions.
Listing of donors to Endowment Funds begins on page P51.
$100,000 or more
Doris Duke Charitable Foundation
Ford Motor Company Fund
Michigan Council for Arts
and Cultural Affairs Pfizer Global Research and
Development: Ann Arbor
Laboratories The Power Foundation
Forest Health Services
Kaydon Corporation
Bank of Ann Arbor Borders Group, Inc. Estate of Joanne Cage CFI Group Community Foundation for
Southeastern Michigan DaimlerChrysler Corporation Fund DTE Energy Foundation Ghafari Companies JPMorgan Chase KeyBank
Estate of Melanie McCray National Endowment for the Arts ProQuest Company TIAA-CREF The Whitney Fund Ann and Clayton Wilhite
$10,000-$ 19,999
Arts at Michigan
Arts Midwest
Maurice and Linda Binkow
Carl and Isabelle Brauer Fund
Cairn Foundation
Chamber Music America
Comerica Bank
Edward Surovell Realtors
Ed and Nat Surovell Maxine and Stuart Frankel
Foundation Heartland Arts Fund Toni M. Hoover Kensington Court Ann Arbor James A. and Faith Knight
Robert and Pearson Macek MASCO Corporation Mrs. Robert E. Meredith McKinley Associates National Dance Project of
the New England
Foundation for the Arts NEA Jazz Masters on Tour Prudence and
Amnon Rosenthal Toyota Technical Center Universal Classics Group
Mike Allemang and Janis Bobrin The Ann Arbor News Kathy Benton and Robert Brown Dykema Gossett, PLLC Elastizell Corporation of America Miller Canfield Paddock and
Stone P.L.C. Gilbert Omenn and
Martha Darling A. Douglas and
Sharon J. Rothwell University of Michigan
Credit Union
Herb and Carol Amster
Ann Arbor Automotive
Barbara Everitt Bryant
Thomas and Marilou Capo
Dave and Pat Clyde
Ralph Conger
Douglas D. Crary
Ken and Penny Fischer
llene H. Forsyth
Carl and Charlene Herstein
David and Phyllis Herzig
Mohamed and Hayat Issa
Issa Foundation Japan Business Society of
Detroit Foundation David and Sally Kennedy LaSalle Bank
Richard and Carolyn Lineback Mainstreet Ventures, Inc. Susan McClanahan and
Bill Zimmerman Dr. Paul W. McCracken Charlotte McGeoch M. Haskell and
Jan Barney Newman Don and Judy Dow Rumelhart Jane and Edward Schulak Sesi Lincoln Mercury Volvo Mazda
Loretta Skewes Curt and Gus Stager Thomas B. McMullen Company Tisch Investment Advisory Marion T. Wirick and
James N. Morgan Gerald B. and Mary Kate
Bernard and Raquel Agranoff June and Clyde Bennett Robert and Victoria Buckler Edward and Mary Cady Mary Sue and Kenneth
Jim and Patsy Donahey Mr. and Mrs. George W. Ford Paul and Anne Glendon Debbie and Norman Herbert
Keki and Alice Irani Natalie Matovinovic
(of R. and P. Heydon) William C. Parkinson TCF Bank Lois A. Theis Dody Viola Karl and Karen Weick
Dr. and Mrs. Gerald Abrams
Mrs. Gardner Ackley
Arnold and Janet Aronoff
Bob ano Martha Ause
Essel and Menakka Bailey
Raymond and Janet Bernreuter
Suzanne A. and Frederick J. Beutler
Joan A. Binkow
Blue Nile Restaurant
Charles and Linda Borgsdorf
Butzel Long Attorneys
Sally and Larry DiCarlo
Molly Dobson
Dr. and Mrs. Theodore E. Dushane
EMI Classics
Mr. and Mrs. Thomas C. Evans
David and Jo-Anna Featherman
Michael and Sara Frank
Beverley and Gerson Geltner
Sue and Carl Gingles
Jeffrey B. Green
Linda and Richard Greene
Janet Woods Hoobler
Dr. H. David and Dolores Humes
Shirley Y. and Thomas E. Kauper
Amy Sheon and Marvin Krislov
Jill M. Latta and David S. Bach
Judy and Roger Maugh
Virginia and Gordon Nordby
Eleanor and Peter Pollack
Jim and Bonnie Reece
John and Dot Reed
Barbara A. Anderson and
John H. Romani Helen L. Siedel Don and Carol Van Curler Dr. Kathleen McCarroll and
Lawrence Weis
Robert 0. and Darragh H. Weisman Western Union Roy and JoAn Wetzel Marina and Robert Whitman
Jim and Barbara Adams
Dr. and Mrs. David G. Anderson
Jonathan W. T. Ayers
Lesli and Christopher Ballard
Emily Bandera, M.D.
Paulett M. Banks
Karl Bartscht
Beacon Investment Company
Astrid B. Beck and
David Noel Freedman Frederick W. Becker Ralph P. Beebe Patrick and Maureen Belden Ruth Ann and Stuart J. Bergstein Anne Beaubien and Phil Berry John Blankley and Maureen Foley Dr. Giles and Mrs. Elizabeth Bole Howard and Margaret Bond Laurence and Grace Boxer Dale and Nancy Briggs Jeannine and Robert Buchanan Lawrence and Valerie Bullen Letitia J. Byrd Amy and Jim Byrne J. Michael and Patricia Campbell Jean W. Campbell Margot Campos Bruce and Jean Carlson Carolyn M. Carty and
Thomas H. Haug Jean and Ken Casey Janet and Bill Cassebaum Anne Chase
George and Patricia Chatas Leon Cohan
Hubert and Ellen Cohen Lois and Avern Cohn Tom Cohn Conlin Travel Jim and Connie Cook Jane Wilson Coon and
A. Rees Midgley, Jr. Anne and Howard Cooper Susan and Arnold Coran Ronnie and Sheila Cresswell Kathleen J. Crispell and
Thomas S. Porter Richard J. Cunningham Peter and Susan Darrow Hal and Ann Davis Lloyd and Genie Dethloff Steve and Lori Director Andrzej and Cynthia Dlugosz Al and Kendra Dodds Elizabeth A. Doman John Dryden and Diana Raimi Julia C. and Charles R. Eisendrath Joan and Emil Engel Claudine Farrand and
Daniel Moerman Eric Fearon and Kathy Cho
Yi-tsi M. and Albert Feuerwerker
Ray and Patricia Fitzgerald
Bob Fleming
John and Esther Floyd
James W. Ford
Otto and lourdes E. Gago
Bernard and Enid Galler
Thomas and Barbara Gelehrter
William and Ruth Gilkey
Mr. and Mrs. Clement Gill
Cozette T. Grabb
Elizabeth Needham Graham
Mr. and Mrs. Robert C. Graham
Dr. John and Renee M. Greden
John and Helen Griffith
Leslie and Mary Ellen Guinn
Carolyn Houston
Robert M. and Joan F. Howe
John and Patricia Huntington
Perry Irish
Stuart and Maureen Isaac
Rebecca S. Jahn
Timothy and Jo Wiese Johnson
Robert L. and Beatrice H. Kahn
Herbert Katz
Robert and Jeri Kelch
James and Patricia Kennedy
Connie and Tom Kinnear
Diane Kirkpatrick
Philip and Kathryn Klintworth
Carolyn and Jim Knake
Samuel and Marilyn Krimm
Barbara and Michael Kusisto
Marilyn and Dale Larson
Ted and Wendy Lawrence
Peter Lee and Clara Hwang
Richard LeSueur
Donald J. and Carolyn Dana Lewis
Carolyn and Paul Lichter
Don and Erica Lindow
Leslie and Susan Loomans
Fran Lyman
John and Cheryl MacKrell
Catherine and Edwin L. Marcus
Sally and Bill Martin
Jeff Mason and Janet Netz
Chandler and Mary Matthews
Dr. Kathleen McCarroll and
Lawrence Weis Rebecca McGowan and
Michael B. Staebler Leo and Sally Miedler Candy and Andrew Mitchell Lester and Jeanne Monts Alan and Sheila Morgan Jane and Kenneth Moriarty Melinda and Bob Morris Charles H. Nave Edward Nelson
Donna Parmelee and William Nolting Rene and Hina Papo Brian P. Patchen Margaret and Jack Petersen Elaine and Bertram Pitt Stephen and Bettina Pollock Richard H. and Mary B. Price
Red Hawk Bar & Grill
Mrs. Frances Quartern
Donald Regan and Elizabeth Axelson
Ray and Ginny Reilly
Kenneth J. Robinson
Patrick and Margaret Ross
Doris E. Rowan
Dr. Nathaniel H. Rowe
Craig and Jan Ruff
Nancy W. Rugani
Alan and Swanna Saltiel
Norma and Dick Sarns
Maya Savarino
Meeyung and Charles R. Schmitter
John J. H. Schwarz
Dr. James R. and
Ms. Margaret B. Seibold Erik and Carol Serr Dennis and Ellie Serras Janet and Michael Shatusky Muaiad and Aida Shihadeh Carl P. Simon and Bobbi Low Frances U and Scott K. Simonds J. Barry and Barbara M. Sloat Hildreth Spencer Ph.D. Susan Sm th and Robert Gray Shelly Soenen and Michael Sprague Kate and Philip Soper Lloyd and Ted St. Antoine Lois and Jack Stegeman Victor and Marlene Stoeffler Dr. and Mrs. Stanley Strasius Estate of Bill and Mary Stubbins Charlotte B. Sundelson Jan Svejnar and Katherine Terrell Jim Toy Unocal
Charlotte Van Curler Jack and Marilyn van der Velde Mary C. Vandewiele Florence S. Wagner Robin and Harvey Wax Thomas and Mary Wakefield Elise Weisbach Scott Westerman Max Wicha and Sheila Crowley Dr. and Mrs. Max V. Wisgerhof II Jeanne and Paul Yhouse Edwin and Signe Young Zanzibar Restaurant
Thomas and Joann Adler
Family Foundation Dr. and Mrs. Robert G. Aldrich Anastasios Alexiou Christine Webb Alvey American Spoon Anonymous
Dr. and Mrs. Rudi Ansbacher Harlene and Henry Appelman Frank and Nancy Ascione
Benefactors, mnt.
Robert L. Baird Norman E. Barnett Mason and Helen Barr Lois and David Baru James A. Bergman and
Penelope Hommel LS. Berlin
Donald and Roberta Blitz Ron and Mimi Bogdasarian Gary Boren
Dr. and Mrs. Ralph Bozell David and Sharon Brooks Donald R. and
June G. Brown Morton B. and Raya Brown Virginia Sory Brown Isabel Buckner Mr. and Mrs.
Richard J. Burstein H. D. Cameron Tsun and Siu Ying Chang John and Camilla Chiapuris Kwang and Soon Cho Dr. Kyung and Young Cho Janice A. Clark Wayne and Melinda Colquitt Jean Cunningham and
Fawwaz Ulaby Roderick and
Mary Ann Daane Timothy and Robin
Damschroder Charles W. and
Kathleen P. Davenport Nicholas and Elena Delbanco Ellwood and Michele Derr Elizabeth Dexter Steve and Judy Dobson Robert J. and Kathleen Dolan Heather and Stuart Dombey Jack and Betty Edman Stefan S. and Ruth S. Fajans Elly and Harvey Falit Dr. and Mrs. John A. Faulkner Fausone, Taylor & Bohn, LLP Dede and Oscar Feldman James and Flora Ferrara Sidney and Jean Fine Carol Finerman Clare M. Fingerle Jason I. Fox
Marian and David M. Gates Beverly Gershowitz Golden Limousine Irwin Goldstein and Martha Mayo William and Sally Goshorn Amy and Glenn Gottfried Great Harvest Bread
Seymour D. Greenstone David and Kay Gugala Don P. Haefner and
Cynthia J. Stewart Helen C. Hall Susan Harris
Sivana Heller Mrs. W.A. Hiltner Sun-Chien and Betty Hsiao Ann D. Hungerman Thomas and
Kathryn Huntzicker Eileen and Saul Hymans Jean Jacobson Dr. and Mrs. David W. Jahn Wallie and Janet Jeffries John B. Kennard, Jr. Rhea Kish Hermine R. Klingler Michael J. Kondziolka and
Mathias-Philippe Florent
Badin Charles and
Linda Koopmann Chene Koppitz Bud and Justine Kulka Jane Laird John K. and
Jeanine Lawrence Laurie and Robert LaZebnik Jim and Cathy Leonard Sue Leong
E. Daniel and Kay Long Marilyn and
Frode Maaseidvaag Brigitte and Paul Maassen Ann W. Martin and
Russ Larson Carole Mayer Bruce McCarthy and
Jim Macksood Margaret E. McCarthy Raven McCrory Joseph McCune and
Georgiana Sanders Griff and Pat McDonald Bernice and Herman Merte Dr. Henry Messer and
Carl House
Michigan Car Services, Inc. Mr. and Mrs. Eugene A. Miller James M. Miller and Rebecca H. Lehto Gerry and Joanne Navarre James G. Nelson and
Katherine M. Johnson Arthur S. Nusbaum Marylen S. Oberman Constance and David Osier Marysia Ostafin and
George Smillie Steven and Janet Pepe Juliet S. Pierson Bill and Diana Pratt Ann Preuss
Wallace and Barbara Prince Mrs. Joseph S. Radom Jeanne Raisler and Jon Cohn Claudia Rast and
Jaynor Johnston Stephen and Agnes Reading Anthony L. Reffells Marnie Reid and Family
Corliss and Jerry Rosenberg Margaret and
Haskell Rothstein Miriam Sandweiss Ann and Tom Schriber Edward and Kathy Silver Robert and Elaine Sims Irma J. Sklenar Neela Sripathi Gus and Andrea Stager Eric and Virginia Stein James C. Steward Cynthia Straub David and Karen Stutz Sandy Talbott and
Mark Lindley Elizabeth H. Thieme Catherine B. Thoburn Fr. Lewis W. Towler Louise Townley Jeff and Lisa Tulin-Silver Dr. Lynn T. Schachinger and
Dr. Sheryl S. Ulin Steven and Christina
Don and Toni Walker Robert D. and
Liina M. Wallin Raoul Weisman and
Ann Friedman Angela and Lyndon Welch Reverend Francis E. Williams Lawrence and Mary Wise Charles Witke and
Aileen Gatten Keith and Karlene Yohn Scott Zeleznik and
Nancy Burns
Mr. and Mrs. Roy I. Albert Roger Albin and
Nili Tannenbaum Helen and David Aminoff Anonymous
Penelope and Arthur Ashe Drs. John and Lillian Back J. Albert and Mary P. Bailey Reeve and Marian Bailey Laurence R. and
Barbara K. Baker Reg and Pat Baker Nan Barbas and
Jonathan Sugar David and Monika Barera Francis J. and Lindsay
Bateman Gary Beckman and
Karla Taylor Prof, and Mrs.
Erling Blondal Bengtsson Linda and Ronald Benson Dr. Rosemary R. Berardi
Steven J. Bernstein and
Maria Herrero Rodney and Joan Bentz Jack Billi and Sheryl Hirsch llene and William Birge Victoria C. Botek and
William M. Edwards Paul and Anna Bradley William R. Brashear Joel Bregman and
Elaine Pomeranz Trudy and Jonathan Bulkley Tony and Jane Burton Oliver and Susan Cameron Valerie and Brent Carey J. Wehrley and
Patricia Chapman Dr. Kathleen G. Charla Reginald and Beverly Ciokajlo Coffee Express Dr. and Mrs. Harvey Colbert Edward J. and
Anne M. Comeau Malcolm and Juanita Cox Lloyd and Lois Crabtree Merle and
Mary Ann Crawford Peter C. and Lindy M. Cubba Mary R. and John G. Curtis Alisande Cutler Marcia A. Dalbey Art and Lyn Powrie Davidge Ed and Ellie Davidson Norma and Peter Davis John and Jean Debbink Macdonald and Carolin Dick Esther Donahue Elizabeth Duell Rosanne and Sandy Duncan Swati Dutta
Eva and Wolf Duvernoy Dr. Alan S. Eiser Judge and Mrs. S. J. Elden Sol M. and Judith Elkin Dr. Stewart Epstein Mark and Karen Falahee Phil and Phyllis Fellin Dr. James F. Filgas Herschel and Adrienne Fink Mrs. Gerald J.Fischer (Beth B.) C. Peter and Beverly Fischer Susan Fisher and John Waidley Jessica Fogel and
Lawrence Weiner Howard and Margaret Fox Paula L. Bockenstedt and
David A. Fox Betsy Foxman and
Michael Boehnke Lynn A. Freeland Leon and Marcia Friedman C. Olivia Frost Philip and Renee Frost Mr. and Mrs. William Fulton James M. and
Barbara H. Garavaglia Tom Gasloli Deborah and Henry Gerst
Associates, com
Beth Genne and
Allan Gibbard Paul and Suzanne Gikas Elmer G. Gilbert and
Lois M. Verbrugge J. Martin Gillespie and
Tara Gillespie Joyce Ginsberg Richard Ginsberg and
Cheryl Cassidy Maureen and David Ginsburg Eszter Gombosi Enid M. Gosling Charles and Janet Goss James W. and
Maria J. Gousseff Ingrid and Sam Gregg G. Robinson and Ann Gregory Raymond and
Daphne M. Grew Mark and Susan Griffin Werner H. Grilk Bob and Jane Graver H & R Block Michio Peter and
Anne Hagiwara Tom Hammond Naomi Gottlieb Harrison and
Theodore Harrison DDS John Hasluck
Jeannine and Gary Hayden Rose and John Henderson J. Lawrence and
Jacqueline Stearns Henkel Kathy and Rudi Hentschel Lee Hess and Irene Levine Herb and Dee Hildebrandt Peter Hinman and
Elizabeth Young James and
Ann Marie Hitchcock Mabelle Hsueh Harry and Ruth Huff Jane H. Hughes Robert B. Ingling John H. and Joan L. Jackson Beverly P. Jahn Elizabeth Jahn Christopher P. and
Sharon Johnson Elizabeth Judson Johnson Paul and Olga Johnson Dr. Arthur A. Kaselemas Ms. Margaret Kazarinoff Evan Cohen and
Deborah Keller-Cohen Frank and Patricia Kennedy George L. Kenyon and
Lucy A. Waskell
Mr. and Mrs. Roland Kibler Donald F. and Mary A. Kiel Paul and Dana Kissner James and Jane Kister Shira and Steve Klein Laura Klem Anne Kloack Thomas and Ruth Knoll Joseph and
Marilynn Kokoszka Barbara and Ronald Kramer Barbara and
Michael Kratchman Doris and Don Kraushaar Bert and Geraldine Kruse Donald Lachowicz Neal and Anne Laurance David Lebenbom John and Theresa Lee Derick and Diane Lenters Myron and Bobbie Levine Jacqueline H. Lewis Zheng Li
Rod and Robin Little Dr. and Mrs.
Lennart H. Lofstrom Julie M. Loftin Naomi E. Lohr Florence LoPatin Carl J. Lutkehaus Mr. and Mrs. Edward Lynn Pamela J. MacKintosh Melvin and Jean Manis Margaret and Harris
McClamroch Doug Anderson and
Peggy McCracken Joann McNamara Nancy A. and
Robert E. Meader Gerlinda S. Melchiori Ph.D. George R. and Brigitte Merz Don and Lee Meyer Shirley and Bill Meyers Olga Ann Moir Fred Mollenkopf William G. and
Edith 0. Moller, Jr. Donald L. Morelock Frieda H. Morgenstern Charles Stewart Mott
Mark and Lesley Mozola Thomas and Hedi Mulford Gavin Eadie and
Barbara Murphy Lisa Murray and Mike Gatti Alberto Nacif Richard and Susan Nisbett
Laura Nitzberg and
Thomas Carli David and Andrea Page Mrs. William B. Palmer William C. and Hedda Panzer Nicole Paoletti Shirley and Ara Paul Zoe and Joe Pearson John and Jean Peirce Evelyn G. Pickard Stephen and Celeste Piraino Donald and Evonne Plantinga Rebecca Minter and
John Rectenwald Michael J. Redmond Molly Resnik and
John Martin Judith Revells
Timothy and Teresa Rhoades Constance 0. Rinehart Jonathan and Anala Rodgers Richard and Edie Rosenfeld Rosemarie Rowney Terrance and Ina Sandalow Michael and Kimm Sarosi Stephen Rosenblum and
Rosalyn Sarver Albert J. and Jane L. Sayed Jochen and Helga Schacht Schakolad Chocolate Factory David and Marcia Schmidt Sue Schooner and
Tom Wieder Joe and Alicia Schuster Ms. Harriet Selin Richard H. Shackson Howard and Aliza Shevrin Patrick and Carol Sherry Jean and Thomas Shope Mrs. Patricia Shure Terry M. Silver, M.D. Alida G. Silverman Sandy and Dick Simon Michael and Maria Simonte Nancy and Brooks Sitterley James Skupski and
Dianne Widzinski Alene Smith Carl and Jari Smith Gregory and Margaret Smith Robert W. Smith Mrs. Robert W. Smith Hugh and Anne Solomon Mrs. Gretchen Sopcak Ralph and Anita Sosin Tom Sparks Joseph H. Spiegel Jeff Spindler Burnette Staebler
Mr. and Mrs. Gary Stahle David and Ann Staiger James and Nancy Stanley Eric and Virginia Stein Rick and Lia Stevens James L. Stoddard Ellen M. Strand and
Dennis C. Regan Dr. Ulrich and Nicole Stuhec Donald and Barbara
Brian and Lee Talbot Peg Talburtt and Jim Peggs Judy and Lewis Tann The Taubman Corporation Eva and Sam Taylor Paul and Jane Thielking Edwin J. Thomas Gretta R. Thomson Nigel and Jane Thompson Claire and Jerry Turcotte Dr. Hazel M. and Victor C.
Turner, Jr.
Bill and Jewell Tustian Susan B. Ullrich Herbert and Anne Upton Jim and Emilie Van Bochove Douglas and Andrea Van
Houweling Hugo and Karla
Vandersypen Mrs. Theodore R. Vogt Keith P. Walker Charles R. and Barbara H.
Wallgren Jo Ann Ward John M. Weber Deborah Webster and
George Miller Iris and Fred Whitehouse Nancy Wiernik Anne Marie and Robert J.
Frances A. Wright Phyllis B. Wright Charlotte A. Wolfe Richard E. and Muriel Wong Stanley J. and
Priscilla Woollams Frances A. Wright David and April Wright Robert and Betty Wurtz Don and Charlotte Wyche MaryGrace and Tom York Gail and David Zuk
July 1, 2004-August 15, 2005
Endowment funds provide income to UMS in perpetuity, offering donors the opportunity to make a gift today which will benefit UMS audiences of tomorrow. The donors listed below provided support for UMS endow?ment funds from July 1, 2004 through August 15, 2005. We are grateful for their generous support for UMS, now and in the future.
$100,000 and above The Wallace Foundation
Eben Rosenthal and Mary Hawn
Prudence and Amnon Rosenthal
James and Nancy Stanley
$5,000-$9,999 Herb and Carol Amster CFI Group, Inc. Maxine and Stuart Frankel
Foundation Susan B. Ullrich
Dr. and Mrs. Gerald Abrams
Mike Allemang and Janis Bobrin
Robert and Wanda Bartlett
Joan A. Binkow
Barbara Everitt Bryant
Barb and Skip Campbell
Dr. Kyung and Young Cho
Mike and Nancy Deeb
Macdonald and Carolin Dick
Dr. Sid Gilman and Dr. Carol Barbour
Debbie and Norman Herbert
Julian and Diane Hoff
Timothy and Jo Wiese Johnson
Jill M. Latta and David S. Bach
Allen and Evie Lichter
Lawrence and Rebecca Lohr
Joseph McCune and
(of R. and P. Heydon) Mike and Pat Mulholland M. Haskell and Jan Barney Newman Gilbert Omenn and Martha Darling Mark and Susan Orringer
Philip and Kathy Power
Laurie and Richard Prager
Jon Rosenthal
Linda Samuelson and Joel Howell
Thomas and Mary Wakefield
Elise Weisbach
Max Wicha and Sheila Crowley
Marina and Robert Whitman
Gerald and Mary Kate Zelenock
David and Martha Bloom
Ron and Mimi Bogdasarian
Carl A. Brauer, Jr.
Trudy and Jonathan Bulkley
Dr. Frances E. Bull
Letitia J. Byrd
Ellen G. and Vincent M. Cimmino
Susan and Arnold Coran
Nicholas and Elena Delbanco
Julia C. and Charles R. Eisendrath
Stefan S. and Ruth S. Fajans
Dede and Oscar Feldman
Ken and Penny Fischer
Beverley and Gerson Geltner
Edward M. and Ruth B. Gramlich
Lewis and Mary Green
Naomi Gottlieb Harrison and
Theodore Harrison DDS Carl and Charlene Herstein Robert and Jeri Kelch Marvin Krislov and Amy Sheon Myron and Bobbie Levine Drs. David and Renee Pinsky Philip and Kathy Power Richard and Mary Price Marnie Reid
Charles and Julie Steedman Steve and Diane Telian Joseph and Alice Vining B. Joseph and Mary White Ann and Clayton Wilhite
Endowed Funds
The future success of the University Musical Society is secured in part by income from UMS's endowment. UMS extends its deepest apprecia?tion 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 Isabelle Brauer
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 Prudence and Amnon Rosenthal
K-12 Education Endowment Fund Charles A. Sink Endowment Fund Catherine S. ArcureHerbert E. Sloan
Endowment Fund University Musical Society
Endowment Fund
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 impor?tant support, which will continue the great tradi?tions of artistic excellence, educational opportunities and community partner?ships in future years.
Bernard and
Raquel Agranoff Carol and Herb Amster Mr. Neil P. Anderson Dr. and Mrs.
David G. Anderson Catherine S. Arcure Maurice and Linda Binkow Elizabeth S. Bishop Mr. and Mrs.
W. Howard Bond Mr. and Mrs.
Pal E. Borondy Carl and Isabelle Brauer Barbara Everitt Bryant Pat and George Chatas Mr. and Mrs.
John Alden Clark Douglas D. Crary H. Michael and
Judith L. Endres Dr. James F. Filgas Ken and Penny Fischer Ms. Susan Ruth Fisher Beverley and Gerson Geltner Paul and Anne Glendon John and Martha Hicks Mr. and Mrs. Richard Ives Marilyn G. Jeffs Thomas C. and
Constance M. Kinnear Diane Kirkpatrick Charlotte McGeoch Michael G. McGuire Dr. Eva Mueller M. Haskell and
Jan Barney Newman
Len Niehoff Dr. and Mrs.
Frederick C. O'Dell Mr. and Mrs.
Dennis M. Powers Mr. and Mrs.
Michael Radock Mr. and Mrs.
Jack W. Ricketts Mr. and Mrs.
Willard L. Rodgers Prudence and
Amnon Rosenthal Margaret and
Haskell Rothstein Irma J. Sklenar Herbert Sloan Art and Elizabeth Solomon Roy and JoAn Wetzel Ann and Clayton Wilhite Mr. and Mrs.
Ronald G. Zollars
Tribute Gifts
Contributions have been received in honor andor memory of the following individuals:
H. Gardner Ackley Michael Allemang and
Janis Bobrin Gertrude Barnes Isabelle Brauer Valerie Castle, MD Mr. and Mr. Thomas
Caterino Gabriel Chin Heidi Cohan Alfred F. Cox, Jr. Benning Dexter Lorna Donnelly David Eklund Elizabeth Fiedorczyk Kenneth C. Fischer Jacob Friedman Minnie Friedman Beverley and Gerson
Geltner Lila Green Harold Haugh Toni M. Hoover JonesWilliams Families
Elizabeth Earhart Kennedy Richard L. Kennedy Leslie Kish Michael Kondziolka Gordon Laing Alexandra Lofstrom Dr. Josip Matovinovic Mother Teresa of Calcutta Matthew Newman and
Suzanne Lynch Harold A. Oberman, MD David and Steven Plastrik Gwen and Emerson Powrie Dr. Lawrence Preuss Mr. Gail W. Rector Kathryn Rector Steffi Reiss
Prue and Ami Rosenthal Margaret E. Rothstein Eric H. Rothstein Nona R. Schneider Herbert Sloan Bill and Mary Stubbins Charles R. Tieman Norman R. Vandewiele Francis V. Viola III Carl Huntington Wilmot,
Class of 1919 Peter Holderness Woods Barbara E. Young
In-Kind Gifts
A-1 Rentals, Inc. Wadad Abed Acme Mercantile Raquel and Bernard Agranoff Nizar and Nada Al-Awar Laith Alattar
Alexandra's in Kerrytown Alumni Association of the
University of Michigan Ann Arbor Art Center Ann Arbor Women's
City Club Dr. Naji Arwashan Atlanta Bread Company Lois and David Baru Kathy Benton and Bob Brown Big Ten Party Store The Blue Nile Restaurant Mimi and Ron Bogdasarian Borders Books and Music Bob and Victoria Buckler
Margot Campos Chelsea Flowers Cottage Inn Restaurant Sally and Larry DiCarlo Al and Kendra Dodds Kathleen and Robert Dolan The Earle Restaurant The Earle Uptown Edward Surovell Realtors Damian and Katherine Farrell Ken and Penny Fischer Sara Frank
Beverley and Gerson Geltner Great Harvest Bread Company Claire Harding Debbie and Norman Herbert Carl and Charlene Herstein The Issa Family Abe and Elaine Karem Kerrytown Concert House King's Keyboard House Laky's Salon Gene Laskowski Richard LeSueur Catherine Lilly Kahled and Susan Man M. Haskell and
Jan Barney Newman Liz Othman Paesano's Restaurant Randy Parrish Fine Framing Deanna Relyea Huda Rosen
Prue and Ami Rosenthal Jim and Adrienne Rudolph Savitski Design Jeri Sawall Schlanderer S Sons Penny and Paul Schreiber Tom and Ann Schriber Rabia Shade Meg Kennedy Shaw Muaiad and Aida Shihadeh Herbert Sloan Jim and Nancy Stanley Natalie and Edward Surovell Tom Thompson Flowers Louise Townley Ann and Clayton Wilhite Joe Yunkman Amer Zahr Mary Kate and Jay Zelenock

Download PDF