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UMS Concert Program, Thursday, Sep. 21 To Oct. 07: University Musical Society: Fall 2006 - Thursday, Sep. 21 To Oct. 07 --

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Day
21
Month
September
Year
2006
Download PDF
Rights Held By
University Musical Society
OCR Text

Season: FALL 2006
University Of Michigan Ann Arbor

MERS
university musical society
Fall 06
University of Michigan Ann Arbor
Letters from the Presidents Letter from the Chair
UMSLeadership 6 Corporate LeadersFoundations
14 UMS Board of DirectorsSenateAdvisory Committee
p 15 UMS StaffTeacher Advisory Committee
UMSServices 17 General Information
P19 UMS Tickets
21 www.ums.org
P21 Student Information
UMSAnnals 25 UMS History
26 UMS Choral Union
27 Venues and Burton Memorial Tower
UMSExperience 29 The 128th UMS Season
31 UMS Education Programs
37 UMS Preferred Restaurants and Businesses
P37 UMS Delicious Experiences
UMSSupport 39 UMS Advisory Committee
41 UMS Ushers
41 Sponsorship and Advertising
43 Annual Fund Support
P53 Annual Endowment Support
P56 UMS Advertisers

FROM THE U-M PRESIDENT
@@@@W
elcome to the 128th season of the University Musical Society (UMS)! All of us at the University of Michigan are proud of UMS, the oldest university-related performing arts presenter in the United States and one of the most distinguished. Earlier this year, UMS was named one of only three university presenters in the United States to receive a major grant from the Doris Duke Charitable Foundation in the inaugural year of the foundation's new Leading College and University Presenter Program. The University is pleased to support UMS not only in its regular 200607 season programming but in this fall's third residency of the Royal Shakespeare Company, an exclusive presentation taking place October 24-November 12 only in Ann Arbor.
It is an exciting time for the arts at Michigan. Earlier this year there were the four Grammy awards for the recording of Professor William Bolcom's Songs of Innocence and of Experience featuring 450 musicians, most of them U-M students, and produced on the Hill Auditorium stage by UMS and the U-M School of Music, Theatre, & Dance. This fall marks the groundbreaking for the Maxine and Stuart Frankel and the Frankel Family Wing of the U-M Museum of Art, and this coming spring will see the opening of the Arthur Miller Theatre in the new Walgreen Drama Center. I hope to see many of you at these historic events.
Thank you for attending this UMS performance. Please join us this year for other UMS events and for performances, exhibitions, and cultural activities offered by our faculty and students in the University's many outstanding venues. To learn more about arts and culture at Michigan, visit the University's website at www.umich.edu.
Sincerely,
i Da
VfrflU
Mary Sue Coleman
President, University of Michigan
FROM THE UMS PRESIDENT
@@@@W
elcome to this UMS performance. I hope to see you at more UMS events during this exciting 128th season. You'll find all of our events, including the 21 performances by the Royal Shakespeare Company in their third Ann Arbor residency this fall, listed on P29.
Volunteers are at the heart of UMS's success and among our most active, committed, and generous volunteers are the UMS Board of Directors. Over the summer we bade farewell to three outstanding members, welcomed five new members, and selected officers for the coming season.
Debbie Herbert, Jan Barney Newman, and Gil Omenn each served two three-year terms with distinction and now become members of the UMS Senate, which is the "alumni association" for retired UMS Board members. A highly qualified class was elected to three-year Board terms beginning July 1: arts educator Lynda Berg, physician Al Dodds, community leader Ellie Serras, auto dealer Joe Sesi, and dance educator Tony Smith. UMS Board members attend up to seven Board meetings a year, serve on various committees, participate in many UMS events, con?tribute generously, and provide leadership to the organization in many ways. The Board officers for the 200607 season include returning Chair Clayton Wilhite, Vice Chair Carl Herstein, and Treasurer Michael Allemang. Cynthia Dodd succeeds retiring Secretary Jan Barney Newman. For a complete list of UMS Board and Senate members, see P14.
It's wonderful to have you with us for this performance. Feel free to get in touch with me if you have any questions or problems. If you don't see me in the lobby at this performance, please send me an e-mail message at kenfisch@umich.edu or call me at 734.647.1174.
Kenneth C. Fischer UMS President
Very best wishes.

AN INVITATION FROM UMS CHAIRMAN, CLAYTON WILHITE
How Two Gifts from You in 0607 Can Produce Four for UMS. Yes, the Math Works.
L
ast year in this space, I discussed the significant positive impact your donations can have on the fiscal health of UMS. So, before I explain the miraculous headline, I want to report that your generosity last year did, indeed, have impact. UMS reached both its annual and endowment fund goals, thereby achieving critical financial milestones in a bumpy economic climate.
From all of us at UMS, enormous thanks to those of you who made that possible.
Now let's focus on the headline and the message behind it--one so fundamentally necessary to our 0607 goals.
Let me lay out the rationale behind my claim and see if it makes sense for you.
Fact 1--UMS has a modest endowment. It must be increased signifi?cantly: first, because the cost of distinctive, high quality, sometimes "adventuresome" programming requires it; second, because the new reality is that UMS operates in an increasingly erratic arts funding environment. Corporate, government, University of Michigan, and foundation giving have each experienced wide funding fluctuations in the last 24 months. Insulating UMS from these vagaries is a high endowment priority.
Fact 2--Endowment monies not withstanding, UMS history is replete with examples of the lifeblood role that annual giving by thousands of generous individuals has played in building the UMS reputation over the last 127 seasons. Your annual gifts are the most essential component of a solvent UMS. Thus it has been and thus it shall always be.
Fact 3--UMS, for the first time, is a full participant in a University of Michigan fund-raising campaign. The "Michigan Difference" (you easily could substitute, "UMS") campaign presents UMS with a highly visible once-in-a-lifetime window to address our annual giving and endowment needs simultaneously as never before.
Now, let's turn the corner and relate all this to you--in particular, to our audiences of five, 10, 20, or 40 years standing who, conceivably, have both the means and the motivation to consider two gifts to UMS this season:
Continuing a personally meaningful annual fund commitment and
Inaugurating a "UMS Difference" endowment commitment in the form of a one-time cash gift, a multi-year cash pledge, or a bequest.
If this notion is beginning to strike a chord, let me offer one final, compelling motive to complete my case. Thanks to two great American philanthropic organizations. The Wallace Foundation and Doris Duke Charitable Foundation, UMS is poised to receive $1.5 million in additional matching endowment funds if we can raise $2 million on our own. While achieving this level would still leave us well short of our ultimate endowment goals, what a jump-start the $3.5 million would give us. (Conversely, if we don't raise the full $2 million, we also lose that portion of the grant as well).
The endowment match opportunity is in place for the entire 0607 season. To bring things down to a very personal, individual level, every dollar you give to endowment generates an additional $1.50 from the foundations.
Never in UMS history have we had this amount of leverage working for us at one time.
So, can we ask you to give to UMS twice in 0607 Once to the annual fund and once more to the endowment
For some who already are stretched with their annual fund gift, the answer may be "no." Nevertheless, we thank you for that critical contribution. As I said earlier, there would be no UMS without you.
For others, in particular those who are experiencing the joy of being over age 40, many years of rewarding UMS performances combined with financial circumstances will produce a "yes"--knowing that when you give, Wallace and Duke will each give as well.
The quite magical result of your generosity Two gifts from you produce four gifts to UMS and protect our future for generations to come!
For more information on both giving options, please contact the offices of Susan McClanahan, Director of Development, at 734.647.1177 or visit our website at www.ums.org and click on "Make a Gift."
@@@@Clayton Wilhite
Chair, UMS Board of Directors
Sincerely,
Leadership
CORPORATE LEADERS FOUNDATIONS
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 C. Epolito
President and CEO, Michigan Economic Development Corporation
"Quality of life and cultural resources are key factors for corporate leaders who are growing their businesses in Michigan or considering locating here. For this reason the Michigan Economic Development Corporation is thankful for the opportunity to support the University Musical Society as it further enhances the state's reputation for artistic excellence."
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."
Andrea Fischer Newman
Senior Vice President Government Affairs, Northwest Airlines
"As the carrier that connects Ann Arbor and Michigan to the world, Northwest is proud to support the University Musical Society, one of many examples of the talent, creativity, and artistic excellence that enrich and strengthen our community."
David Canter
Senior Vice President, Pfizer, Inc. "The science of discovering new medicines is a lot like the art of music: to make it all come together, you need a diverse collection of brilliant people. In order to get people with world-class talent you have to offer them a special place to live and work. UMS is one of the things that makes Ann Arbor quite special. In fact, if one were making a list of things that define the quality of life here, UMS would be at or near the very top. Pfizer is honored to be among UMS's patrons."
Douglass R. Fox
President, Ann Arbor Automotive "We at Ann Arbor Automotive are pleased to support the artistic variety and program excellence given to us by the University Musical Society."
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 0607 season."
Habte Dadi
Manager, Blue Nile Restaurant "At the Blue Nile, we believe in giving back to the community that sustains our business. We are proud to support an organization that provides such an important service to Ann Arbor."
George Jones
President and CEO, Borders Group, Inc. "Borders embraces its role as a vital, contributing member of the community that reaches out to connect with people. We know that what our customers read, listen to, and watch is an integral part of who they are and who they aspire to be. Borders shares our community's passion for the arts and we are proud to continue our support of the University Musical Society."
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."
Brian G. Glowiak
Wee President, DaimlerChrysler Corporation Fund "We are pleased to support the University Musical Society and numerous other community programs that encourage appreciation for the arts and culture, enhance our quality of life, and improve the world around us.
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 community. 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 "Elastizell is pleased to be involved with UMS. UMS's strengths are its programming--innovative, experimental, and pioneering--and its education and outreach programs in the schools and the community."
Carl W. Herstein
Partner, Honigman Miller Schwartz and Cohn LLP "Honigman is proud to support non-profit organizations in
the communities where our partners and employees live and work. We are thrilled to support the University Musical Society and commend UMS for its extraordinary programming, com?missioning of new work, and educational outreach programs."
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, Michigan "JPMorgan Chase is honored to be a partner with the University Musical Society's proud tradition of musical excellence and artistic diversity."
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."
Edward Reilly
Michigan District President, KeyBank "KeyBank is a proud supporter of the performing arts and we commend the University Musical Society on the cultural excellence it brings to the community. Thank you, UMS. Keep up the great work!"
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."
Sharon J. Rothwell
Wee President, Corporate Affairs and Chair, Masco Corporation Foundation
'Masco recognizes and appreciates the value the performing arts bring to the region and to our young people. We applaud the efforts of the University Musical Society for its diverse learning opportunities and the impact its programs have on our communities and the cultural leaders of tomorrow."
Erik H. Serr
Principal, Miller, Canfield, Paddock & Stone, P.LC. "Miller Canfield is a proud supporter of the University Musical Society and its superior and diverse cultural events, which for 127 years has brought inspiration and enrichment to our lives and to our community."
Alan Aldworth
Chairman, President, 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."
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."
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."
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."
Tom Thompson
Owner, Tom Thompson Flowers
"Judy and I are enthusiastic participants in the UMS family. We appreciate how our lives have been elevated by this relationship."
Yasuhiko "Yas" Ichihashi
President, Toyota Technical Center, USA Inc. "Toyota Technical Center is proud to support UMS, an organization with a long and rich history of serving diverse audiences through a wide variety of arts programming.
Jim Mattson
President, University of Michigan Credit Union "Thank you to the University Musical Society for enriching our lives. The University of Michigan Credit Union is proud to be a part of another great season of performing arts."
"Universal Classics Group, home of Deutsche Grammophon, Decca, and Philips Records--three great labels long synonymous with the finest in classical music recordings-is proud to support our artists performing as part of the University Musical Society's 128th season."
FOUNDATION AND GOVERNMENT SUPPORT
UMS gratefully acknowledges the support of the following foundations and government agencies.
$100,000 or more
Doris Duke Charitable
Foundation Michigan Council for Arts
and Cultural Affairs Michigan Economic
Development Corporation The Wallace Foundation
$50,000-99,999
Anonymous DTE Energy Foundation Esperance Family Foundation National Endowment for
the Arts The Power Foundation
S20,000-49,999
Cairn Foundation
Maxine and Stuart Frankel Foundation
The Whitney Fund at the Community Foundation for Southeastern Michigan
$10,000-19,999
Chamber Music America National Dance Project of the New England Foundation for the Arts NEA Jazz Masters on Tour
$5,000-9,999
Arts Midwest Performing
Arts Fund Issa Foundation James A. & Faith Knight
Foundation
$1,000-4,999
Eugene and Emily Grant
Family Foundation Japan Business Society of
Detroit Foundation Martin Family Foundation THE MOSAIC FOUNDATION
(of R. & P. Heydon) Millman Harris Romano
Foundation Sarns Ann Arbor Fund
UNIVERSITY MUSICAL SOCIETY of the University of Michigan
UMS BOARD OF DIRECTORS
Clayton E. Wilhite,
Chair Carl W. Herstein,
Vice-Chair Cynthia M. Dodd,
Secretary Michael C. Allemang,
Treasurer
Wadad Abed Carol L. Amster Kathleen Benton Lynda W. Berg Charles W. Borgsdorf Robert Buckler Mary Sue Coleman Hal Davis
Sally Stegeman DiCarlo Al Dodds Aaron P. Dworkin
Maxine J. Frankel Patricia M. Garcia Toni Hoover Christopher Kendall Marvin Krislov Barbara Meadows Joetta Mial Lester P. Monts Roger Newton Philip H. Power A. Douglas Rothwell
Edward R. Schulak John J. H. Schwarz Erik H. Serr Ellie Serras Joseph A. Sesi Anthony L. Smith 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 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 Deborah S. Herbert 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 Jan Barney Newman Len Niehoff Gilbert S. Omenn Joe E. O'Neal John D. Paul Randall Pittman John Psarouthakis Rossi Ray-Taylor John W. Reed Richard H. Rogel Prudence L. Rosenthal Judy Dow Rumelhart Maya Savarino Ann Schriber
Harold T. Shapiro George I. Shirley John O. 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
ADVISORY COMMITTEE
Meg Kennedy Shaw, Chair Andrea Smith, Wee Chair Norma Davis, Past Chair Mimi Bogdasarian, Secretary Thomas Ogar, Treasurer
Ricky Agranoff Randa Ajlouny Rula Kort Bawardi Elizabeth (Poage) Baxter Nishta Bhatia Mary Breakey Betty Byrne Heather Byrne Laura Caplan
Cheryl Cassidy Jean Connell Phelps Connell Mary Dempsey Mary Ann Faeth Susan Fisher Joe Grimley Cathy Gust Susan Gutow Lynn Hamilton Charlene Hancock Alice Hart Kathy Hentschel Phyllis Herzig Jean Kluge
Tracy Komarmy Julaine LeDuc Judy Mac Jane Maehr Mary Matthews Joann McNamara Jeanne Merlanti Liz Messiter Kay Ness Danica Peterson Allison Poggi Lisa Psarouthakis Paula Rand Wendy Moy Ransom Stephen Rosoff
Swanna Saltiel Agnes Sams Jeri Sawall Bev Seiford Aliza Shevrin Alida Silverman Loretta Skewes Karen Stutz Madeline Thiry Louise Townley Mary Vandewiele Dody Viola Enid Wasserman Amy Weaver Mary Kate Zelenock
UMS STAFF
AdministrationFinance
Kenneth C. Fischer, President Elizabeth E. Jahn, Assistant to
the President John B. Kennard, Jr., Director of
Administration
Patricia Hayes, Senior Accountant John Peckham, Information
Systems Manager Alicia Schuster, Gift Processor
Choral Union
Jerry Blackstone, Conductor and
Music Director
Jason Harris, Assistant Conductor Steven Lorenz, Assistant Conductor Kathleen Operhall, Chorus Manager lean Schneider and Scott
Vanornum, Accompanists Donald Bryant, Conductor Emeritus
Development
Susan McClanahan, Director Lisa Michiko Murray, Manager of
Foundation and Government Grants M. Joanne Navarre, Manager of the
Annual Fund 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 Coordinator
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 Nelson, Marketing Assistant
Production
Douglas C. Witney, Production
Director Emily Avers, Production Operations
Director Jeffrey Beyersdorf, Technical
Manager
Programming
Michael J. Kondziolka, Director Mark Jacobson, Programming
Manager Claire C. Rice, Associate
Programming Manager
Ticket Services
Nicole Paoletti, Manager Stephan Bobaiik, Ticket Office
Assistant Amber Marissa Cook, Group Sales
Coordinator Sally A. Cushing, Ticket Office
Associate Suzanne Davidson, Front-of-House
Coordinator Jennifer Graf, Assistant Ticket
Services Manager Dennis Carter, Bruce Oshaben,
Brian Roddy, Head Ushers
Students
Catherine Allen Lauren Boland Patrick Chu Amy Fingerle Jonathan Gallagher Elizabeth Georgoff William Hubenschmidt Cortney Kellogg Michael Lowney Natalie A. Malotke Parmiss Nassiri-Sheijani Sinthia Perez Alex Puette Noah Reitman Andrew Smith Liz Stover Robert Vuichard Marc Zakalik
UMS TEACHER ADVISORY COMMITTEE
Abby Alwin Fran Ampey Robin Bailey Greta Barfield Alana Barter Judy Barthwell Rob Bauman Kathleen Baxter Elaine Bennett Lynda Berg Ann Marie Borders Sigrid Bower
Susan Buchan Deb Clancy Karen Dudley Saundra Dunn Johanna Epstein Susan Filipiak Katy Fillion Lori Fithian Delores Flagg Joyce Gerber Jennifer Ginther Brenda Gluth
Bard Grabbe Chrystal Griffin Joan Grissing Sandy Hooker Susan Hoover Linda Jones Jeff Kass
Deborah Kirkland Rosalie Koenig Sue Kohfeldt Laura Machida Jose Mejia
Susan Miller Karin Nanos Michelle Peet Wendy Raymond Tracy Rosewarne Katie Ryan Sandra Smith Julie Taylor Dan Tolly Karen Tuttle Joni Warner Barbara Wallgren
UMSServices
' GENERAL INFORMATION
Barrier-Free Entrances
For persons with disabilities, all venues have barrier-free entrances. Wheelchair locations vary by venue; visit www.ums.orgtickets or call 734.764.2538 for details. Ushers are available for assistance.
Listening Systems
For hearing-impaired persons, Hill Auditorium, Power Center, and Rackham Auditorium are equipped with assistive listening devices. Earphones may be obtained upon arrival. Please ask an usher for assistance.
Lost and Found
For items lost at Hill Auditorium, Power Center, or Rackham Auditorium please call University Productions at 734.763.5213.
Parking
Please allow plenty of time for parking as the campus area may be congested. Parking is available in the Church Street, Thayer Street, and Fletcher Street 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 compli?mentary 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 0607 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 Producer level and above are invited to use this service at no charge.
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 per?formance venues, $2 after 3 pm weekdays and all day SaturdaySunday; and in the Maynard Street structure for a minimal fee.
For up-to-date parking information, please visit www.ums.org.
Refreshments
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 several events occurring simultaneously in different theaters. Please allow plenty of extra time to park and find your seats.
Latecomers
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 suit?able repertory break in the program (e.g., after the first entire piece, not after individ?ual 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 performances.
Returns
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 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. Lost or misplaced tickets cannot be exchanged.
Group Tickets
Treat 10 or more friends, co-workers, and family 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
1-3 complimentary tickets for the group organizer (depending on size of group). Complimentary tickets are not offered for performances with no group discount.
For more information, please contact the UMS Group Sales Hotline at 734.763.3100 or e-mail umsgroupsales@umich.edu.
Gift Certificates
Available in any amount and redeemable for any of more than 70 events throughout our season, wrapped and delivered with your per?sonal message, the UMS Gift Certificate is ideal for weddings, birthdays, Christmas, Hanukkah, Mother's and Father's Days, or even as a housewarming present when new friends move to town.
UMS Gift Certificates are valid for 12 months from the date of purchase and do not expire at the end of the season. For more information, please visit www.ums.org.
WWW.UMS.ORG NEW!
Tickets Forget about waiting in long 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.
Online Event Calendar. A list of all UMS performances, educational events, and other activities at a glance.
Everyone's A Critic! Share your performance thoughts on an online message board.
Sound and Video Clips Check out the new UMS Playlists on iTunes Music Store! Also view video clips and interviews from UMS perform?ers 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.
Student Ticket Information Current info on UMS Rush Tickets, student sales, and other opportunities for U-M students including a Student Blog!
Maps, Directions, and Parking To help you get where you're going...including insider parking tips.
Development Events. Current information on special events and activities outside the concert hall. Make a tax-deductible donation online.
UMS Choral Union. Audition information and performance schedules for the UMS Choral Union.
STUDENT INFORMATION
UMS offers five programs designed to fit students' lifestyles and save students money. Each year, 15,000 students attend UMS events and collectively save $300,000 on tickets through these programs.
Half-Price Student Ticket Sales. At the
beginning of each semester, UMS offers half-price tickets to college students. A limited number of tickets are available for each event in select seating areas. Simply visit www.ums.orgstudents, log in using your U-M unique name and Kerberos password, and fill out your form. Orders will be processed in the order they are received. You will pay for and pick up your tickets at a later date at the Michigan League Ticket Office.
Note: RSC tickets will not be offered for the online version of the sale. A special RSC student ticket sale will be held on Saturday, September 30, 2006.
Winter Semester: Begins Thursday, January 4, 2007 at 8 pm and ends Saturday, January 6 at 8 pm.
Sponsored by UMSInion
Rush Tickets
Sometimes it pays to procrastinate! UMS Rush Tickets are sold to college students for $10 the day of the performance (or on the Friday before weekend events) and for 50 off the published ticket price beginning 90 minutes before the event. Rush Ticket availability and seating are subject to Ticket Office discretion. Tickets must be purchased at the Michigan League Ticket Office or at the performance venue ticket office. Just bring your valid college ID. Limit two tickets per student.
UMS Student Card
Worried about finding yourself strapped for cash in the middle of the semester 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 performance. The UMS Student Card is available for $50 for 5 performances or $100 for 10 performances. Please visit www.ums.orgstudents to order online.
Please Note: RSC tickets mill not be available with the UMS Student Card.
Arts & Eats
Arts & Eats combines two things you can't live without--great music and free pizza--all in one night. For just $12, you get great seats to a UMS event (at least a 60 savings) and a free pizza dinner before the concert, along with a brief talk by a seasoned expert about the performance. Arts & Eats events are sched?uled each month. Tickets go on sale approxi?mately two weeks before the concert.
0607 Arts & Eats Events: Alice Coltrane Quartet, Sat. 923 Kirov Orchestra, Sat. 1021
lonathan Biss, Sat. 1118 Handel's Messiah, Sat. 122 Bright Sheng's Silver River, Fri. 112 Stephen Petronio, Fri. 216 Orchestre Philharmonique de Radio France, Tues. 320
With support from the U-M Alumni Association
Arts Adventure Series
UMS, the U-M School of Music, Theatre & Dance, and Arts at Michigan have teamed up to offer the Arts Adventure Series, a series of six events that costs students only $50. Click on www.arts.umich.edu to view the performance offerings and complete the order form for this series.
Arts at Michigan offers several programs designed to help students get involved in arts and cultural opportunities at the University of Michigan. Please visit www.arts.umich.edu for the latest on events, auditions, contests, fund?ing for arts initiatives, work and volunteer opportunities, arts courses, and more.
Internships and College Work-Study
Internships with UMS provide experience in performing arts administration, market?ing, ticket sales, programming, production, and arts education. Unpaid internships are available in many of UMS's depart?ments. 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.
Student Committee
As an independent council drawing on the diverse membership of the University of Michigan community, the UMS Student Committee works to increase student interest and involvement in the various programs offered by UMS by fostering increased communication between UMS and the student community, promoting awareness and accessibility of student programs, and promoting the value of live performance. For more information or to participate on the Committee, please call 734.615.6590.
Annals
UMS HISTORY
@@@@T
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 127 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 participation in every facet of the live arts.
UMS grew from a group of local university and townspeople who gathered together for the study of Handel's Messiah. Led by Professor Henry Simmons Frieze and conducted by Professor Calvin Cady, the group assumed the name The Choral Union. Their first perform?ance of Handel's Messiah was in December of 1879, and this glorious oratorio has since been performed by the UMS Choral Union annually.
As a great number of Choral Union mem?bers also belonged to the University, the University Musical Society was established in December 1880. UMS included the Choral
Union and University Orchestra, and through?out the year presented a series of concerts fea?turing local and visiting artists and ensembles.
Since that first season in 1880, UMS has expanded greatly and now presents the very best from the full spectrum of the performing arts--internationally renowned recitalists and orchestras, dance and chamber ensembles, jazz and world music performers, and opera and
Over its 127 years, strong leadership coupled with a devoted community has placed UMS in a league of internationally recognized performing arts presenters.
theater. Through educational endeavors, com?missioning of new works, youth programs, artist residencies, and other collaborative projects, UMS has maintained its reputation for quality, artistic distinction, and innovation. UMS now hosts over 60 performances and more than 125 educational events each season. UMS has flourished with the support of a generous community that this year gathers in five differ?ent 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 organiza?tion that supports itself from ticket sales, corpo?rate and individual contributions, foundation and government grants, special project support from U-M, and endowment income.
UMS CHORAL UNION
@@@@T
hroughout its 127-year history, the UMS Choral Union has performed with many of the world's distinguished 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 chorus and orchestra. Fourteen 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 Grammy Award-winning Conductor and Music Director Jerry Blackstone, the UMS Choral Union was a participant chorus in 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 LJ-M School of Music ensembles. The recording won four Grammy Awards in 2006, including "Best Choral Performance" and "Best Classical Album." The recording was also selected as one of the New York Times "Best Classical Music CDs of 2004."
The current 0607 season includes further collaborations with the DSO, including Mahler's Symphony No. 2 (Rafael Frubeck de Burgos, conductor) and John Adams's On the Trans?migration of Souls (John Adams, conductor). Further performances include Shostakovich's Symphony No. 13 ("Babi Yar") with the Kirov Orchestra of St. Petersburg (Valery Gergiev, conductor), the Verdi Requiem with the Ann Arbor Symphony (Arie Lipsky, conductor), and the 128th annual performances of Handel's Messiah in Hill Auditorium in December (Jerry Blackstone, conducting).
The 0506 season included collaborations with the DSO in Beethoven's Symphony No. 9, Mahler's Symphony No. 3, and a concert per?formance of Rossini's opera Tancredi. The 127th annual performances of Handel's Messiah took place in Hill Auditorium in December. The season was further rounded out by performances of the Vaughan Williams' Sea Symphony with the U-M School of Music's Symphony Orchestra conducted by Jerry Blackstone, and Shostakovich's Symphony No. 2 with the Kirov Orchestra of St. Petersburg, conducted by Valery Gergiev.
Participation in the UMS Choral Union remains open to all students and adults by audition. For more information about the UMS Choral Union, please call 734.763.8997 or e-mail choralunion@umich.edu.
VENUES AND BURTON MEMORIAL TOWER
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 re-opened to the public in January 2004. Originally built in 1913, renovations have updated Hill's infra?structure and restored much of the interior to its original splendor. Exterior renovations include the reworking of brick paving and stone retaining wall areas, restoration of the south entrance plaza, the reworking of the west barrier-free ramp and loading dock, and improvements to landscaping.
Interior renovations included the demolition of lower-level spaces to ready the area for future improvements, the creation of additional rest-rooms, the improvement of barrier-free circulation 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.
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 interested, realizing that state and federal governments were unlikely to provide financial support for the construction of a new theater.
Opening in 1971 with the world premiere of The Grass Harp (based on the novel by Truman Capote), the Power Center achieved the 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 exterior. The lobby of the Power Center presently features two hand-woven tapestries: Modern Tapestry by Roy Lichtenstein and Volutes (Arabesque) by Pablo Picasso.
The Power Center seats approximately 1,400 people.
Arbor Springs Water Company is generously providing complimentary water to UMS artists backstage at the Power Center throughout the 0607 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 estab?lished 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 ambi?tious ever given to higher-level education, is the fact that neither of the Rackhams ever attended the University of Michigan.
Designed by architect William Kapp and architectural sculptor Corrado Parducci, Rackham Auditorium was quickly recognized as the ideal venue for chamber music. In 1941, UMS presented its first chamber music festival with the Musical Art Quartet of New York per?forming 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.
St. Francis of Assisi Catholic Church
In June 1950, Father Leon Kennedy was appointed pastor of a new parish in Ann Arbor. Seventeen years later ground was broken to build a permanent church building, and on
March 19, 1969, John Cardinal Dearden dedi?cated the new St. Francis of Assisi Church. Father James McDougal was appointed pastor in 1997.
St. Francis of Assisi Catholic Church has grown from 248 families when it first started to more than 2,800 today. The present church seats 900 people and has ample free parking. In 1994, St. Francis purchased a splendid three manual "mechanical action" organ with 34 stops and 45 ranks, built and installed by Orgues Letourneau from Saint Hyacinthe, Quebec. Through a commitment to superb liturgical music and a vision to the future, the parish improved the acoustics of the church building, and the reverberant sanctuary has made the church a gathering place for the enjoyment and contemplation of sacred a cappella choral music and early music ensembles.
Burton Memorial Tower
Seen from miles away, Burton Memorial Tower is one of the most well-known University of Michigan and Ann Arbor 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 Tower in 2001, following a year of significant renova?tions to the University landmark.
This current season marks the sixth year of the merger of the UMS Ticket Office and the University Productions Ticket Office. Due to this partnership, the UMS walk-up ticket window is conveniently located at the Michigan League Ticket Office, on the north end of the Michigan League building at 911 N. University Avenue. The UMS Ticket Office phone number and mailing address remains the same.
Fall 2006 Season 128th 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?bance-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 the venue.
Event Program Book
Thursday, September 21 through Saturday, October 7, 2006
Ballet Folklorico de Mexico 5
Thursday, September 21, 8:00 pm Hill Auditorium
Alice Coltrane Quartet 11
A Celebration of John Coltrane's 80th Birthday Saturday, September 23, 8:00 pm Hill Auditorium
Members of the
Emerson String Quartet with 17
Wu Han
Friday, September 29, 8:00 pm Rackham Auditorium
An Evening with Marian McPartland with the 23
Bill Charlap Trio
Saturday, October 7, 8:00 pm Hill Auditorium
I
t is a great pleasure to welcome you, the audi?ence members, back to Ann Arbor's beloved performance venues and to an exciting new UMS season. Everyone on the UMS staff never forgets that our jobs are ultimately in service to audiences and artists. For 127 years, UMS perform?ances and educational programs have created countless moments of connection between them. It is in these "moments of connection" where we find real joy in our work...and so it begins again!
At the beginning of any season I am often asked, "What's new this year at UMS" or,
"What events this season should I not miss" I am understandably coy about answering the latter question because I firmly believe that there is artistic merit and cultural rele?vance embedded in every?thing included on any given UMS roster. BUT, when pressed, I can offer
that this fall, I am especially excited about Alice Coltrane's tribute to her late husband John on what would have been his 80th birthday; Valery Gergiev's continuation of his Centennial Shostakovich Celebration with his Kirov Orchestra; the Florestan Trio's return to Rackham Auditorium; and the long-awaited return of the London Philharmonic Orchestra to Hill Auditorium. Of course, there is no need to enunciate the excitement and thrill surrounding the mounting of a third, exclusive US residency by the Royal Shakespeare Company.
To the first question of "what's new", I say, "a lot!"
-A series of performances focusing on artists from Mexico and greater Latin America, opening with the colorful pageantry and historic music and dances of Amalia Hernandez' Ballet Folkl6rico de Mexico. They come to Ann Arbor straight from their home in Mexico City before starting a tour of North America. In addition to the artists from Mexico, don't miss the performers
from Cuba, French Guiana, Haiti, Guadeloupe, Jamaica, Brazil, Argentina, and Chile also sched?uled throughout the entire season as part of this program focus.
A new UMS website which I encourage you to visit at www.ums.org. Hours of staff time have gone into researching and developing a much-expanded online world of information about UMS: programs, artist profiles, ticket specials, sound and video clips, podcasts, iTunes playlists, and study guides. I am most excited about a feature called "Everyone's a Critic" where all audience members now have a say in critiquing UMS performances in their own words. We hope to create a community of online opin? ion and response in which we can all participate. It should be informative, interesting, and, I hope, at times, controversial.
A stream of artists making debut appearances on UMS stages: Alice Coltrane, Jonathan Biss, Cuarteto Latinoamericano, Marian McPartland and Bill Charlap, Big 3 Palladium Orchestra, Stephen Petronio Company, Time for Three, Gilberto Gil, Rahim AlHaj and Souhail Kaspar, Pablo Ziegler and Claudia Acufia, David Krakauer, Los Folkloristas, and the Netherlands Bach Society.
Thank you for participating in the UMS experience. Feel free to drop me a line at mkond@umich.edu if you have questions or suggestions. Here's to a successful, thought-provoking, and happy 128th season!
Sincerely,
Kjz4asC_
a
Michael J. Kondziolka
UMS Director of Programming
UMS Educational Events
through Friday, October 13, 2006
All UMS educational activities are free, open to the public, and in Ann Arbor unless otherwise noted. For complete details and updates, please visit www.ums.org or contact the UMS Education Department at 734.647.6712 or e-mail umsed@umich.edu.
Amalia Hernandez' Ballet Folklorico de Mexico
Thursday, September 2I, post-per?formance, Hill Auditorium Lobby The Amalia Hernandez' Ballet Folktorico de Mexico will greet the audience immediately following the public performance.
Alice Coltrane Quartet
Artist Interview: Alice Coltrane and Ravi Coltrane Friday, September 22, 3 pm, Rackham Amphitheatre, 4th Floor, 915 E. Washington. Alice and Ravi Coltrane and members of her quartet--legendary bassist Charlie Haden and drummer Roy Haynes--come together to discuss John Coltrane's legacy in American jazz music. A collaboration with the U-M School of Music and the LSA Citizenship Theme Semester.
Martha Graham Dance Company
Open Rehearsal of Primitive Mysteries with the U-M Dance Company
Thursday, September 28, 6-8 pm, Betty Pease Dance Studio, 2nd Floor, U-M Department of Dance, 1310 N. University Ct, Behind CCRB, off Observatory Road. Former principal dancer Diane Gray will lead an open rehearsal as she sets Martha Graham's iconic work Primitive Mysteries on the students in the U-M Dance Company. Members of the public are welcome to observe this special look into how Graham's choreogra?phy is brought to life on stage. A collaboration with the U-M Department of Dance.
YouthBeginner Graham Technique Master Class Saturday, October 7, 10:30-12:30 pm, Dance Gallery Studio, 815 Wildt Street, for map visit www.dancegallerystudio.org. Peter Sparling former principal dancer, Martha Graham Dance Company, and U-M Professor of Dance, leads a Graham technique master class for youths ages 9-15. For more information, please contact Dance Gallery Studio at 734.747.8885. Open for observa?tion. A collaboration with Dance Gallery Studio.
Martha Graham Study Club Tuesday, October 10, 7-8:45 pm, Ann Arbor District Library, Basement Level, 343 South Fifth Avenue. Former Graham principal dancer and U-M Professor of Dance Peter Sparling leads a primer on understanding and appreciating the works of the MGDC. His talk will focus on Graham's life and legacy in the world of American modern dance and will be enhanced through use of rare archival footage and demonstration. This club is essential for all audiences who will be attending the Martha Graham performances. A collaboration with the Ann Arbor District Library and the U-M Department of Dance.
Adult Graham Technique Master Class
Thursday, October 12, 6:30-8 pm, Dance Gallery Studio, 815 Wildt Street, for map visit www.dancegallerystudio.org. Former Graham principal dancer and U-M Professor of Dance Peter Sparling leads a Graham technique master class for advanced to inter?mediate adult dancers. For more information, please contact Dance Gallery Studio at 734.747.8885. A collaboration with Dance Gallery Studio.
Artist Interview and Discussion: Featuring Janet Eilber and Members of the Martha Graham Dance Company
Friday, October 13, 12:45-2:15 pm, Betty Pease Studio, 2nd Floor, U-M Department of Dance, 1310 N. University Ct, Behind CCRB, off Observatory Road. Hosted by Peter Sparling, former principal dancer with the Martha Graham Dance Company and U-M Professor of Dance. Martha Graham is hailed as an American legend of modern dance and a seminal artistic force of the 20th century. In this special session, leading dancers of the Martha Graham Dance Company and U-M faculty will dis?cuss the legacy of Martha Graham, what it is like to dance with this iconic dance company, and the spe?cific techniques and training needed for performing Graham's choreogra?phy. A collaboration with the U-M Department of Dance and the LSA Citizenship Theme Semester.
Royal Shakespeare Company
The 2006 Royal Shakespeare Company residency encompasses over 135 public and private events from September through November 2006. For a comprehensive listing, please visit www.ums.org.
ums University Musical Society
and
Pfizer Global Research and Development
present
Amalia Hernandez' Ballet Foiklorico de Mexico
Amalia Hernandez, Founder
Norma L6pez Hernandez, Artistic Director
Company
Women
Auristela Almada Olloqui, Janelle Raelynn Ayon, Livia Chavez Lira, Elsa Laura Cruz Munoz, Fabiola Diaz Lozano, Ma. Del Carmen Dominguez de Vazquez, Anahy Dorantes L6pez, Linda Xiomara Farabn Chaul Valencia, Merari Argelia Garcia Regalado Aquino, Ma. Luisa Guillen Rocha, Martha Aurora Martinez Gonzalez, Diana Adriana Ovalle Benito, Nait Alejandra Perez Altamirano, Jessica Yisrel Miriam Perez Loredo, Irene Isabel Rodriguez Zuniga, Mbnica Rosas Avalos, Katyana Sanchez Cortes
Men
Mario Alberto Almanza Chavez, Abraham Bravo Ruiz, Carlos Jorge Cabrera Soto, Victor Hugo Cortes Gonzalez, Miguel Angel Covarrubias Huerta, Ignacio Cruz Acosta, Martin Cruz Gonzalez, Luis Antonio Diaz Flores, Ivan Noe Larrea Bremont, Raymundo L6pez Reyes, Juan Jose Perez Diaz, Jorge Torres Chavez, Jonathan Christian Robellada Monz6n, Rodrigo Urbieta Rosas, Rodrigo Vazquez Mata, Juan Erik Vazquez Retta, Edson Alberto Zapata Lara
Musicians
Margarito Alvarado Mares, Tomas De La Rosa Mariinez, Jaime G6mez Villafuerte, Miguel Gonzalez Nerey, Guillermo Florencio Martinez Vazquez, Hector Medina Ramos, Humberto Medina Ramos, Jose Medina Ramos, Adib Wuilliams Toledano Rescalvo, Catarino Torres Contreras
Program
Thursday Evening, September 21, 2006 at 8:00 Hill Auditorium Ann Arbor
Matachines
Sones de Michoacan
Zacatecas
Charreada
Tiacotalpan Festivity
INTERMISSION
The Feather Dance
The Danzon and the Jarana
Wedding in the Huasteca
The Deer Dance
Jalisco
Opening Performance of the 128th Annual Season
Global Series:
Mexico and the Americas
The photographing or sound recording of this performance or possession of any device for such photographing or sound recording is prohibited.
Tonight's performance is sponsored by Pfizer Global Research and Development: Ann Arbor Laboratories. Special thanks to David Canter, Senior Vice President of Pfizer, for his continued and generous support of the University Musical Society.
Special thanks to the Esperance Family Foundation for its support of the 0607 Youth Performance Series.
Educational programs funded in part by the Whitney Fund at the Community Foundation for Southeastern Michigan.
Media partnership provided by Metro Times.
Ballet Folklorico de Mexico and Columbia Artists Management, LLC express deep appreciation to Fonatur and the Mexican Tourism Board for their generous and ongoing support. For more information please visit www.visitmexcio.com and www.fonatur.gob.mx.
Amalia Hernandez' Ballet Folktorico de Mexico appears by arrangement with Columbia Artists Management, LLC.
Large print programs are available upon request.
Matachines
The Matachines is a dance performed in the Northern part of Mexico City. This dance is inspired by the customs of Pre-Hispanic people who danced exclusively to worship their gods. The Spanish Conquest brought with it Medieval dances that since the 16th century in Mexico were used in Christian ceremonies. This is the his?tory of the Matachines dance, which has been preserved to this day.
Sones de Michoacan
Michoacn is one of the culturally richest states in Mexico. It is recognized for producing fine folk art such as ceramics, weaving, wood carving, lacquer work, and copper work. Therefore it isn't surpris?ing to note that Michoaccin is also well known for its unique repertory of ancient song and dance.
The ballet begins with a party in a village where dances are performed in front of a flow?ered arc, a common decoration for this type of celebration. The brief but striking selection of dances begins with three rattle dancers, or sonajas, which reveal their hybrid Indo-Spanish origin by the constant use of a rattle, an instrument almost invariably used in Pre-Hispanic times to mark the rhythms of all dances. These dances are followed by the jarabes, classic examples of that style which has developed in different regions of Mexico with rapid steps full of gaiety and hope.
Sones de Michoacan is the first "folk ballet" composed by Amalia Hernandez. In this ballet she tried to present her love of Mexican culture and her love of youth.
Zacatecas
From the northern region of central Mexico, rich with gold and silver mines, we present dances and songs not only with Spanish influence from the Conquest, but with a French and Austrian fla?vor brought by the troops of Emperor Maximilian of Hasburg who came to Mexico in the 19th cen?tury. The movements consist of the following:
The March of Zacatecas The Red One
The Blue Birds The Gorgoros The Diggers
This dance tells about the brave and decisive fight held in Zacatecas, where Francisco Villa defeated the Federal Government.
Charreada
Charreada consists of the following two move?ments:
The Rope Dance Country Love Dance
Tlacotalpan Festivity
January 31 marks the celebration of the Candelaria Virgin in the town of Tlacotalpan. Stages are built in the main square where musicians and dancers dance to fandangos. This celebration is characterized by the use of the Mojigangas, enormous puppets that symbolize different cul?tural figures and archetypal human characteristics. The music is characterized by the sound of drums such as congas, common in the festive carnival season of the Caribbean. The "festivity" consists of the following:
The Dance of the Fisherman
El Sisquisiri
Jarochos, musicians from Veracruz
La Morena
The Cuckcoo Bird
The Fan Dance
El Coco
La Bamba
La Sarna
The Clown
La Jarocha, or woman from Veracruz
The Angel
The Moor
The African Boy
The Indian Girl-Maria
The Devil
The Crier
INTERMISSION
The Feather Dance
This ballet is inspired by the ancient tradition of the Zapotecas, an indigenous group in Mexico who pays respect or gives Guelaguetza, an offer?ing, to important or high-ranking officials through their music and dance. The most spectacular of these regional dances is TVie Feather Dance, which requires great technical prowess in order to manipulate the richly adorned feather headdress?es. The state of Oaxaca also has another welcom?ing dance entitled Jarabes, originally attributed to the indigenous state of Mixteca. These welcom?ing dances, with their light and lyrical steps are performed to the accompaniment of a typical vil?lage band.
The Danzon and the Jarana
The danzon is a traditional urban dance that com?bines many different rhythms such as La Habanera or Cuban rhythm and other typical Mexican dance rhythms.
The danzon is a product of many cultures in Mexico and brings many influences from Europe, Africa, and the Caribbean. Without a doubt it is the dance of the pueblo. It came to Mexico via the state of Yucatan and its popularity spread throughout the Gulf Coast creating the first Mexican danzones such as El Gran Danzon Nereidas.
The Mexican love of this rhythm persists and is evident since the time that the Salon Mexico welcomed it in the capital as well as in other dance halls throughout the country.
Jarana
It was inevitable that the implementation of many different musical and dance traditions classified generally as "Spanish" among the distinctive tra?ditions of Pre-Columbian Mexico should produce an endless range of different styles in present-day Mexican music and dance. One of the most inter?esting of these mixtures occurs in the Yucatan. There, the exotic exuberance of the Caribbean influence, visible in Vera Cruz, has been largely ignored. Instead the great dignity of ancient Mayan traditions has amalgamated with the
music of 17thand 18th-century Spanish dances such a Jota. Zapateado, and above all, the Sarabande. The dances of the Yucatan preserve the courtly elegance of early-Spanish dance and acquire certain exotic (though always restrained) overtones. The sternness and aristocratic severity of Mayan artistic tradition has led Spanish music in a direction contrary to that taken by similar music in Vera Cruz or the Huasteca.
Wedding in the Huasteca
On the day of his wedding, a young rancher finds a beautiful, young Indian girl and cannot resist the temptation of romance with her. Meanwhile, at the Village church, the bride begins the prepa?rations for their wedding. When the groom finally arrives, the couple begins a dance and all the neighbors join in and court her. In the midst of the general gaiety, her groom's rival arrives. In sec?onds the happiness of the celebration disappears as the two men get hold of their machetes and fight until the rival dies. The party continues, as is tradition in that region. The bride and groom finally leave for the church in total splendor but leave behind the mourners in the plaza who are the only memory of the fight and death of the rival.
The Deer Dance
The Yaqui People, who have a reputation as excellent hunters, have managed to be the only indigenous culture to preserve their cultural autonomy in the face of Spanish colonialism. Free from any racial mingling and modern cultures, the Yaquis continue hunting with bows and arrows, cultivating the land according to their ancestor's methods, and celebrating their ritual dances with hermetic fervor. The Deer Dance is part of a rite that is organized in preparation for a hunt. It reproduces the hunt with astonishing fidelity.
Jalisco
The state of Jalisco is the land of the Charms, the Chinas, and the Mariachis. Since the last century
it has become a symbol of Mexican nationality. The Charms of Jalisco are known for their high spirits and joyous grasping of life. Jalisco's folklore captures the soul of Mexico in its sensual music, refined dances, and dazzling costumes. For this reason, the Ballet Folkl6rico de Mexico culminates every performance with this ballet. It opens with a Mariachi parade playing lively sones at the start of a fiesta. In the background is the traditional gazebo found in all the provincial plazas of Mexico. During this colorful fiesta, the songs and dances of Jalisco: The Snake, El Tranchete, La Negra, and El Jarabe Tapatio--the famous Mexican Hat Dance--are performed. At the end of the performance the dancers salute the audi?ence by throwing colorful paper streamers to them.

I
n 1952, dancer and choreographer Amalia Hernandez founded the Ballet Folklorico de Mexico, having embarked at a very early age on a never-ending quest to rescue the dancing traditions of Mexico. This vital search came from a basic need to express (not only in Mexico, but in the rest of the world) the beauty of the universe in motion through dances from the Pre-Colombian era, to the Hispanic Vice royal period, to the popular movement of the Revolutionary years.
In 1952, Ms. Hernandez began to garner recognition as a cultural representative of Mexico for her early works. In these works, the present fades before our eyes and we begin a journey into the past. The Lords of Heaven and Earth come back to life, as well as the Jaguars and the Gods born of man. Thirty different cultures that blos?somed in centuries past leave behind a trail of color and tradition from which Amalia Hernandez
was inspired to create the Ballet Folkl6rico de Mexico.
A weekly government-sponsored program on Mexican television aired the Ballet's initial per?formances. During these first few years, the com?pany achieved a degree of international success that has been maintained for over 50 years and has succeeded in disseminating the rich traditions and folklore of Mexico all over the world.
Beginning in the 1970s, Amalia Hernandez and Ballet Folklorico de Mexico created over 40 ballets for upwards of 70 dancers. The music, technical rigor, elaborate costuming, and Ms. Hernandez' choreography in these works have created a singular character, defining the Ballet Folkl6rico de Mexico.
Since 1959, the company has been perma?nently housed at the Palace of Fine Arts, the fore?most stage for the arts in Mexico City. The insti?tution has two main artistic companies called The First Company and the Resident Company: both alternate tours and performances in Mexico and abroad.
The company has currently given over 5000 performances, and both Amalia Hernandez and the Ballet Folklorico de Mexico have been distin?guished with more than 200 awards recognizing their artistic merits.
UMS ARCHIVES
T
onight's performance by Ballet Folklorico de Mexico marks the com?pany's fourth UMS appearance. The Ballet Folklorico de Mexico first performed under UMS auspices on November 1, 1963 in Hill Auditorium. The company returned to Ann Arbor in 1969 and, again, in 1999.
Ballet Folklorico de Mexico
Artistic Staff
Amalia Hernandez, Founder
Norma L6pez Hernandez, Artistic Direaor
Salvador L6pez, General Director
Production Staff
Maria Antonieta Moreno Lau, Public Relations
Production Coordinator Carlos Enrique Diaz, Technical Director Carlos Flavio Antunez Tiburcio, Artistic Coordinator Leila Maldonado, Merchandise Jose Antulio Avalos, Lighting Designer Julio Cardenas, Audio Engineer Esperanza Estevanez, Wardrobe Jose Barrios, Wardrobe Pedro Cedillo, Wardrobe Rafael Zuniga Jaimes, Head Carpenter
Administrative Staff
Sr. Claudio Bonifax, Administrative Coordinator
C.P. Andres Vazques Del Arenal
Ma. de La Luz Torres
Juan Lezama
Sara Berta Ibarra
Susana Becerril
Laura Becerril
Xbchitl Sanchez
Columbia Artists Management, LLC
Jean-Jacques Cesbron, Executive Vice PresidentTour Direction Lisa Willis, Attractions Coordinator Leticia D. Baratta, Production Manager Jessica V. Cabrera, Company Manager

Alice Coltrane Quartet
Alice Coltrane, Wurlitzer organ, piano, and Triton
Ravi Coltrane, Saxophones
Charlie Haden, Bass
Roy Haynes, Drums and percussion
Program
Saturday Evening, September 23, 2006 at 8:00 Hill Auditorium Ann Arbor
Translinear Light:
A Celebration of John Coltrane's 80th Birthday
Tonight's program will be announced by the artists from the stage and will not contain an intermission.
Second Performance of the 128th Annual Season
13th Annual Jazz Series
The photographing or sound recording of this performance or possession of any device for such photographing or sound recording is prohibited.
This performance is funded in part by the U-M Office of the Senior Vice Provost for Academic Affairs.
Media partnership provided by WEMU 89.1 FM, WDET 101.9 FM, and Michigan ChronicleFront Page.
Special thanks to the LSA Citizenship Theme Semester and the UMS NETWORK for their participation in this residency.
The Oriental rug used in this evening's performance is made possible by Hagopian World of Rugs, with locations in Novi, Birmingham, and the Oak Park Outlet.
The Steinway piano used in this evening's performance is made possible by William and Mary Palmer and by Hammell Music, Inc., Livonia, Michigan.
Alice Coltrane Quartet appears by arrangement with Ted Kurland Associates.
Large print programs are available upon request.
Photo: Chuck Stewart
F
or more than five decades, the Coltrane name remains at the forefront of modern music. It is lauded throughout the US as well as internationally where it has received great acclaim. The musical offerings cover an eclectic variety of artistic expressions recorded on ABC Impulse, Warner Bros., and Impulsel-Universal.
Alice Coltrane was born and raised in the religious family of Solon and Anne McLeod in Detroit, Michigan, hailed as a major musical capi?tal and a creative wellspring of jazz. Ms. Coltrane became interested in music and began her study of the piano at the age of seven. She consistently and diligently practiced and studied classical music. Subsequently, she enrolled in a more advanced study of the music of Rachmaninoff, Beethoven, Stravinsky, and Tchaikovsky. Classical music was an extensive, technical study for many years. Subsequent to the completion of her stud?ies, she said, "The classical artist must respectful?ly recreate the composer's meaning...with jazz music, you are allowed to develop your own cre?ativity, improvisation, and expression. This greatly inspires me."
Ms. Coltrane graduated Detroit's Cass Technical High School with pianist Hugh Lawson and drummer Earl Williams and was offered a scholarship to the Detroit Institute of Technology; however, her musical achievements began to
echo throughout the city, to the extent that she played in many music halls, choirs, and churches for various occasions and programs. Her skills and abilities were highly enhanced when she began playing piano and organ for the gospel choir and for the junior and senior choirs at her church. In later years, she would further her musical attrib?utes by including organ, harp, and synthesizer to her accomplishments.
After moving to New York in the early 1960s, Alice met and married John Coltrane, the great creator of avant-garde music and genius and master of the tenor and soprano saxophones. His parents were very spiritual and dedicated to service in the church in which John's father faith?fully served. John's mother was a fine singer.
Ms. Coltrane was asked to join Mr. Coltrane's band--replacing McCoy Tyner--one year later. She stayed with his band until Mr. Coltrane's death in 1967; on his albums Live at the Village Vanguard Again and Concert in Japan, her playing is characterized by rhythmically ambiguous arpeggios and a pulsing thickness of texture.
Alice Coltrane later led a series of groups and recorded fairly often for Impulse!, including the celebrated albums Monastic Trio, Journey in Satchidananda, Universal Consciousness, and World Galaxy. She then moved to Warner Brothers where she released albums
such as Transformation, Eternity, and her live opus Transfiguration in 1978.
A devotee of Swami Satchidananda, Ms. Coltrane withdrew from a per?forming career in the late-1970s so that she might devote herself to the Vedanta Center in California, of which she is its founder.
Ms. Coltrane began recording again in 2000 and eventually issued the crit?ically lauded Translinear Light on the Verve label in 2004, produced by her son Ravi.
The innovative, futuristic sounds of the Coltrane musical heritage have set a new pace for modern music that sounded an unstruck chord through-
Alice and Ravi Coltrane
out the world. It resounded in the hearts of many people, creating a legacy that will not soon be forgotten. The vision they shared became a bright effulgence from the lighthouse of polyphonic, ethereal, and universal sound, bringing clarity and understanding of the music and enhancing appre?ciation of it to people around the world
@@@@R
avi Coltrane, tenor and soprano saxo?phonist, bandleader, and composer, has fronted a variety of jazz lineups; recorded critically acclaimed albums as leader; produced recordings by other artists--including for his mother; worked as sideman for jazz luminaries; overseen important jazz reissues; and founded an independent record label. Seventeen years since finding his life's path, it seems music was Ravi's destiny from the outset.
Born the second son of John and Alice Coltrane in 1965 in Long Island, New York, and raised in the Los Angeles area, he was named after Indian sitar legend Ravi Shankar. Starting in middle school, Ravi began playing clarinet, though he grew up hearing a variety of music:
My mother was playing piano and organ in the house, everyday. She took us to her per?formances and to recording sessions. She played my father's LPs and recordings of classical music. Early on, I listened to a lot of R&B, soul music, popular music of the day.... Later I got into Prince, The Beatles; I listened to more symphonic music: Stravinsky, Dvorak. I was a big fan of film scores. Jazz music was something I always appreciated but I had to reach my late teens and go through profound family changes before the music became a dominant force in my life.
In 1986, Ravi entered the California Institute of the Arts to pursue musical studies, focusing on the saxophone. In 1991, Ravi hooked up with Elvin Jones, his father's renowned drummer from the 1960s, and received his first taste of the jazz life. Within a year, he relocated to New York City and began playing with a variety of players: Jack DeJohnnette, Rashied AN, Wallace Roney, Geri Allen, Kenny Barron, Joe Lovano, and Steve Coleman. Ravi's relationship with Mr. Coleman through most of the '90s was particularly influen?tial on the saxophonist, including tours and appearances on several of Mr. Coleman's albums.
"...the Arts transcend limited social boundaries like class, race, and nationality."--Turiyasangitananda
UMS ARCHIVES
T
onight's concert marks Alice Coltrane's UMS debut. It also marks the debut appearances of Ravi Coltrane and Roy Haynes. Tonight's concert marks Charlie Haden's second UMS appearance. Mr. Haden appeared in concert with his Quartet West ensemble in January 2002 augmented by a string section comprised of U-M School of Music students in Lydia Mendelssohn Theatre.
Leading up to this evening's celebration of Mr. Coltrane's musical legacy, UMS recently presented Wynton Marsalis' big band arrangement of John Coltrane's A Love Supreme in January 2006 with Mr. Marsalis and the Jazz at Lincoln Center Orchestra in Hill Auditorium.
In 1997, after performing on over 30 record?ings as a sideman, Ravi entered the studio to record his first album as leader.
In 2002, Ravi launched his own recording company, RKM Music, with albums by trumpeter Ralph Alessi and saxophonist Michael McGinnis. That same year, Ravi produced Legacy, a four-disc, thematic study of his father's career, for Verve, and co-produced and penned liner notes for the Deluxe Edition repackaging of A Love Supreme. Ravi continues his role as family archivist of his father's unreleased material and is working close?ly on preparing new projects with Verve.
Most recently, Ravi was the driving and guid?ing force behind his mother Alice Coltrane's return to recording after a 26-year hiatus. Translinear Light features performances by Alice and Ravi along with Charlie Haden, Jack DeJohnette, James Genus, Jeff Watts, Oran Coltrane, and others, and was released in September 2004 on Impulse!.
Shaping his own quartet through a series of recent tours and appearances, February 2005 saw the release of Ravi's fourth album as a leader, In Flux, for the Savoy Jazz label. The recording fea?tures pianist Luis Perdomo, bassist Drew Gress, and drummer E.J. Strickland--his primary work?ing unit since 2003.
In addition to working and traveling with his own group, Ravi has recently made several guest performances with McCoy Tyner, Pharoah Sanders, Carlos Santana, Wayne Shorter, Herbie Hancock, Chick Corea, John McLaughlin, Michael Brecker, George Duke, Stanley Clarke, Jeff "Tain" Watts, Branford Marsalis, Mark Turner, and Jacky Terrasson.
B
orn in Shenandoah, Iowa, Charlie Haden began his life in music almost immediately, singing on his parents' country & western radio show at the tender age of 22 months. He started playing bass in his early teens and, in 1957, left America's heartland for Los Angeles, where he met and played with such legends as Art Pepper, Hampton Hawes, and Dexter Gordon.
In 1959, Mr. Haden met Ornette Coleman and formed the saxophonist's pioneering quartet (alongside trumpeter Don Cherry and drummer Billy Higgins). In addition to his still-influential work with Mr. Coleman, Mr. Haden has collabo?rated with legendary musicians including John Coltrane, Archie Shepp, Keith Jarrett, and Pat Metheny.
In 1969, Charlie Haden joined forces with pianistcomposer Carla Bley, founding the Liberation Music Orchestra. The group's self-titled debut is a true milestone of modern music, blend?ing experimental big band jazz with the folk songs of the Spanish Civil War to create a power?fully original work of musicalpolitical activism.
An acoustic bassist of extraordinary gifts, Mr. Haden's talents as a musician have been in constant demand by his fellow artists. As a result, he has collaborated with a genuinely stunning array of musicians, including Hank Jones, Don Cherry, Dewey Redman, Paul Motian, Jack DeJohnette, Michael Brecker, Kenny Barron, and Pat Metheny (with whom he shared a 1997 "Best Jazz Instrumental IndividualSmall Group" Grammy Award for their Beyond the Missouri Sky).
Charlie Haden's love of world music has also seen him teaming with a variety of diverse inter?national players, including Brazilian guitarist and pianist Egberto Gismonti, Argentinean bando-neon master Dino Saluzzi, and Portuguese guitar giant Carlos Paredes. In addition, he has explored diverse streams of American popular music with both his acclaimed Quartet West, as well as on such recent collections as 2002's alliance with Michael Brecker entitled American Dreams.
Mr. Haden, who was invited to establish the jazz studies program at California Institute of the Arts in 1982, has earned countless honors, includ?ing and the Los Angeles Jazz Society prize for "Jazz Educator of the Year," two Grammy Awards (alongside a multitude of nominations), myriad Down Beat magazine readers' and critics' poll winners, a Guggenheim fellowship, four NEA grants for composition, France's Grand Prix Du Disque (Charles Cros) Award, Japan's SWING Journal Gold, Silver, and Bronze awards, and the Montreal International Jazz Festival's Miles Davis Award.
D
rummer Roy Haynes has been a major player for more than half a century. Thelonious Monk once described Roy Haynes' drumming as "an eight ball right in the side pocket." Jack DeJohnette calls Roy's percola?tions "a rare combination of street education, high sophistication, and soul." Pat Metheny says Mr. Haynes is the "father of modern drumming" and "a national treasure." Lester Young summed up Roy Haynes' genius best perhaps when the two shared a bandstand in October 1947, exclaiming, "Haynes, you sure are swinging!"
For over 50 years Mr. Haynes has influenced and innovated, shaping some of the greatest recordings in jazz while altering the very fabric and direction of the music's improvisation with his mercurial, intelligent, joyous drumming. Freeing jazz's borders, infusing its lifeblood, steering it towards greater freedom and more distinctive expression, Roy Haynes was designated an "American Jazz Master" by the National Endowment for the Arts.
After engagements with Kai Winding, Roy Haynes was a member of the Charlie Parker quintet (1949-1952) and later was Elvin Jones' occasional substitute with John Coltrane's classic quartet between 1961-1965. When one considers that he has also gigged with Miles Davis, Art Pepper, Horace Tapscott, and Dizzy Gillespie, it is fair to say that Roy Haynes has played with just about everyone.
Mr. Haynes continues to forge new musical paths at age 81.
ums University Musical Society
and
Linda and Maurice Binkow
present
Members of the
Emerson String Quartet
Philip Setzer, Violin Eugene Drucker, Viola David Finckel, Cello
with
Wu Han, Piano
Program
Wolfgang Amadeus Mozart
Johannes Brahms
Friday Evening, September 29, 2006 at 8:00 Rackham Auditorium Ann Arbor
Divertimento for String Trio in E-Flat Major, K. 563
Allegro
Adagio
Menuetto: Allegretto
Andante
Menuetto: Allegretto
Allegro
INTERMISSION
Piano Quartet in g minor. Op. 25
Allegro
Intermezzo: Allegro ma non troppo
Andante con moto
Rondo alia Zingarese: Presto
Ms. Wu Han
Third Performance of the 128th Annual Season
44th Annual Chamber Arts Series
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
This performance is supported by Linda and Maurice Binkow.
Special thanks to Alan Aldworth and ProQuest Company for their support of the UMS Classical Kids Club.
Media partnership provided by WGTE 91.3 FM and Observers Eccentric newspapers.
The members of the Emerson String Quartet appear by arrangement with IMG Artists, LLC, New York, NY.
The Emerson String Quartet records exclusively for Deutsche Grammophon.
For more information on the Emerson String Quartet, please visit www.emersonquartet.com.
Large print programs are available upon request.
Divertimento for String Trio in E-Flat Major, K. 563
Wolfgang Amadeus Mozart Bom January 27, 1756 in Salzburg Died December 5, 1791 in Vienna
This work is definitely one of a kind. It is not only Mozart's only finished composition for string trio--it also appears to be the first such work by any composer. The backbone of classical style is four-part harmony, which is why the string quar?tet became the chamber-music medium of choice during this period. To create a similar balance and fullness of sound with only three instruments was a special challenge, which Mozart met not only by the few double-stops he used but mainly by writ?ing three string parts of uncommon richness and intensity. And if that were not enough, he revisit?ed a genre--the divertimento--which he had much cultivated during the early stages of his career but practically abandoned after his move from Salzburg to Vienna in 1781. The early diver?timentos were scored mostly for orchestra or wind ensemble. In the late 1780s, armed with the experience of the six string quartets dedicated to Haydn and two of the magnificent viola quintets, Mozart had reached a completely new level of writing chamber music for strings, and when he combined that mastery with the lightness of the divertimento form (the word, we remember, means "entertainment"), the results were extraordinary, even by Mozart's standards.
Many of Mozart's earlier divertimentos were in six movements, with the slow movement-min?uet sequence repeated between the two outer Allegros. This form was retained in K. 563, but the movements became longer and more com?plex. If this is still "entertainment," it is no longer music to accompany a banquet or a wedding cel?ebration; it is, much rather, music for an intimate gathering of friends. In fact, Mozart wrote it for his friend and fellow Freemason Michael Puchberg, the man he was desperately asking for money the very same summer of 1788. The trio was probably first performed in the house of this wealthy merchant, perhaps with Mozart on viola.
The work opens in a surprisingly subdued
way, with the three instruments playing a simple descending triad in unison, soffo voce (softly). It is a curiously understated beginning that deter?mines much of what follows, even though the subsequent materials and developments are con?siderably more dynamic in nature. The meditative quality of this opening carries over into the sec?ond-movement "Adagio," which is based on an ascending triad unfolding across a wide melodic range. This triad appears in two strikingly differ?ent forms: first in a simple version, introduced by the cello, and then in an ornate form, played by the violin. How Mozart managed to build one of his most profound musical utterances from this extremely simple melody is a mystery that will never be explained.
The third movement is a minuet where Mozart plays a trick on anyone who would try to dance to this music: the first two measures, though notated in the conventional 34 time of the minuet, really break down into three units of 24. The normal minuet rhythm then resumes, but other irregularities follow as the musical phrases are expanded in many unusual ways.
Next comes a most-compelling set of variations on a simple, folk-like theme. As the variations progress, Mozart gets further and fur?ther away from the original theme, taking more liberties with the form as usual. It is particularly noteworthy how he turns each variation into two variations by introducing new changes at the repeat of each section. After a poignant, even tragic minor-mode episode, the last variation con?tains a highly virtuosic violin part, followed by a coda which recalls the theme in its unadorned original form.
The second minuet is much simpler in tone and structure than the first, but it has not one but two trios, both of which are in the style of the Landler, the Austrian folk dance that would con?tinue to inspire composers after Mozart, from Schubert to Mahler. At the last recapitulation, a lengthy coda is appended to the minuet, devel?oping its thematic ideas in different ways.
The ingratiating theme of the finale is close?ly related to Mozart's song "Komm, lieber Mai" (Come, month of May) and to the last movement
of the Piano Concerto, No. 27. The simple melody undergoes some rather bold transformations, but it all ends gently, with a typically Mozartean ges?ture where the composer appears to be smiling through his tears.
Piano Quartet in g minor. Op. 25
Johannes Brahms
Born May 7, 1833 in Hamburg, Germany
Died April 3, 1897 in Vienna
In 1861, the year of the Piano Quartet in g minor, Brahms was a young man of 28, still living in his native city of Hamburg, where he had just given up the directorship of a women's choir to devote more time to composing. Although hailed by Robert Schumann eight years earlier as the next great musical genius, the prophecies had not quite come true yet; in fact, Brahms had suffered a major setback when his Piano Concerto in d minor was poorly received in Leipzig. Breitkopf & Hartel, the prestigious music publishing firm in that city, accepted only one of his works for pub?lication and turned the rest down.
In July, Brahms moved out of the house he had been sharing with his parents, elder sister, and younger brother. He rented an apartment from the aunt of two of his former choir members in the Hamburg suburb of Hamm. It was there that he wrote the two piano quartets (Opp. 25 and 26), the first products of what his biogra?phers would later call his "first maturity." (The g-minor quartet may actually have been begun several years earlier, but it wasn't completed until this time.) In these two large works (each lasting about 40 minutes) he made spectacular advances in terms of harmonic richness and structural com?plexity. Even more important, however, is a widening of the range of moods expressed by the music, from emotional turbulence to boisterous play and all the shades in between.
The g-minor quartet opens with a melody that lacks both rhythmic variety (it is all quarter-notes) and harmony (it is played by the piano in simple octave doubling, or, to be more exact, tripling). Yet it is only a matter of seconds before
the four instruments develop this somewhat aus?tere raw material into a passionate Romantic statement. A warmly lyrical second theme, first announced by the cello, brings total contrast; from then on, moments of intense passion and great tenderness alternate as the movement wends its way through a sonata form of gigantic proportions. The ending is dark: the opening theme is surrounded first by an agitated accom?paniment with unsettling syncopations, and final?ly by an ominous crescendo-decrescendo arc that leaves us in a state of great suspense.
The expansive and contrast-ridden first movement is followed by an "Intermezzo" in c minor. Brahms had originally called this move?ment a "scherzo," but it lacks the playful quality implied by that name, though Brahms did use the A-B-A form characteristic of the scherzo. The new name "Intermezzo," which Brahms used here for the first time, simply means a lyrical mid?dle movement. Viola and muted violin announce the expressive theme against a throbbing accom?paniment in the cello. The trio section, which retains the eighth-note pulsation of the main sec?tion, is slightly more animated in tempo. After the recapitulation, the faster tempo of the trio returns for a short and ethereal coda in C Major.
Next comes an "Andante con moto" in E-flat Major, a lyrical song with echoes of a military march (in 34 time!) as its middle section. In his insightful Brahms monograph, Malcolm MacDonald observes that this double-character piece "some?how resolves the expressive tensions that had shadowed the work until this point, making possible the sheer animal vitality of the finale."
That finale, the celebrated "Rondo alia Zingarese," is in fact the crowning glory of the quartet. It is Brahms's first essay in what was known as the "style hongrois," a characteristic manner imitating the music-making of Hungarian Gypsies. Brahms had been introduced to this style by his two Hungarian violinist friends: first Ede (Eduard) Remenyi, with whom he toured Germany in 1852, and then Joseph Joachim, him?self the author of a "Concerto in Hungarian Style" written the same year as Brahms's quartet. Upon hearing Brahms's "Rondo," Joachim admit-
ted in a letter to his friend: "In the last movement you beat me on my own turf."
Brahms had the wild accents, the impetuous runs, and fiery melodies of the Gypsy fiddlers down pat. Yet he added many spices of his own making to the mix: a superb "orchestration" for four instruments, where the pizzicatos (plucked notes) of the strings and the carefully controlled dynamics contribute a great deal to the general effect. Near the end, a brilliant piano cadenza vividly evokes the sound of the cimbalom, the Hungarian hammered dulcimer. That episode is followed by a slower passage in which the wistful central melody of the "Rondo" is taken up by the string instruments in contrapuntal imitation--cer?tainly not a Gypsy musical practice! But moments such as these only serve as foils to the irresistible Gypsy tunes and, in spite of their more serious appearance, only end up adding to the fun.
Program notes by Peter Laki.
R
enowned for its insightful performances, brilliant artistry, and technical mastery, the Emerson String Quartet is one of the world's foremost chamber ensembles and has amassed an impressive list of achievements: a bril?liant series of recordings exclusively documented by Deutsche Grammophon since 1987, seven Grammy Awards including two unprecedented honors for "Best Classical Album," three Gramophone Awards, and performances in major concert halls throughout the world. The ensemble is lauded globally as a string quartet that approaches both classical and contemporary repertoire with equal mastery and enthusiasm.
In 2006-2007, the quartet celebrates its 30th anniversary season with an eight-concert Perspectives Series in Carengie Hall's Stern Auditorium. The quartet also celebrates 20 years of exclusivity with Deutsche Grammophon and will release an all-Brahms disc. Additional per?formances of note are a Shostakovich cycle at Washington, DCs Kennedy Center for the Performing Arts and an extensive European tour including performances in London, Vienna, Berlin,
and Paris, and Beethoven cycles in Valencia and Badenweiler.
The Quartet tours Europe and North America extensively, and serves as Quartet-in-Residence at Stony Brook University, where, in addition to chamber music coaching throughout the academ?ic year, they have conducted intensive string quar?tet workshops in 2004 and 2006 with another planned for 2008. This season marks their third educational collaboration with Carnegie Hall. In March 2004 the Quartet was named the 18th recipient of the 2004 Avery Fisher Prize--another first for a chamber ensemble.
Formed in 1976, the Emerson String Quartet took its name from the American poet and philosopher Ralph Waldo Emerson. Violinists Eugene Drucker and Philip Setzer alternate in the first chair position and are joined by violist Lawrence Dutton and cellist David Finckel. Since January 2002, the Emerson has performed while standing--the cellist plays on a podium--and incorporates this practice in all appearances. The Quartet is based in New York City.
@@@@I
ndefatigably active as a concert and recording artist, music educator, arts administrator, and cultural entrepreneur, pianist Wu Han ranks among the most esteemed and influential classi?cal musicians in the world today. Her career has taken her to many of the world's most prestigious venues, including Lincoln Center, Carnegie Hall, and Washington, DCs Kennedy Center; she has toured North and South America, Europe, and the Far East, with regular summer festival appear?ances including Aspen, Santa Fe, Chamber Music Northwest, and Caramoor. In the 0405 season, Wu Han appeared with the Los Angeles Chamber Orchestra in a performance of the Beethoven Triple Concerto. She is a frequent collaborator with many of today's finest musicians and ensem?bles, including the Borromeo, St. Lawrence, and Emerson Quartets. With cellist David Finckel, Wu Han performs extensively across the US and Europe and has given three critically acclaimed Wigmore Hall recitals. In February 2006, Wu Han and David Finckel made their Chamber Music Society of Lincoln Center recital debut.
Wu Han's wide-rang?ing musical activities include the founding of ArtistLed, classical music's first musician-directed and Internet-based recording company. The Denver Post described ArtistLed as "a classical music breakthrough." The label's Russian Classics recording received BBC
Music Magazine's coveted "Editor's Choice." Wu Han's most recent ArtistLed release features the cello sonatas and late piano works of Johannes Brahms.
Wu Han and David Finckel serve as Artistic Directors of The Chamber Music Society of Lincoln Center. In recent years, Wu Han has become widely recognized for her initiatives in expanding audiences for classical music and for guiding the careers of countless young musicians. She is also co-founder and co-Artistic Director of Music@Menlo, a chamber music festival in Silicon Valley that has garnered international acclaim for its innovative programming, roster of world-class artists, workshop programs for young musicians, and Encounters series featuring the nation's top musicologists. Prior to launching MusicOMenlo, Wu Han and David Finckel served for three sea?sons as Artistic Directors of SummerFest La Jolla.
UMS ARCHIVES
T
he history of the Emerson String Quartet and UMS dates back to the ensemble's UMS debut in 1989. Tonight's concert by the Emerson String Quartet members marks their 13th UMS appearance.
Tonight's concert marks Wu Han's UMS debut.
Wu Han
ums University Musical Society
with
Borders Group
and
Concord Music Group
present
An Evening with Marian McPartland
Marian McPartland, Piano
Jim Cox, Bass
Charles Brautham, Drums
with the
Bill Charlap Trio
Bill Charlap, Piano Sean Smith, Bass Kenny Washington, Drums
Program
Saturday Evening, October 7, 2006 at 8:00 Hill Auditorium Ann Arbor
Tonight's program will be announced by the artists from the stage and will contain one 15-minute intermission between sets.
Fourth Performance of the 128th Annual Season
13th Annual Jazz Series
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
This performance is sponsored by Borders Group and Concord Music Group.
Funded in part by the NEA Jazz Masters on Tour program, 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.
Special thanks to Ellen Rowe, the U-M School of Music, Theatre, & Dance, and the LSA Citizenship Theme Semester for their participation in this residency.
The Steinway pianos used in this evening's performance are made possible by William and Mary Palmer and by Hammell Music, Inc., Livonia, Michigan.
Ms. McPartland and Mr. Charlap appear by arrangement with Ted Kurland Associates.
Large print programs are available upon request.
W
hen considering the long and storied career of Marian McPartland it soon becomes apparent that the remark?able breadth and manner of her accomplishments are unsurpassed in the history of jazz. A pianist and composer gifted with a vast, encyclopedic memory and an intuitive sense of harmony, Ms. McPartland has been performing professionally for 65 years, delighting audiences with her engaging artistry in around the world and on scores of recordings. To millions of radio listeners, she is also the genial host of Marian McPartland's
Marian McPartland
Piano Jazz, the popular Peabody Award-winning National Public Radio program which is celebrat?ing its 25th year on the airwaves. Additionally, Ms. McPartland has mentored countless musi?cians, spearheaded efforts in jazz education, and served as one of the best ambassadors of jazz the world has known.
Marian McPartland was born in a small English village near Windsor Castle. A musical prodigy from the time she could sit at the piano, she studied classical music, mastered the violin, and worshipped jazz, taking Duke, Teddy Wilson, and others to heart while looking to Mary Lou Williams, Lil Hardin, and Hazel Scott as trailblazers.
A pivotal moment in the young pianist's life came in 1944 while entertaining British and American troops in Belgium when she met Jimmy McPartland, a prominent Dixieland-style cornetist from Chicago (and 11 years her senior). The two musicians fell in love and the following year they were married at a military base in Germany. After the war, Jimmy McPartland brought his young wife to Chicago, where the couple worked until they moved to Manhattan in 1949. Louis Armstrong greeted them on their first day in the city, and in no time they were ensconced in the middle of the bustling jazz universe.
From 1952 to 1960 Marian McPartland led a trio at the Hickory House, a restaurant-cum-night-club on Manhattan's legendary 52nd Street, and it was there that the pianist grew in stature among her peers and legions of jazz fans, the casual and cognoscenti alike.
Instead of simply falling back on a true-and-tried repertoire and sticking to familiar musical styles while at the Hickory House, Ms. McPartland used her tenure there as a base for a wide learn?ing experience, typically running over to Birdland
and other nearby clubs, between and after her own sets, to soak up more music and to study Duke, Basie, Monk, Bud Powell, and Dave Brubeck. Able to summon a prodigious number of songs from memory and adaptive to any sub-genre of jazz, Ms. McPartland became heralded as a superb interpreter and forceful improviser.
The best-known forum for her enthusiastic advocacy of the improviser's art, however, has been, and continues to be, Marian McPartland's Piano Jazz, a radio program heard weekly on National Public Radio for the past 25 years, mak?ing the series NPR's longest-running cultural pro?gram. Developed and presented by South Carolina Educational Radio, Piano Jazz today reaches listeners in 45 states and 24 foreign coun?tries. Featuring intimate piano duets and impromptu conversation, 26 new installments of the hour-long show are taped each year with guests who have included nearly all of the important jazz artists of our age and other musical luminaries including Ray Charles, Sting, and the members of Steely Dan. Winner of the prestigious Peabody Award in 1984 and the ASCAP-Deems Taylor Award in 1991, Piano Jazz has also received hon?ors from the New York Festival and the Foundation of American Women in Radio and Television. In 2000, Ms. McPartland was named an American Jazz Master by the National Endowment for the Arts.
Marian McPartland has released over 60 albums on Concord Records during her remark?able 25-year tenure at the label.
Ms. McPartland was awarded her first Grammy Award in 2004, a Trustees Lifetime Achievement Award celebrating her work as an educator, writer, and radio host. She celebrated the 25th Anniversary of Piano Jazz with a taping
Marian McPartland's Piano Jazz, a radio program heard weekly on National Public Radio for the past 25 years, is NPR's longest-running cultural program
in front of a live audience at the Kennedy Center in Washington, DC on June 4, 2004 with special guest Peter Cincotti.
Marian McPartland turned 88 years old in March 2006 and continues to perform for audi?ences around the world.
F
or more than a decade, pianist and band?leader Bill Charlap has been forging a solo career characterized by hard-swinging brio, eloquence, and a rigor-meets-romance musical sensibility. With his fine long-term working trio he has released four superb albums for Blue Note Records--CDs celebrating the American song-book tradition, the songs of Hoagy Carmichael, Leonard Bernstein, and George Gershwin--that have afforded him an increased visibility as one of jazz's foremost pianists.
The son of two accomplished artists, Mr. Charlap grew up immersed in a household of song. His father, Broadway composer and song?writer Moose Charlap, and mother, cabaretpop singer Sandy Stewart, entertained popular song?writers and musicians from the show world at their Upper-East-Side home.
After attending SUNY-Purchase for two years, Bill Charlap gave up formal studies in lieu of pursuing a career in jazz. Soon thereafter, Mr. Charlap was chosen to be the musical director of Midnight in the Garden of Good and Evil (pre?sented by UMS in November 1996).
After several early recordings, 1997's All Through the Night on Criss Cross Jazz Records marked the first collaboration with the rhythm
team of drummer Kenny Washington and bassist Peter Washington. After Blue Note President Bruce Lundvall caught Mr. Charlap performing in New York, he signed the pianist to the label. His Blue Note debut was 2000's Written in the Stars, a collection of Great American Songbook stan?dards given a fresh jazz treatment. Mr. Charlap brought his own personality to the songs while also managing to render them with respect to the composer's original intent. Mr. Charlap followed his label debut with 2002's Stardust, an album that celebrates the songs of Hoagy Carmichael. Guest performers include vocalists Tony Bennett and Shirley Horn, guitarist Jim Hall, and saxo?phonist Frank Wess.
Mr. Charlap's 2004 release, Somewhere, pays homage to the songs of Leonard Bernstein; the album earned a Grammy Award nomination for "Best Jazz Instrumental Album."
Bill Charlap was named Artistic Director of the long-running Jazz In July series at the 92nd St. Y's Tisch Center for the Arts in New York City.
UMS ARCHIVES
T
onight's concert marks Marian McPartland's UMS debut. Tonight also marks Jim Cox's, Charles Brautham's, and Kenny Washington's UMS debuts. Bill Charlap and bassist Sean Smith make their second UMS appearances tonight following their UMS debuts in the staged adaptation of Midnight in the Garden of Good and Evil in November 1996 presented in Hill Auditorium. Mr. Charlap served as musical director of the production.
Experience
Please note that a complete listing of all UMS Educational programs is conveniently located within the concert program section of your program book and is posted on the UMS website at www.ums.org.
Fall 2006
September
21 Thu Amalia Hernandez' Ballet Folklorico de Mexico
23 SatAlice Coltrane Quartet: TranslinearLight
A Celebration of John Coltrane's 80th Birthday
29 Fri Members of the Emerson String Quartet with
Wu Han
October
7 Sat An Evening with Marian McPartland with
the Bill Charlap Trio
13-14 Fri-Sat Martha Graham Dance Company 14 SatMartha Graham Dance Family Performance 19 Thu Florestan Trio 20-22 Fri-Sun Kirov Orchestra of the Mariinsky Theatre
Shostakovich Centennial Festival (three different
programs)
24 Oct-12 Nov Tue-Sun Royal Shakespeare Company
A Festival of Shakespeare's Classics
Antony and Cleopatra, Julius Caesar, The Tempest
November
1-12 Wed-Sun Royal Shakespeare Company (see
October listing) 16 Thu Trio Mediaeval 18 Sat Dan Zanes & Friends
SatJonathan Biss
Sun Manuel Barrueco and Cuarteto Latinoamericano
30 Thu-London Philharmonic Orchestra with Sarah Chang
December
2-3 Sat-Sun Handel's Messiah 10 Sun Michigan Chamber Players
Winter 2007
January
12 Fri Takacs Quartet
12-13 Fri-Sat Bright Sheng's Silver River
SatSekou Sundiata: the 51st (dream) state
Sun -The Chieftains
February
I Thu Big 3 Palladium Orchestra 3 Sat Joshua Bell
6 Tue Hubbard Street Dance Chicago
I1 Sun Michigan Chamber Players 16-17 Fri-Sat Stephen Petronio Company
18 Sun Time for Three
22 Thu Dave Holland Octet and Big Band
March
11 Sun Midori
Wed Tamango's Urban Tap: Bay Mo Dilo (Give Me Water)
Thu Wynton Marsalis and Jazz at Lincoln Center Orchestra
Fr Gilberto Gil
Sat Murray Perahia
20 7ue Orchestre Philharmonique de Radio France
Fri Rahim AlHaj and Souhail Kaspar
Sat Canadian Brass
30 Fri Pablo Ziegler Quintet for New Tango with
Claudia Acuna
31 SafDavid Krakauer's Klezmer Madness
April
Thu Measha Brueggergosman and William Bolcom
FriJohn Williams and John Etheridge 15 Sun Jerusalem String Quartet
19 Thu Netherlands Bach Society: Bach's Mass in b minor 20-21 Fri-Sat Trinity Irish Dance Company
Saf-Trinity Irish Dance Family Performance
Sun Los Folkloristas
May
5 Saf Breakin' Curfew
12 SatFord Honors Program: Mstislav Rostropovich
UMS EDUCATION PROGRAMS www.ums.orgeducation
@@@@U
MS's Education and Audience Development Program deepens the relationship between audiences and art and raises awareness of the impact the multi-disci?plinary performing arts and education can have by enhancing the quality of life of our community. The 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 E-mail Club to have updated event information sent directly to you. For immediate event info, please e-mail umsed@umich.edu, or call the numbers listed below.
UMS Community Education Program Please call 734.647.6712 or e-mail umsed@umich.edu 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 Q&A with the artists
Artist Interviews--Public dialogues with performing artists
Master Classes--Interactive workshops PanelsRound Tables--In-depth adult educa?tion related to a specific artist or 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 educa?tional activities scheduled in the 0607 season. These programs provide oppor-
tunities for students and members of the University com?munity 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 programs offered by UMS, please contact us at 734.764.6179.
The NETWORK: African American Arts Advocacy Committee
The NETWORK was a major initiative launched by UMS in the 0405 season to create an opportunity for African Americans and broader communities 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. For more information, please contact UMS Education at 734.615.0122.
This season's NETWORK performances include:
Alice Coltrane Quartet: Translinear Light
Shostakovich Centennial Festival Concert No. 5: Kirov Orchestra of the Mariinsky Theatre
Handel's Messiah
Sekou Sundiata: the 51st (dream) state
Big 3 Palladium
Hubbard Street Dance Chicago
Dave Holland Octet and Big Band
Tamango's Urban Tap: Bay Mo Dilo (Give Me Water)
@@@@Jazz at Lincoln Center Orchestra with Wynton Marsalis
Gilberto Gil
Measha Brueggergosman and William Bolcom
UMS Youth Education Program Please call 734.615.0122 or e-mail umsyouth@umich.edu for more information.
UMS has one of the largest K-12 education ini?tiatives 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 performance opportunities and professional development activities available to K-12 students and educators.
0607 Youth Performance Series
These world-class daytime performances serve pre-K through high school students. The 0607 season features special youth presentations of Amalia Hernandez' Ballet Folkl6rico de Mexico, RSC Dress Rehearsals of Julius Caesar and The Tempest, Hubbard Street Dance Chicago, Sphinx Competition Honors Concert, Dave Holland Big Band, Tamango's Urban Tap, Trinity Irish Dance Company, and Los Folkloristas. All tickets are $6. 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 technique for incorporating the arts into classroom 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 2007 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. Visit www.ums.org 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. For information contact UMS Group Sales at umsgroupsales@umich.edu or call 734.763.3100.
Teacher Advisory Committee
Participate in gatherings with area educators and administrators to discuss the program?ming, issues, and policies of the UMS Youth Education Program. Contact umsyouth@umich.edu for more information.
UMS Teen
Teen Ticket
Teens can attend UMS at significant discounts. Tickets are available for $10 the day of the performance at the Michigan League Ticket Office, or for 50 off the published price at the venue 90 minutes before the performance begins. One ticket per valid student ID, based on night-of-show availability.
Breakin' Curfew
In a special collaboration with the Neutral Zone, Ann Arbor's teen center, UMS presents this annual performance highlighting the area's best teen performers. Details about this event will be announced in Spring 2007.
UMS Family
Ann Arbor Family Days: Saturday, April 21 and Sunday, April 22, 2007 Area community organizations, libraries, arts centers, museums, and performance groups collaborate on this annual festival designed for all families. Details of Ann Arbor Family Days will be announced.
Family performances of Martha Graham Dance Company, Dan Zanes & Friends, and Trinity Irish Dance Company are featured in the 0607 season.
Classical Kids Club
Presented by ProQuest Company
Parents can introduce their children to world-renowned classical music artists through the Classical Kids Club. 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 and Chamber Arts Series at a significantly discounted rate. Ninety minutes prior to any Choral Union or Chamber Arts Series performance, parents can purchase up to two children's tickets for $10 each with the purchase of a $20 adult ticket. Seating is subject to availability. UMS reserves a limited number of Classical Kids Club tickets to each eligible perform?ance. Please register your children for this program by calling the UMS Ticket Office at 734.764.2538.
UMS is in partnership with the Ann Arbor Public Schools and the Washtenaw Immediate 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.
Education Program Supporters
Ford Motor Company Fund
The Esperance Family Foundation
Michigan Council for Arts and Cultural Affairs
University of Michigan
Arts at Michigan
Arts Midwest Performing Arts Fund
Kathy Benton and Robert Brown
Bank of Ann Arbor
Chamber Music America
Pat and Dave Clyde
Doris Duke Charitable Foundation
DTE Energy Foundation
Dykema Gossett, PLLC
Dr. Toni Hoover in memory of Dr.
Isaac Thomas III JazzNet Endowment James A. & Faith Knight Foundation Masco Corporation Foundation THE MOSAIC FOUNDATION
(of R. & P. Heydon) National Dance Project of the New
England Foundation for the Arts National Endowment for the Arts
NBA Jazz Masters on Tour Pfizer Global Research and
Development, Ann Arbor
Laboratories
Randall and Mary Pittman ProQuest Company Prudence and Amnon Rosenthal
K--12 Education Endowment Fund TCF Bank TIAA-CREF
UMS Advisory Committee University of Michigan Credit Union U-M Office of the Senior Vice
Provost for Academic Affairs U-M Office of the Vice President for
Research
The Wallace Foundation Whitney Fund
UMS PREFERRED RESTAURANTS AND BUSINESSES
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 888.456.DINE
The Chop House
322 South Main Street 888.456.DINE
The Original Cottage Inn
512 East William 734.663.3379
Graham's Restaurant
610 Hilton Boulevard 734.761.7800
Gratzi
326 South Main 888.456.DINE
Michigan Car Services
30270 Spain Court, Romulus 800.561.5157
Palio
347 South Main Street888.456.DINE
The Quarter Bistro
300 North Maple Road 734.929.9200
Real Seafood Company
316 South State Street 888.456.DINE
Red Hawk Bar & Grill
316 South State Street 734.994.4004
Schakolad Chocolate Factory
110 East Washington 734.213.1700
Victors Restaurant at the Campus Inn
615 East Huron 734.769.2282
Zanzibar
216 South State Street 734.994.7777
UMS DELICIOUS EXPERIENCES
Friends of UMS are offering a special donation by hosting unique dining events benefiting the Youth Education Programs of UMS. Thanks to the generosity of the hosts, all proceeds from these delightful dinners go to support these important activities. For more information or to receive a brochure, please call 734.647.8009 or visit www.ums.org.
Last season's Delicious Experiences raised over $19,000 to support UMS educational programs. UMS is grateful to the following hosts for their generous support and gracious hospitality.
Ricky Agranoff
Eve Aranoff
Lois and David Baru
Mimi and Ron Bogdasarian
Mary Campbell
TR Durham
Ken and Penny Fischer
Carl and Charlene Herstein
Gloria and Robert Kerry Martha Mayo and Irwin Goldstein Susan McClanahan and
Bill Zimmerman Louis and Julie Nagel Pat Pooley
Paul and Penny Schreiber Marina and Bob Whitman
UMSSupport
U
MS Volunteers are an integral part of the success of our organization. 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. Please call 734.647.8009 to request more information.
UMS ADVISORY COMMITTEE
The UMS Advisory Committee is an organiza?tion of 59 volunteers who contribute approxi?mately 3,000 hours of service to UMS each year. The purpose of the Advisory Committee is to raise funds for UMS's nationally-acclaimed arts education program through the projects and events listed below. In addition, Advisory Committee members and friends provide assis?tance in ushering at UMS youth performances throughout the season. Meetings are held every two months and membership tenure is three years.
On the Road with UMS
September 30, 2006
Howard Cooper Import Center
The first On the Road was held in September 2005 at the Howard Cooper Import Center on South State Street. More than 200 people enjoyed an evening of food, music, and silent and live auctions, neting more than $40,000
to support UMS educational programs. Back by popular demand, the second annual On the Road will kick off the 0607 season. Tickets for the event are available by calling 734.647.8009.
Delicious Experiences
These special events are held in the homes of friends of UMS. The hosts determine the theme for the evening, the menu, and the number of guests they would like to entertain. It's a wonderful way to meet new people! For more information, please call 734.764.8489.
Ford Honors Program and Gala May 12, 2007
This year's program will honor Russian cellist and conductor Mstislav Rostropovich as he receives the UMS Distinguished Artist award. Following the program and award presenta?tion, the UMS Advisory Committee will host a festive reception and dinner. Please call 734.764.8489 for more information.
UMS USHERS
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 500 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 performances in a spe?cific venue or sign up to substitute for various performances throughout the concert season.
If you would like information about becoming a UMS volunteer usher, contact our Front-of-House Coordinator, Suzanne Davidson, at 734.615.9398 or e-mail fohums@umich.edu.
SPONSORSHIP AND ADVERTISING
Advertising
When you advertise in the UMS program book you gain season-long visibility among ticket buyers while enabling an important tradition of providing audiences with the detailed program notes, artist biographies, and program descrip?tions that are so important to the performance experience. Call 734.647.4020 to learn how your business can benefit from advertising in the UMS program book.
Sponsorship
As a UMS corporate sponsor, your organization comes to the attention of an educated, diverse and growing segment of not only Ann Arbor, but all of southeastern Michigan. You make possible one of our community's cultural treas?ures, and also receive numerous benefits from your investment. For example, UMS offers you a range of programs that, depending on your level of support, provide a unique venue for:
Enhancing corporate image
Cultivating clients
Developing business-to-business relationships
Targeting messages to specific demographic groups
Making highly visible links with arts and education programs
Recognizing employees
Showing appreciation for loyal customers
For more information, please call 734.647.1176.
ANNUAL FUND SUPPORT
July 1, 2005-August 1, 2006
T
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, foundation, and government agencies. We are grateful to those who have chosen to make a difference for UMS! This list includes donors who made an annual gift to UMS between July 1, 2005 and August 1, 2006. Every effort has been made to insure the accuracy of this list. Please call 734.647.1175 with any errors or omissions. Listing of donors to endowment funds begins on P53.
DIRECTOR
$100,000 or more Doris Duke Charitable Foundation Ford Motor Company Fund Michigan Council for Arts and Cultural Affairs Michigan Economic Development Corporation Pfizer Global Research & Development: Ann Arbor Laboratories
SOLOIST
$50,000-$99,999
Anonymous
DTE Energy
DTE Energy Foundation
Esperance Family Foundation
National Endowment for the Arts
Northwest Airlines
The Power Foundation
MAESTRO
$20,000-$49,999
Arts at Michigan
Borders Group
Cairn Foundation
CFI Group
Charles H. Gershenson Trust
DaimlerChrysler Corporate Fund
JPMorgan Chase
Kaydon Corporation
KeyBank
Robert and Pearson Macek
Masco Corporation
Maxine and Stuart Frankel Foundation
Estate of Melanie McCray
Coco and Roger Newton
Gilbert Omenn and Martha Darling
ProQuest Company
Dennis and Ellie Serras
J. Barry and Barbara Sloat
Toyota Technical Center
The Whitney Fund at the Community
Foundation for Southeastern Michigan Ann and Clayton Wilhite
VIRTUOSO
$10,000-$ 19,999
Bank of Ann Arbor
Kathy Benton and Robert Brown
Carl and Isabelle Brauer Fund
Chamber Music America
Comerica Bank
Concord Music
Edward Surovell Realtors
Ed and Natalie Surovell Elastizell Corp of America Mrs. Thomas C. Evans David and Phyllis Herzig LaSalle Bank Mrs. Robert E. Meredith National Dance Project of the New
England Foundation for the Arts NEA Jazz Masters on Tour James and Nancy Stanley TIAA-CREF
Universal Classics Group University of Michigan Credit Union Marina and Robert Whitman
CONCERTMASTER
$7,500-$9,999
Michael Allemang and Janis Bobrin
Ann Arbor Automotive
The Ann Arbor News
Dave and Pat Clyde
Dykema Gossett
Ken and Penny Fischer
Paul McCracken
Miller Canfield Paddock and Stone
P.L.C.
Duane and Katie Renken A. Douglas and Sharon J. Rothwell Jane and Edward Schulak
PRODUCER
$5,000-$7,499
Anonymous
Arts Midwest Performing Arts Fund
Paulett Banks
Blue Nile Restaurant
Ronald and Mimi Bogdasarian
Robert and Victoria Buckler
Thomas and Marilou Capo
Douglas D. Crary
Hal and Ann Davis
Jim and Patsy Donahey
David and Jo-Anna Featherman
Hene Forsyth
Dr. Sid Gilman and Dr. Carol Barbour
Sue and Carl Gingles
Debbie and Norman Herbert
Carl and Charlene Herstein
Honigman Miller Schwartz and Cohn LLP
Mohamed and Hayat Issalssa Foundations
David and Sally Kennedy
James A. & Faith Knight Foundation
Jill Latta and David Bach
Richard and Carolyn Lineback
Mainstreet Ventures, Inc.
Susan McClanahan and Bill Zimmerman
M. Haskell and Jan Barney Newman
Philip and Kathy Power
Red Hawk Bar & GrillZanzibar Restaurant
John and Dot Reed
Robert Bosch Corporation
Don and Judy Dow Rumelhart
Sesi Lincoln Mercury Volvo Mazda
Loretta M. Skewes
Richard and Susan Snyder
Thomas B. McMullen Company
Tisch Investment Advisory
Louise Townley
Gerald B. and Mary Kate Zelenock
LEADER
$3,500-$4,999
Dr. and Mrs. Gerald Abrams Mrs. Gardner Ackley Bernard and Raquel Agranoff Susan and Alan Aldworth Essel and Menakka Bailey June and Clyde Bennett Barbara Everitt Bryant Edward and Mary Cady Mary Sue and Kenneth Coleman Sara and Michael Frank Paul and Anne Glendon Keki and Alice Irani THE MOSAIC FOUNDATION
(of R. & P. Heydon) Randall and Mary Pittrnan Eleanor and Peter Pollack Barbara A. Anderson and John H. Romani Muaiad and Aida Shihadeh Helen L. Siedel Lois A. Theis Dody Viola Karl and Karen Weick Marion T. Wirick and James N. Morgan
PRINCIPAL
$2,500-$3,499
Jim and Barbara Adams
Alan and Susan Aldworth
Anonymous
Arnold and Janet Aronoff
Bob and Martha Ause
Lesli and Christopher Ballard
Emily Bandera and Richard Shackson
Raymond and Janet Bernreuter
Suzanne A. and Frederick J. Beutler
Joan A. Binkow
Dr. and Mrs. Gerald Bishop
Charles and Linda Borgsdorf
Bruce Conybeare and Elizabeth Brien
Jeannine and Robert Buchanan
Dennis A. Dahlmann and Patricia Garcia
Sally and Larry DiCarlo
Molly Dobson
Al and Kendra Dodds
Eugene and Emily Grant Family Foundation
Mr. and Mrs. George W. Ford
General Motors Corporation
Susan and Richard Gutow
Janet Woods Hoobler
Dr. H. David and Dolores Humes
Japan Business Society of Detroit Foundation
Shirley Y. and Thomas E. Kauper
Connie and Tom Kinnear
Amy Sheon and Marvin Krislov
Donald J. and Carolyn Dana Lewis
Jeff Mason and Janet Netz
Judy and Roger Maugh
Bruce McCarthy and Jim Macksood
Ernest and Adele McCarus
Barbara Meadows
Virginia and Gordon Nordby
Thomas O'Keefe
William C. Parkinson
Jim and Bonnie Reece
Rosebud Solutions
Jerry and Corliss Rosenberg
Dr. Nathaniel H. Rowe
Nancy W. Rugani
Alan and Swanna Saltiel
TCF Bank
Jim Toy
Don and Carol Van Curler
Don and Toni Walker
Robert O. and Darragh H. Weisman
Roy and Jo An Wetzel
Max Wicha and Sheila Crowley
Arnold Zuroff
PATRON
$l,000-$2,499
Michael and Suzan Alexander
Anastasios Alexiou
Dr. and Mrs. David G. Anderson
Anonymous
Dr. and Mrs. Rudi Ansbacher
Jonathan Ayers and Teresa Gallagher
Robert and Wanda Bartlett
Bradford and Lydia Bates
Beacon Investment Company
Astrid B. Beck and David Noel Freedman
Frederick W. Becker
Ralph P. Beebe
James A. Bergman and Penelope Hommel
Ruth Ann and Stuart J. Bergstein
Anne Beaubien and Phil Berry
John Blankley and Maureen Foley
Howard and Margaret Bond
Gary Boren
Laurence and Grace Boxer
Dr. and Mrs. Ralph Bozell
Dale E. and Nancy M. Bnggs
Lawrence and Valerie Sullen
Patrons, com.
Letitia J. Byrd
Amy and Jim Byrne
Betty Byrne
Barbara and Al Cain
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
Hubert and Ellen Cohen
Jeffrey and Cynthia Colton
Conlin Travel
Phelps and Jean Connell
Jim and Connie Cook
Jane Wilson Coon and A. Rees Midgley, Jr.
Anne and Howard Cooper
Paul N. Courant and Marta A. Manildi
Ronnie and Sheila Cresswell
Kathleen Crispell and Tom Porter
Richard J. Cunningham
Charles W. and Kathleen P. Davenport
Robert and Janice DiRomualdo
Andrzej and Cynthia Dlugosz
Jack and Alice Dobson
Heather and Stuart Dombey
John Dryden and Diana Raimi
Dr. and Mrs. Theodore E. Dushane
Aaron Dworkin and Afa Sadykhly
Jack and Betty Edman
Martin and Rosalie Edwards
Julia C. and Charles R. Eisendrath
Joan and Emil Engel
Stefan S. and Ruth S. Fajans
Dede and Oscar Feldman
Yi-tsi M. and Albert Feuerwerker
Sidney and Jean Fine
Susan A. Fisher
Ray and Patricia Fitzgerald
John and Esther Floyd
Phyllis and James Ford
Ann Friedman
James and Chris Froehlich
Bernard and Enid Galler
Thomas and Barbara Gelehrter
Beverley and Gerson Geltner
William and Ruth Gilkey
Clement and Margo Gill
Karl and Karen Gotting
Cozette T. Grabb
Elizabeth Needham Graham
Mr. and Mrs. Robert C. Graham
Ruth B. and Edward M. Gramlich
John and Helen Griffith
Leslie and Man Ellen Guinn
Charlene and Walton Hancock
Martin D. and Connie D. Harris
Clifford and Alice Hart
Julian and Diane Hoff
Carolyn Houston
Robert M. and Joan F. Howe
John and Patricia Huntington
Perry Irish
Rebecca S. Jahn
Wallie and Janet Jeffries
Timothy and Jo Wiese Johnson
Robert L and Beatrice H. Kahn
Herbert Katz
Robert and Jeri Kelch
James and Patricia Kennedy
Diane Kirkpatrick
Paul and Dana Kissner
Dr. and Mrs. David E. Klein
Philip and Kathryn Klintworth
Carolyn and Jim Knake
Charles and Linda Koopmann
Samuel and Marilyn Knmm
Ted and Wendy Lawrence
Peter Lee and Clara Hwang
Carolyn Lepard
Carolyn and Paul Lichter
Marc and Jill Lippman
Leslie and Susan Loomans
Richard and Stephanie Lord
Joan Lowenstein and Jonathan Trobe
Frances Lyman
John and Cheryl MacKrell
Edwin and Cathy Marcus
Ann W. Martin and Russ Larson
Esther Martin
Sally and Bill Martin
Natalie Matovinovic
Mary and Chandler Matthews
Jerry A. and Deborah Orr May
Raven McCrory
Griff and Pat McDonald
Rebecca McGowan and Michael B. Staebler
Mercantile Bank of Michigan
Merrill Lynch Pierce Fenner & Smith Inc.
8ernice and Herman Merte
Russ and Brigitte Merz
The Millman Harris Romano Foundation
Jeanne and Lester Monts
Paul Morel
Alan and Sheila Morgan
Cyril Moscow
Cruse W. and Virginia Patton Moss
Edward Nelson
Donna Parmelee and William Nolting
Nustep, Inc.
Mark and Susan Orrmger
Mohammad and J. Elizabeth Othman
Mrs. Charles Overberger (Betty)
Elaine and Bertram Pitt
Stephen and Bettina Pollock
Richard and Mary Price
Produce Station
Mrs. Frances Quarton
Donald Regan and Elizabeth Axelson
Ray and Ginny Reilly
Maria and Rusty Restuccia
Kenneth J. Robinson
Nancy and Doug Roosa
Prudence and Amnon Rosenthal
Doris E. Rowan
James and Adrienne Rudolph
Marjorie and William Sandy
Norma and Dick Sarns
Maya Savarino
Frank J. Schauerte
Charles Schmitter
Dr. John J. H. Schwarz
Jim and Maggie Seibold
Erik and Carol Serr
Herbert and Melody Shanbaum
Frances U. and Scott K. Simonds
Jim Skupski and Dianne Widzinski
Susan M. Smith and Robert H. Gray
Shelly Soenen and Michael Sprague
Joseph H. Spiegel
Lloyd and Ted St. Antoine
Mr. and Mrs. Gary R. Stahle
Lois and Jack Stegeman
Dr. James Christen Steward
Victor and Marlene Stoeffler
Dr. and Mrs. Stanley Strasius
Estate of Bill and Mary Stubbins
Charlotte Sundelson
Katherine Terrell and Jan Svejnar
Elizabeth H. Thieme
Catherine B. Thoburn
Bradley Thompson
Jack and Marilyn van der Velde
Mary C. Vandewiele
Varian Associates
Florence S. Wagner
Thomas and Mary Wakefield
Robert D. and Liina M. Wallin
Robin and Harvey Wax
Elise Weisbach
W. Scott Westerman, Jr.
Harry C. White
Max and Mary Wrsgerhof
Jeanne and Paul Yhouse
Keith and Karlene Yohn
Edwin and Signe Young
BENEFACTOR
$500-$999
Wadad Abed
Dr. and Mrs. Robert G. Aldrich
Christine W. Alvey
Helen and David Aminoff
Herb and Carol Amster
Ann Arbor Area Community Foundation
Anonymous
Dr. and Mrs. Henry Appelman
Tracey Baetzel
Ralph Lydic and Helen Baghdoyan
Laurence R. and Barbara K. Baker
Lisa and Jim Baker
Reg and Pat Baker
David and Monika Barera
Norman E. Barnett
Dr. Rosemary R. Berardi
L. S. Berlin
Naren and Nishtha Bhatia
Irene and Daniel Biber
Chnstel D. and Jurg Bieri
Donald and Roberta Blitz
Paul and Anna Bradley
David and Dr. Sharon Brooks
Donald R. and June G. Brown
Morton B. and Raya Brown
Virginia Sory Brown
Dr. Frances E. Bull
Charles and Joan Burleigh
Mr. and Mrs. Richard J. Burstein
Heather Byrne
Doris Caddell
H. D. Cameron
Tsun and Siu Ying Chang
Joan and Mark Chesler
John and Camilla Chiapuris
Dr. Kyung and Young Cho
Janice A. Clark
Linda and Robert Cody
Peter Coggan
Jeanne Raisler and Jonathan Cohn
Dr. and Mrs. Harvey Colbert
Wayne and Melinda Colquitt
Ralph Conger
Kathryn G. Coon
Hugh and Elly Cooper
Jean Cunningham and Fawwaz Ulaby
Roderick and Mary Ann Daane
Benefactors, cont.
Timothy and Robin Damschroder Michelle Deatrick and
Steven Przybylski Ellwood and Michele Derr Elizabeth Dexter Cynthia Dodd
Robert J. and Kathleen Dolan Elizabeth A. Doman James Eng and Patricia Randle Ernst & Young Foundation Elly and Harvey Falit Dr. and Mrs. John A. Faulkner Fausone, Taylor & Bonn, UP Michael Feeney Carol Finerman Clare M. Fingerle Beth B. Fischer
C. Peter and Beverly A. Fischer John and Karen Fischer Howard and Margaret Fox Jason I. Fox Betsy Foxman and
Michael Boehnke Leon and Marcia Friedman James Fuester Kevin Gaines and
Penny VonEschen Thomas Garbaty Tom Gasloli Prof. David M. Gates Beverly Gershowitz Ronald Gibala and Janice Grichor Beth Genne and Allan Gibbard Paul and Suzanne Gikas Zita and Wayne Gillis Richard Ginsberg and
Cheryl Cassidy Amy and Glenn Gottfried Dr. Robert A. Green David and Kay Gugala Don P. Haefner and
Cynthia J. Stewart Helen C. Hall Susan Harris Sivana Heller
Rose and John Henderson Lee Hess and Irene Levine Houghton Mifflin Sun-Chien and Betty Hsiao Jane H. Hughes Dr. and Mrs. Ralph M. Hulett Ann D. Hungerman Thomas and Kathryn Huntzicker Eileen and Saul Hymans Jean Jacobson Kent and Mary Johnson Paul and Olga Johnson Mark and Madolyn Kaminski Herbert and Jane M. Kaufer Christopher Kendall and
Susan Schilperoort Rhea Kish
James and Jane Kister Shira and Steve Klein Hermine R. Klingler Joseph and Marilynn Kokoszka Michael J. Kondziolka and
Mathias-Philippe Badin Dr. Melvyn and Mrs.
Linda Korobkin Barbara and Ronald Kramer Barbara and Michael Kratchman Dr. Gerald and Phyllis Krause Bud and Justine Kulka
Donald Lachowicz
Jane Laird
Dale and Marilyn Larson
John and Jeanine Lawrence
Laurie and Robert LaZebnik
David Lebenbom
Julaine LeDuc
Richard LeSueur
Don and Erica Lindow
E. Daniel and Kay Long
Florence LoPatin
Mark and Jennifer LoPatin
Marilyn and Frode Maaseidvaag
Brigitte and Paul Maassen
Martin and Jane Maehr
Kenneth A. and Lynn F. Marko
Margaret E. McCarthy
Henry D. Messer Carl A. House
Don and Lee Meyer
Myrna and Newell Miller
James M. Miller and
Rebecca H. Lento Kathryn and Bertley Moberg Donald L. Morelock Frieda H. Morgenstern Mark and Lesley Mozola Todd Mundt
Gavin Eadie and Barbara Murphy Gerry and Joanne Navarre Martin Neuliep and
Patricia Pancioli Susan and Richard Nisbett Dr. Marylen S. Oberman Robert and Elizabeth Oneal Constance and David Osier Mitchel Osman, M.D. Marysia Ostafin and
George Smiliie John and Jeanne Pfeifer Evelyn Pickard Peter and Carol Polverini Richard and Laurie Prager Jacob M. Price Wallace and Barbara Prince Anthony L. Reffells R. E. Reichert Mamie Reid and Family Retirement Income Solutions Jay and Machree Robinson Jeff and Huda Karaman Rosen Richard and Edie Rosenfeld Steve and Tanis Rosoff Ina and Terry Sandalow Susan Schooner and
Thomas Wieder Ann and Tom Schriber Drs. David E. and
Monica S. Schteingart David and Elvera Shappirio Edward and Kathy Silver Carl P. Simon and Bobbi Low Robert and Elaine Sims Don and Sue Sinta Nancy and Brooks Sitterley, M.D. Irma J. Sklenar William and Andrea Smith Mrs. Gretchen Sopcak Holly and Mike Sorscher Ralph and Anita Sosin Hildreth H. Spencer Ph.D. David and Ann Staiger James L. Stoddard Jeff Stoller Eric and Ines Storhok
David and Karen Stutz Steve and Diane Telian Nigel and Jane Thompson Fr. Lewis W. Towler Jeff and Lisa Tulin-Silver Claire and Jeremiah Turcotte William H. and H. Jewell Tustian Dr. Sheryl S. Ulin and
Dr. Lynn T. Schachinger Susan B. Ullrich
Steven and Christina Vantrease Lou Lomonaco and Shirley Verrett Victors at the Dahlmann
Campus Inn Charles Ft. and
Barbara H. Wallgren WCPE The Classical Station Angela Welch and Lyndon Welch Iris and Fred Whitehouse Sally M. Whiting Whole Foods Market Nancy Wiernik Reverend Francis E. Williams Lawrence and Mary Wise Charles Witke and Aileen Gatten Stanley J. and Priscilla Woollams Frances Wright Dr. and Mrs. Clyde Wu Mr. and Mrs. David Zuk
ASSOCIATES
$250-$499
Thomas and Joann Adler Family
Foundation ADP Foundation
Roger Albin and Nili Tannenbaum Catherine M. Andrea Anonymous Bert and Pat Armstrong Nancy J. Arnfield Penny and Arthur Ashe Mary and Al Bailey Reeve and Marian Bailey John and Ginny Bareham David and Lois Baru Frank and Lindsay Bateman Gary Beckman and Karla Taylor Prof, and Mrs.
Erling Blondal Bengtsson Linda and Ronald Benson Rodney and Joan Bentz Helen 8erg
John E. Billi and Sheryl Hirsch llene and William Birge Beverly J. Bole Victoria C. Botek and
William M. Edwards Robert M. Bradley and
Charlotte M. Mistretta William R. Brashear David R. Bryant Martin and Mary Buckingham Tony and Jane Burton Andrew Campbell and
Monica Lypson Brent and Valerie Carey Dennis Carter John Carver Kristen Chapman Charles Reinhart Company Realtors Kwang and Soon Cho Reginald and Beverly Ctokajlo Brian and Cheryl Clarkson William and Rita Close Edward J. and Anne M. Comeau Peter and Celia Copeland
Dr. and Mrs. Clifford J. Cox
Lloyd and Lois Crabtree
Merle and Mary Ann Crawford
MaryC.Crichton
Peter C. and LindyM. Cubba
Bruce Curran
Mary R. and John G. Curtis
Alisande Cutler
Sunil and Merial Das
Art and Lyn Powrie Davidge
Ed and Ellie Davidson
Alice and Ken Davis
Norma and Peter Davis
William Davis
Sophie and Marylene Delphis
Alice Fishman and Michael DiPietro
Steve and Judy Dobson
Elizabeth Duell
Swati Dutta
Eva and Wolf Duvernoy
Morgan and Sally Edwards
Dr. Alan S. Eiser
Sol M. and Judith Elkin
Mark and Karen Falahee
Irene Fast
Peter Fayroian
Phil and Phyllis Fellm
Dr. and Mrs. James L.M. Ferrara
Dr. Lydia Fischer
Susan Fisher and John Waidley
Beth and Joe Fitzsimmons
Jessica Fogel and Lawrence Weiner
Paula L. Bockenstedt and
David A. Fox Philip and Renee Frost Harriet and Daniel Fusfeld Garris, Garris, Garris & Garris, PC. Janet and Charles Garvin Deborah and Henry Gerst Elmer Gilbert and Lois Verbrugge J. Martin Gillespie and Tara Gillespie Joyce Ginsberg Maureen and David Ginsburg Irwm Goldstein and Martha Mayo Eszter Gombosi Enid M. Gosling Charles and Janet Goss James W. and Maria J. Gousseff Michael Gowing Helen M. Graves Mark and Susan Griffin Werner H. Grilk Bob and Jane Graver Anna Grzymala-Busse and
Joshua Berke Margaret and Ken Guire H & R Block
George and Mary Haddad Yoshiko Hamano Mr. Paul Hysen and
Ms. Jeanne Harrison Naomi Gottlieb Harrison and
Theodore Harrison DDS Tricia and Steve Hayes Kenneth and Jeanne Heininger Keith and Marcelle Henley Kathy and Rudi Hentschel Herb and Dee Hildebrandt Peter Hinman and Elizabeth Young James and Ann Marie Hitchcock Jeffrey and Allison Housner Mabelle Hsueh Robert B. Ingling Mr. and Mrs. Eugene 0. Ingram John H. and Joan L. Jackson Mel and Myra Jacobs Beverly P. Jahn Elizabeth Jahn Jim and Dale Jerome Mark and Linda Johnson Dr. Marilyn S. Jones
Associates, com.
Paul R. and Meredyth Jones Dr. Arthur A. Kaselemas John B. Kennard, Jr. Frank and Patricia Kennedy Linda Atkins and Thomas Kenney George L. Kenyon and
Lucy A. Waskell Roland and Jeanette Kibler Donald and Many Kiel Drs. Peter and Judith Kleinman Thomas and Ruth Knoll Dr. and Mrs. Jerry Kolins Adam and Rebecca Kozma Mary Kramer Dons and Don Kraushaar Bert and Geraldine Kruse Pamela and Stephen Landau Neal and Anne Laurance John and Theresa Lee Sue Leong Jacqueline H. Lewis Daniel Little Rod and Robin Little Dr. and Mrs. Lennart H. Lofstrom Julie M. Loftm Naomi E. Lohr Carl J. Lutkehaus Pamela J. MacKintosh Carol L. Makielski and
Charles D. Lake Paula Malone and Daniel Hill Claire and Richard Malvin Melvin and Jean Manis Geraldine and Sheldon Markel Peter Marshall Irwin and Fran Martin Mr. and Mrs. Harris McClamroch Nancy A. and Robert E. Meader Gerlinda S. Melchiori Ph.D. Warren and Hilda Merchant Joetta Mial
Carmen and Jack Miller Mr. and Mrs. Eugene A. Miller Mr. and Mrs. William Moeller Olga Moir Fred Mollenkopf Lewis and Kara Morgenstern Thomas and Hedi Mulford Lisa Murray and Mike Gatti Frederick C. Neidhardt Christer E. and Outi Nordman Jack and Kerry Kelly Novick Arthur S. Nusbaum Thomas and Amy Ogar Nels and Mary Olson David and Andrea Page William and Hedda Panzer Donna D. Park Brian R Patchen Zoe and Joe Pearson Margaret and Jack Petersen Evelyn Pickard
Robert and Mary Ann Pierce Winnifred P. Pierce Stephen and Celeste Piraino Donald and Evonne Plantinga Susan Pollans and Alan Levy Bill and Diana Pratt Ann Preuss Rebecca Minter and
John Rectenwald Michael J. Redmond Anne and Fred Remley Molly Resnik and John Martin Alice Rhodes
Jonathan and Anala Rodgers Dr. Susan M. Rose Robert and Joan Rosenblum Charles W. Ross Rosemarie Rowney
Michael and Kimm Sarosi Rosalyn Sarver and
Stephen Rosenblum Albert J. and Jane L. Sayed SBC Foundation Dr. and Mrs. David W. Schmidt Harriet Selin
Jean and Thomas Shope Holds and Martha A. Showalter Terry M. Silver, M.D. Gene and Alida Silverman Sandy and Dick Simon Michael and Maria Simonte Scott and Joan Singer Carl and Jari Smith David and Renate Smith Gregory and Margaret Smith James A. Somers Jeff Spindler Burnette Staebler Eric and Virginia Stein Cynthia Straub
Donald and Barbara Sugerman Brian and Lee Talbot Peg Talburtt and Jim Peggs Judy and Lewis Tann Eva and Sam Taylor Paul and Jane Thielking Edwin J. Thomas Or. Hazel M. and
Victor C. Turner, Jr. Jim and Emitie Van Bochove ' Charlotte Van Curler Douglas and
Andrea Van Houweling Edward and Katherine Van Wesep Hugo and Karla Vandersypen Mrs. Theodore R. Vogt Wendy Wahl and Bill Lee Elizabeth and David Walker Jo Ann Ward
Arthur and Renata Wasserman Carol Weber John M. Weber Deborah Webster and
George Miller Jack and Jerry Weidenbach Katherine White Leslie Whitf ieid
Robert J. and Anne Marie Willis Donna Winkelman and
Tom Easthope Charlotte A. Wolfe David and April Wright Phyllis B. Wright Betty and Robert Wurtz Don and Charlotte Wyche ManGrace and Tom York
ANNUAL ENDOWMENT SUPPORT
July 1, 2005-August 1, 2006
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, 2005 through August 1, 2006. We are grateful for their generous support for UMS, now and in the future.
$50,000 or more
Doris Duke Charitable Foundation Natalie Matovinovic The Wallace Foundation
S20,000-$49,999
Anonymous
David and Phyllis Herzig
Sesi Family Endowment
$10,000-519,999
Anonymous . Mrs. Bonnie Ackley Herb and Carol Amster James and Nancy Stanley
$5,000-59,999
Anonymous
CFI Group, Inc.
Robert and Pearson Macek
Susan B. Ullrich
Marina and Robert Whitman
$1,000-54,999
Anonymous
Edward and Linda Bove
Paul and Anne Glendon
Debbie and Norman Herbert
Timothy and Jo Wiese Johnson
Robert and Jeri Kelch
Evie and Allen Lichter
Marilyn and Marty Lindenauer
THE MOSAIC FOUNDATION (of R. & P.
Heydon)
Richard and Bonita Ohye Minney and Ted Robb Jon Rosenthal Herbert Sloan Max Wicha and Sheila Crowley
$100-5999
Bernard and Raquel Agranoff Essel and Menakka Bailey Dr. Frances E. Bull Jeffrey and Cynthia Colton Dr. and Mrs. S.M. Farhat Beverley and Gerson Geltner Lewis R. and Mary A. Green Naomi Gottlieb Harrison and
Theodore Harrison DOS Keki and Alice Irani Myron and Bobbie Levine Kathleen Nolan and Doug Kelbaugh Gilbert Omenn and Martha Darling Elaine and Bertram Pitt Rick and Man Price John and Dot Reed Jack and Aviva Robinson Charles and Julie Steedman
Endowed Funds
The future success of the University Musical Society is secured in part by income from UMS's endowment. UMS extends its deepest appreciation to the many donors who have established andor contributed to the following funds:
H. Gardner Ackley Endowment Fund Herbert S. and Carol Amster Fund Catherine S. Arcure Endowment Fund Carl and Isabelle Brauer Endowment Fund Choral Union Fund Haf and Ann Davis Endowment Fund Doris Duke Charitable Foundation
Endowment Fund Ottmar Eberbach Funds Epstein Endowment Fund JazzNet Endowment Fund William R. Kinney Endowment Fund Natalie Matovinovic 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 The Wallace 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 important support, which will continue the great traditions of artistic excellence, educational opportunities, and community partnerships in future years.
Bernard and Raquel Agranoff
Carol and Herb Amster
Mr. Neil P. Anderson
Dr. and Mrs. David G. Anderson
Catherine S. Arcure
Linda and Maurice 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
H. Michael and Judith L Endres
Dr. James F. Filgas
Ken and Penny Fischer
Ms. Susan Ruth Fischer
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
Burton Tower Society, cont.
Len Niehotf
Dr. and Mrs. Frederick C. CVDell Mr. and Mrs. Dennis M. Powers Mr. and Mrs. Michael Radock Mr. and Mrs. Jack Ricketts Mr. and Mrs. Willard L. Rodgers Prudence and
Amnon Rosenthal Margaret and
Maskell 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
Linda and Maurice Binkow Mary Gene Birdsall Isabelle Brauer Germaine Chipault Heidi Cohan Arthur F. Cox, Jr. Benning Dexter Pauline DiPietro Angela S. Dobson Rosalie Edwards Janel Fain
Ken and Penny Fischer Matt and Renee Fischer Sara B. Frank
Maxine and Stuart Frankel Martha Gall Lila Green Mark Jacobson Leslie Kish
Or. and Mrs. Edwin Marcus Dr. Josip Matovinovic Valerie D. Meyer Holmes E. and Susan E. Newton Harold A. Oberman, MD Raymond Peck Gwen and Emerson Powrie Dr. Lawrence Preuss Gail W. Rector Steffi Reiss Amnon Rosenthal Margaret E. Rothstein Eric H. Rothstein Lisa Rozek Nona R. Schneider Edith Marie Snow Burnette Staebler Judy and Lewis Tann's
granddaughter, Gaby Charles R. Tieman Francis V. Viola III
Raoul Weisman
Sally M. Whiting
Carl Wilmot, Class of 1919
Peter Holderness Woods
In-Kind Gifts
16 Hands Gallery
21-Forma
A&L Wine Castle
A-1 Rentals
Abbott's Landscape Nursery
Waded Abed
Abracadabara Jewelry & Gem Gallery
Acme Mercantile
Raquel and Bernard Agranoff
Alexandra's in Kerrytown
Amadeus
Ann Arbor Art Center
Ann Arbor Civic Theater
Ann Arbor Fire Station No. 1
Ann Arbor Symphony Orchestra
Anne Keesor Photography
Eve Aranoff
Arbor Farms
Arbor Springs Water
Area Rug Cleaning Company
Automobile magazine
Avanti Hair Designers
Aviation Center Inc
Ayla & Company
Barbara Bach
Bailey, Banks & Biddle
Steven Ball
BANA Salon & Spa
Bank One
Paulett Banks
Milli Baranowski
Bob and Wanda Bartlett
Barton Hills Country Club
Lois and David Baru
Bay Design
Beamers Art Design
Bella Ciao
Bella Nina Day Spa
Belle Tire
Kathy Benton and Bob Brown
Yehonatan Berick
Best French Bread in Town
Betsie Bay Inn
The Betty Brigade
Nishta Bhatia
Big City Small World Bakery
Maurice and Linda Binkow
Blue Water Jewelry Design
Bodies in Balance
Boersma Travel
Mimi and Ron Bogdasarian
Kay Bohn-Ness
Seth Bonder
Enoch Brater
Brookstone
Beth Bruce
Barbara Everitt Bryant
Bob and Jeannine Buchanan
Robert and Victoria Buckler
Patricia Butzke
Betty Byrne
Heather Byrne
Cafe Zola
Camp Michigania
Mary Campbell
Margot Campos
Car and Driver magazine
Carlisle Collections
Bob and Ronnie Carpenter
Cartier, New York
Ernie Caviani
Pat and George Chatas
Chelsea Flowers
Clifton Chippewa. Tribe Salon
Chris W. Petersen Jewelry Design
Christine's
Mark Clague
Cleveland Museum of Art
Coach Me Fit
Cold Stone Creamery
College Shoe Repair & Hockey
Equipment Jill Coilman Common Grill Community High School Jazz
Ensemble
Jean and Flip Connell Conor O'Neill's
Chandra Cooper, Jules Furniture Howard Cooper Cottage Inn Restaurant Country Kennels Pet Care Center Kail Couyoumjian, CTS Nita and Mac Cox Csaba Csere Cutting Edge Dennis Dahlmann David E. Davis Norma Davis
Decadent Delight Cakes and Pastries Deerwood Lodge Katy and Tony Derezmski Ellwood Derr
Discount Tire Company. Inc. Kathleen and Robert Dolan Heather Dombey Susan Douglas DTE Energy
Durham's Tracklements Smokery The Earle Restaurant The Earle Uptown Restaurant Edward Surovell Realtors Meg Edwards
Charles and Julia Eisendrath Encore Recordings English Gardens Eve The Restaurant Everyday Cook Everyday Wines Mary Ann Faeth David and Jo-Anna Featherman Findings, Inc. Nancy Fmley, On-Site Accounting
and Tax Service Ken and Penny Fischer Susan Fisher Food Art
Four Seasons Perfume & Lingerie Maxine and Stuart Frankel Linda French Otto and Lourdes Gago The Gandy Dancer Beverley and Gerson Geltner Ron Gilgenbach Jayne Gissiner Anne and Paut Glendon Susan Goddard, CMT Gold Bond Cleaners Good Scents Gardens Goodman Theater, Chicago Sin Gottlieb Michael Grace Gratzi
Great Lakes Cyclery and Fitness Grillworks, Inc. Monroe and Daryl Hafter Charlene and Walt Hancock Happy Nails Catherine Hemenway, Jacques
Sessange
Debbie and Norman Herbert Carl and Charlene Herstein David and Phyllis Herzig Peter Hinman and Elizabeth Young Hollander's Ideal Image
Integrated Architecture PUC The Issa Family
John Jabero
Mark Jacobson
Jazzercise Center of Ann Arbor
Walhe and Janet Jeffries
John Shultz Photography
Ben Johnson
Tony Jones, Solo Aviation Inc
Julie Jaffee Nagel. PhD
?Catherine's Catering
Laura Kennedy
Kensington Court Ann Arbor
Kerrytown Concert House
Kenneth Kiesler
King's Keyboard House
King's Men Barbers
David and Heidi Klein
Michael Kondziolka
La Belle Maison
Gene Laskowski
Learning Express
Richard LeSueur
Letty's
Jerry and Carol Levin
Mike and Bobbie Levine
r h ' I I I ' j" "l I 'I' '! 'l
Liberty Athletic Club
The Spa at Liberty Catherine Lilly Logan
Stephanie Lord Martin and Jane Maehr Main Dish Kitchen Mainstreet Ventures Wynton Marsalis Mast Shoes Mathilde's Imports Mary and Chandler Matthews Martha Mayo and Irwin Goldstein Susan McClanahan and Bill Zimmerman Liz Messiter Michael Susanne Salon Michigan Argentine Tango Club Michigan Car Services Michigan Opera Theater Michigan Theater Monahan's Seafood Market Morgan and York Fine Wines and
Specially Foods Louis Nagel
Napa Valley Opera House Nelson Shantz Piano Service Neutral Zone John Neville-Andrews M. Haskell and Jan Barney Newman newworldtea.com Nicola's Books Susan Isaacs Nisbett Holly Ohtonen, Spa at Liberty Orbit Hair Design Peter Osetek Liz Othman Pacific Rim by Kana Paesano's Restaurant Performance Network Pictures Plus
Pioneer High School Jazz Ensemble Gregory Poggi Allison Poggi Pat Pooley Prickly Pear
Mike and Lisa Psarouthakis Purple Rose Theater PWB Marketing Communications Radrick Farms Golf Course Raja Rani
Paula Rand, Juliana Collection Randy Parrish Fine Framing Dave Rassenfoss Rear Ends
Red Hawk Bar 8. Grill Deanna Relyea Renaissance Jeff Renner
Huda Rosen
Prue and Ami Rosenthal
Doug and Sharon Rothwell
Ellen Rowe
Ruby's Balm
Jim and Adrienne Rudolph
Swanna Saltiel, Silkmoons
Design
Bill and Marjorie Sandy Maya Savarino Jeri Sawall Schakolad Schlanderer & Sons Paul and Penny Schreiber Tom and Ann Schriber Sheri Schultz, Apple
Computer SEE Eyewear SeloShevel Gallery
Dennis and Elite Serras Seva
Shalimar
Shaman Drum Bookshop
Muaiad and Aida Shihadeh
George Shirley
Susie Silver
Loretta Skewes
Herbert Sloan
George Smillie
Andrea Smith
South Water Kitchen, Chicago
Sparrow Meats
Jim and Nancy Stanley
Starbucks
Cynthia Straub. Straubeads
Studio Sixteen
Suburban Saab
Sundance Shoes
Ed and Nat Surovell
Sussex Gardens
Sweet Gem Confections,
Nancy Biehn Christina Thoburn Tom Thompson Flowers Lisa Townley Louise Townley Townsend Hotel, Birmingham Trader Joe's Trimble Associates UMS Board of Directors University of Michigan
Athletic Department University of Michigan
Golf Course University of Michigan Office
of the Vice President for
Communications
University of Michigan Ross School of Business, Executive Education Program
Mark Urban, Urban Jewelers
Van Boven Shoes
Mary C. Vandewiele
Victory Lane
Vie-Fitness & Spa
Vintage to Vogue
Dody Viola
Voila Boutique
Vox Early Music Ensemble
Sandy Wagner LPGA, Kendall Academy
Edith Wasserman
Gary Wasserman
Tom and Sandy Weimert
West End Grill
Steven Whiting
Marina and Robert Whitman
Ann and Clayton Wilhite
Wireless Toyz
Yotsuba Japanese
Restaurant & Bar Ypsilanti High School
Marching Band Joe Yunkman Zanzibar
Mary Kate and Jay Zelenock Zingerman's Bakehouse Zingerman's Delicatessen Zingerman's Roadhouse

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