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UMS Concert Program, Friday Jan. 12 To 21: University Musical Society: Winter 2007 - Friday Jan. 12 To 21 --

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Day
12
Month
January
Year
2007
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Rights Held By
University Musical Society
OCR Text

Season: WINTER 2007
University Of Michigan Ann Arbor

urns
university musical society
Winter 07
University of Michigan Ann Arbor
P2 Letters from the Presidents 4 Letter from the Chair
UMSLeadership P6 Corporate LeadersFoundations
P14 UMS Board of DirectorsSenateAdvisory Committee
P15 UMS StaffTeacher Advisory Committee
UMSServices P17 General Information
P19 UMS Tickets
P21 wvwv.ums.org
P21 Student Information
UMSAnnals 25 UMS History
P25 UMS Choral Union
P27 Venues and Burton Memorial Tower
UMSExperience 29 The 128th UMS Winter Season
P31 UMS Education Programs
P37 UMS Preferred Restaurants and Businesses
P37 UMS Delicious Experiences
UMSSupport 39 UMS Advisory Committee
P39 UMS Ushers
P41 Sponsorship and Advertising
P43 Annual Fund Support
P53 Annual Endowment Support
P56 UMS Advertisers
Cover: Stephen Petronio Company (photo by Sarah Silver) presented in Ann Arbor
February 16 and 17, 2006 at the Power Center.

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 old?est university-related performing arts presenter in the United States and one of the most distinguished. In the spring of last 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.
This past fall UMS mounted its largest project ever when it brought the Royal Shakespeare Company to campus for a three-week residency. Members of the company, when not on the stage at the Power Center for the Performing Arts, visited classes, offered workshops, and became deeply engaged in our community and throughout all of southeast Michigan. UMS partnered with 25 University units, and 13 courses were developed specifically because of the RSC residency. RSC members even made it to The Big House when actor Patrick Stewart conducted the Michigan Marching Band during the Nov. 4 halftime show. The University is pleased to support UMS not only in its regular 0607 season but in special projects like the RSC's Michigan Residency.
It is an exciting time for the arts at Michigan. We are dedicating the 2007 calendar year to a celebration of the arts from global perspectives. We are call?ing this celebration "Arts on Earth," and it will be a spectacular array of course-work, performances, visiting scholars and artists, and symposia. A highlight of "Arts on Earth" will be the spring opening of the Arthur Miller Theatre in the new Walgreen Drama Center. I hope to see many of you there.
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.
@@@@Mary Sue Coleman
President, University of Michigan
Sincerely,
FROM THE UMS PRESIDENT
W
elcome to this UMS performance. I hope to see you at more UMS events during this exciting second half of our 128th season. You'll find all of our Winter events listed on P29.
First of all, let me thank everyone who partici?pated in the 2006 Michigan Residency of the Royal Shakespeare Company. The RSC residen?cy was the largest, most expensive, and most engaging project ever undertaken by UMS. It was also a huge success, thanks to the efforts of hun?dreds of people who worked for two years to pull it off. Nearly 30,000 people attended the perform?ances and dress rehearsals including more than 5,000 students. People came from 39 states and four countries. RSC members impressed everyone with their accessibility and friendliness, as well as their talent both on stage and in the more than 140 educational events in Ann Arbor and through?out southeastern Michigan. They gave their all to everything they did. It's clear that Michigan loves the RSC, but the RSC loves Michigan just as much. Writes Michael Boyd, the Artistic Director of the RSC: "We are very proud of our residencies in Ann Arbor. They have allowed us to show you what we can do, and they have proved an exciting model of how theatre can and should engage with a com?munity. They have allowed us to re-explore our work and find fresh insight and new depth and make our story telling better. Working with you has raised our game and made us more ambitious for ourselves. We're already looking forward to engi?neering our return to Michigan." Yes, they're com?ing back. Stay tuned for details.
As this season marks the end of my 20th year at UMS, I find myself deeply grateful for the oppor?tunity to have served the University and the com?munity for the past two decades. It has been a great privilege to be part of this organization, whose roots go back 128 years and whose unwa?vering commitment to artistic excellence has been shaped by outstanding leaders like Henry Simmons Frieze, Charles Sink, and Gail Rector, two of whom
I had the chance to know. Since 1987, I have been fortunate to work in partnership with 107 Board members and with hundreds of other dedicated volunteers on our Senate, Advisory Committee, Teacher Advisory Committee, UMS Choral Union, and Usher Corps. My colleagues on the UMS staff
constitute the finest team of professionals in the perform?ing arts presenting field in the US. What an honor it has been to work with them. And finally, there's you, the UMS audience. How lucky I've been to have you. Artists the world over love you for your intelligence, respect, enthusi?asm, friendliness, and spirit of adventure...and so do I. You show up in numbers that
leave them shaking their heads, amazed that a community our size can fill a hall the size of Hill. You are the best! Since I still get excited each day with the opportunity to serve you and the commu?nity, I plan to stick around for a while longer. There's the UMS Difference Campaign to finish, and I can't imagine doing anything I love more than what I'm doing right now.
So thanks again for coming to this perform?ance. Feel free to get in touch with me if you have any questions, comments, 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 meat 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. Yesr 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 7--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
Robert J. Buckler
President & Chief Operating Officer of Detroit Edison, Detroit Edison
"The DTE Energy Foundation is pleased to support exemplary organizations like UMS that inspire the soul, instruct the mind, and enrich the community."
Chris Brown
Executive Vice President, DTE Energy Resources; Vice President, DTE Energy "William Shakespeare has no equal in the English language of capturing the human condition -its ambitions, emotions, strengths and conceits. DTE Energy Resources is proud to partner with the University of Michigan to bring a world class per?formance of Shakespeare's Antony and Cleopatra to our community."
Jim Vella
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."
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."
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 CFI is proud to lend its support."
Sandra Pierce
President and CEO, Charter One Bank Michigan "UMS has a proven track record of artistic excellence and a
strong commitment to arts education throughout southeast?ern Michigan. Charter One Bank is proud to support this remarkable organization."
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."
"Concord Music Group, home of Fantasy, Prestige, and Riverside--three legendary jazz labels along with the Concord and Telarc family of labels--is proud to support this season of University Musical Society performances."
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 Conn LIP "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."
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
Vice 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.L.C "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."
Jeff Trapp
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."
Robert P. Kelch
Executive Vice President for Medical Affairs, University of Michigan Health Systems.
"Like our Gifts of Art program that plays such a strong role in the healing process, we take great pride in supporting the University Musical Society and its ability to revitalize and enrich lives in our communities."
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
$20,000-49,999
Cairn Foundation Detroit Auto Dealers
Charitable Foundation
Fund 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 Target Corporation
UNIVERSITY MUSICAL S 0 C I E T Y ofthe 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
Chris Genteel, Board Fellow
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 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 0. Simpson Herbert Sloan Timothy P. Slottow Carol Shalita Smokier Jorge A. Solis Peter Sparling Lois U. Stegeman Edward D. Surovell James L. Telfer Susan B. Ullrich Eileen Lappin Weiser Gilbert Whitaker B. Joseph White Marina v.N. Whitman Iva M. Wilson Karen Wolff
ADVISORY COMMITTEE
Meg Kennedy Shaw, Chair Andrea Smith, Vice 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 Sarns 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, Administrative
Associate John Peckham, Information
Systems Manager Alicia Schuster, Gift Processor
Choral Union
Jerry Blackstone, Conductor and
Music Director
Jason Harris, Assistant Conductor Steven Lorenz, Assistant Conductor Kathleen Operhall, Chorus Manager Jean Schneider and Scott
Vanomum, 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 Mamie 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
Doug Witney, 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 Bobalik, 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 Oshaoen, Brian Roddy, Head Ushers
Students
Catherine Allen Ryan Carmichael Patrick Chu Elizabeth Dengate Vinal Desai Casey Elliot Amy Fingerle Jonathan Gallagher Eboni Garrett-Bluford Elizabeth Georgoff Charlie Hack Rachel Harkai William Hubenschmidt Cortney Kellogg Max Kumangai-McGee Tiffany Lin Michael Lowney Ryan Lundin Parmiss Nassiri-Sheijani Leonard Navarro Sinthia Perez Kathryn Pletka Alex Puette Noah Reitman Mary Roeder Andrew Smith Trevor Sponseller Liz Stover Robert Vuichard lulie Wallace 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 suitable repertory break in the program (e.g., after the
first entire piece, not after individual movements of classical works). There may be occasions where latecomers are not seated until intermis?sion, 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 perform?ances.
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 deduction. 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 photo?copy of your torn tickets to 734.647.1171.
Single Ticket Exchanges
Non-subscribers may exchange tickets for a $5-per-ticket exchange fee. Exchanged tickets must be received by the Ticket Office (by mail or in person) at least 48 hours prior to the 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.
Be 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 performers online before the concert.
Program Notes Your online source for performance programs and in-depth artist information. 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.
Sponsored by UjVIXInion
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.
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: 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
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.
Arts at Michigan
UMS works with Arts at Michigan on many student programs, including the Arts Adventure 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.
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 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 U-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 included Shostakovich's Symphony No. 13 ("Babi Yar") with the Kirov
Orchestra of St. Petersburg (Valery Gergiev, conductor) this past October, the Verdi Requiem with the Ann Arbor Symphony (Arie Lipsky, conductor), and the 128th annual performances of Handel's Messiah in Hill Auditorium this past 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 performance of Rossini's opera Tancredi. 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, con?ducted 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 nclude 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 mprovements, the creation of additional rest-?ooms, 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.
Michigan Theater
The historic Michigan Theater opened January 5, 1928 at the peak of the vaudevillemovie palace era. Designed by Maurice Finkel, the 1,710-seat theater cost around $600,000 when it was first built. As was the custom of the day, the theater was equipped to host both film and live stage events, with a full-size stage, dressing rooms, an orchestra pit, and the Barton Theater Organ. At its opening, the theater was acclaimed as the best of its kind in the country. Since 1979, the theater has been operated by the not-for-profit Michigan Theater Foundation. With broad community support, the Foundation has raised over $8 million to restore and improve the Michigan Theater. The beautiful interior of the theater was restored in 1986.
In the fall of 1999, the Michigan Theater opened a new 200-seat screening room addi?tion, which also included expanded restroom facilities for the historic theater. The gracious facade and entry vestibule was restored in 2000.
St. Francis of Assisi Catholic Church
In June 1950, Father Leon Kennedy was appointed pastor of a new parish in Ann Arbor. Seventeen years later ground was broken to build a permanent church building, and on March 19, 1969, John Cardinal Dearden 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 Letoumeau 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 Towe?ls 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.
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Winter 2007 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 ticket, regardless of age.
While in the Auditorium
Starting Time Every attempt is made to begin concerts on time. Latecomers are asked to wait in the lobby until seated by ushers at a 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
Friday, January 12 through Sunday, January 21, 2007
Takacs Quartet 5
Friday, January 12, 8:00 pm Rackham Auditorium
The Silver River 11
Friday, January 12, 8:00 pm Saturday, January 13, 8:00 pm Power Center
Sekou Sundiata 23
the 51st (dream) state
Saturday, January 20, 8:00 pm Power Center
The Chieftains 31
Sunday, January 21, 4:00 pm Hill Auditorium
Dear Friends of UMS,
H
appy New Year! Now that the holidays are over, it is time to return to the business of serious concert-going, and, luckily, the first part of the New Year is filled with some stunning UMS artistic presenta?tions. The first four events of 2007 not only share artistic strength, but share a long-standing history of presentation by UMS, "partnering" with us to develop a relationship over time.
Over the past 15 years, UMS has garnered regional and national attention not only for its presentations, but for its commitment to commu?nity engagement and partnership. Each season, we attempt to partner with between 100-150 organizations and individuals on our programs and initiatives. It is very important to us that our community feels involved in what we do, and we receive great satisfaction from knowing that we have played a role in making the community a better place to live. It has become an important value that we can all share and celebrate.
Over the next couple of weeks, you are going to see and listen to examples of our shared values at work with the presentations of the Takacs Quartet, Bright Sheng's The Silver River, Sekou Sundiata's the 51st (dream) state, and the Chieftains. This rich selection of musicians, com?posers, and theaterspoken-word artists reaffirms our commitment to establishing significant rela?tionships with the artists we present on stage. Each of these artists, and works by composer Bright Sheng, have been presented multiple times by UMS, and we are incredibly proud to have them continuously return to our community.
The presentations found in this program book edition will ultimately be successful because of our community partners. Collectively, with the aforementioned artists, over the next couple of weeks UMS will partner with nearly 15 communi?ty organizations including the U-M School of Music, Theatre & Dance, Imagining America, U-M Arts of Citizenship, the Neutral Zone, InsideOut Poetry Program of Detroit, U-M Center for Chinese Studies, U-M Center for Russian and East European Studies, U-M Center for Afroamerican and African Studies, U-M Department of English, U-M Institute for the Humanities, the U-M Citizenship Theme Year, University Productions, the NETWORK: African American Arts Advocacy Committee, as well as others.... We thank all of
our partners for being committed to world-class art and dialogue.
It goes without saying that the arts are sim?ply THE BEST way for the community to come together and celebrate. Nothing is more life-affirming and self-fulfilling. UMS continues this great tradition by starting off 2007 in just the right way, and we wish everyone an extraordinary and meaningful year!
See you at the performances!
@@@@Ben Johnson
UMS Director of Education
and Audience Development
UMS Educational Events
through Sunday, January 2 7, 2007
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.
The Silver River
Post-Performance Q&A with Bright Sheng and company members
Friday, January 12, post-performance,
Power Center stage
Join us for a brief post-performance audience
Q&A with composer Bright Sheng and members
of the company. A collaboration with the U-M
Center for Chinese Studies, U-M School of Music,
Theatre & Dance, and University Productions.
Sekou Sundiata:
the 51st (dream) state
Institute for Humanities Brown Bag Lecture, Artists at Work:
"Speaking from the 51st (dream) state in the First Person Plural"
Tuesday, January 16, 12 noon 202 S. Thayer St., Room 2022 Poet and performer Sekou Sundiata will talk about his multi-media music-theater performance that has evolved out of meetings and residencies across the US. Mr. Sundiata appeared at U-M in 2003 as both a solo artist and as front man for his band. His current project reconciles humor, hatred, poignancy, and joy in its quest to find a vision of what it means to be both a citizen and an individual in a complex society. Among the issues considered are the meanings of the pursuit of happiness; what a public imagination steeped in violence says about who we are; and the prospects for love, compassion, and human soli?darity. A collaboration with the U-M Institute for the Humanities and Imagining America.
Arts of Citizenship Conference: Creating Campus-Community Partnerships in the Arts
Friday, January 19, 9:00 am-5:00 pm, Michigan League, Second Floor Featuring a special morning workshop with Sekou Sundiata from 9:00 am-12:00 noon The goal of Arts of Citizenship's first annual confer?ence, "Creating Campus-Community Partnerships in the Arts," is to build connections among faculty, stu?dents, staff, and community organizations; support the development of sustainable university-communi?ty partnerships; and provide opportunities for partic?ipants to weave critique into practice.
The conference will be based on a series of workshops led by Sekou Sundiata, Linda Frye Burnham, and other nationally known artists, as well as U-M faculty members and leaders from commu?nity organizations. Workshops will offer participants the opportunity to meet potential partners, learn about recent developments in the field of the com?munity arts, and reflect together how campus-com?munity partnerships can promote community devel?opment, foster cross-cultural conversations and understanding, and strengthen movement building for social change. Support provided by the National Center for Institutional Diversity (NCID) and the Citizenship Theme Year Committee.
Registration is free. Please contact: Christian Willauer, Arts of Citizenship Program Manager at willauer@umich.edu. A collaboration with Arts of Citizenship, U-M Department of American Culture, U-M School Art and Design, U-M Center for Research on Learning and Teaching, U-M Ginsberg Center for Community Learning and Service, U-M Residential College, U-M School of Social Work, and U-M Taubman College of Architecture and Planning.
ums University Musical Society
and
Edward Surovell
Realtors
present
Takacs Quartet
Edward Dusinberre, Violin Kroly Schranz, Violin Geraldine Walther, Viola Andras Fejer, Cello
Program
Johannes Brahms
Wolfgang Amadeus Mozart
Ludwig van Beethoven
Friday Evening, January 12, 2007 at 8:00 Rackham Auditorium Ann Arbor
String Quartet in a minor. Op. 51, No. 2
Allegro non troppo
Andante moderato
Quasi minuetto, Moderato Allegretto vivace
Finale: Allegro non assai
String Quartet No. 15 in d minor, K. 421
Allegro moderato
Andante
Menuetto: Allegretto
Allegretto ma non troppo Piu allegro
INTERMISSION
String Quartet in a minor. Op. 132
Assai sostenuto Allegro
Allegro ma non tanto
Molto adagio Andante Molto adagio Andante Molto adagio
Alia marcia, assai vivace Piu allegro-attacca
Allegro appassionato
41st Performance of the 128th Annual Season
44th Annual Chamber Arts Series
The photographing or sound and video record?ing of this concert or possession of any device for such recording is prohibited.
Tonight's performance is sponsored by Edward Surovell Realtors.
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 Observer & Eccentric newspapers.
The Takacs Quartet appears by arrangement with Seldy Cramer Artists, and records for Hyperion and DeccaLondon Records.
The Takacs Quartet is Quartet-in-Residence at the University of Colorado in Boulder and are Associate Artists at the South Bank Centre, London.
For more information on the Takacs Quartet, please visit www.takacsquartet.com.
Large print programs are available upon request.
String Quartet in a minor. Op. 51, No. 2
Johannes Brahms
Born May 7. 1833 in Hamburg, Germany
Died April 3, 1897 in Vienna
This program of dark minor-mode quartets begins with one of the first two works that Brahms deemed worthy of publication (it is said that he destroyed as many as 20 earlier string quartets). He was 40 when he completed these quartets, but the opening motif of the a-minor piece goes back a full 20 years: it is none other than the F-A-E motto the 20-year-old Brahms had used in a col?laborative violin sonata to which he contributed the Scherzo, with Robert Schumann and Albert Dietrich writing the other movements. The notes F-A-E stood for frei aber einsam (free but lonely). Brahms could still identify with those words in 1873, and he was able to develop the potential of this simple three-note motif more completely than he had been able to do earlier.
The first movement of the a-minor quartet is a model of balance and harmony where both themes in the sonata form are gentle and lyrical; the constant interplay of duple and triple meter provides just enough tension to keep the momen?tum from flagging at any time. The second move?ment continues the soulful singing, this time in the major mode; it also has a more martial-sound?ing middle section, after which a variant of the F-A-E motif, played by the cello, leads back to the recapitulation of the initial theme.
That same motif is heard again in the third-movement minuet, whose wistful a-minor melody recalls the analogous movement in Brahms's Cello Sonata in e minor (1865). The movement has a faster Trio section in perpetual motion but, sur?prisingly, Brahms brings back a short reminiscence of the slow Minuet melody in the middle of the Trio, before proceeding to the full-fledged reca?pitulation.
The "Finale" is a free Rondo on a dance melody that plays delightful games with the triple meter. (Incidentally, it begins, after a three-note pick-up, with the notes E-B-C, which is an exact transposition of A-E-F, itself a permutation of F-E-A! The connection may be hard to explain but easy to hear.) There are a few lyrical episodes in the "Finale", including one in a smaller tempo, transforming the main theme from dance to aria, only to have the idyll disrupted by a breakneck coda, ending the quartet with a lively stretto (the
Italian word for "tight" is used to describe this type of mad rush to the double bar).
String Quartet No. 15 in d minor, K. 421
Wolfgang Amadeus Mozart Born January 27, 1756 in Salzburg Died December 5, 1791 in Vienna
Mozart did not always compose with the ease and speed one usually associates with his name. Even he had to struggle with some of his compo?sitions. The six string quartets dedicated to Franz Joseph Haydn are a case in point. In paying hom?age to his older colleague and friend, Mozart sub?jected himself to an enormous challenge. Haydn had turned the string quartet into one of the most highly developed instrumental genres of his time and, especially after his epoch-making set of six quartets, Op. 33 (1781), he became the undis?puted master of the form with an international reputation. Mozart, eager to live up to these high standards, took three years to complete his set of six quartets which constitute his response tc Haydn's Op. 33.
Here was music for the connoisseur, sophis?ticated in technique and complex in elaboration-the work of a genius making a conscious effort to outdo himself (if that is possible at all). For the publication of these quartets, Mozart wrote a beautiful dedicatory letter to Haydn (in Italian, the international language of music) in which he acknowledged the "long and hard work" the quartets had cost him, and asked Haydn to be a loving "father, guide and friend" to these "chil?dren" which the composer was sending out into the world to live their own lives.
The d-minor quartet was the second in the set of six. Mozart followed Haydn's custom of including one quartet in a minor key in the group; such works were usually darker, more tragic in tone and more innovative in harmonic language than their "siblings" in major tonalities. The d-minor quartet is no exception: its mood is agitat?ed almost from beginning to end. One area of rel?ative calm is the second theme of the first move?ment, in which the tonality switches to major, in accordance with expectations. Yet when this theme returns .n the recapitulation (after a rather stormy development), it undergoes some striking melodic transformations that effectively change its character from lyrical to dramatic.
The second movement is a (mostly) calm "Andante" in F Major. The third is a Minuet, but without the usual graceful character of the dance; this minuetto serio (serious minuet) in the tragic key of d minor is filled with chromatic harmonies and complex imitative textures. Its stern atmos?phere is relieved by the Trio, in which the first vio?lin plays a tune reminiscent of yodeling (a kind of folk singing from the mountainous regions of Austria, characterized by wide melodic leaps).
The last movement is a set of variations on a theme in which the rhythm of the siciliano dance is imbued with a strong proto-Romantic feeling. Contrary to what happens in many minor-key works where the tensions are eased by a final modulation to the major, in this movement the variation in the major remains a passing episode and the work ends on a rather disconsolate note.
String Quartet in a minor. Op. 132
Ludwig van Beethoven
Born December 15, 1770 in Bonn, Germany
Died March 26, 1827 in Vienna
With its "Holy Song of Thanksgiving of a Convalescent to the Deity in the Lydian Mode," Op. 132 is in a category all by itself, not only among Beethoven's quartets but in the entire music literature as well. Nowhere else did Beethoven take such a bold step outside the style that Haydn, Mozart, and Beethoven himself had done so much to develop. The same claim could possibly be made of the Great Fugue (originally the finale of Op. 130, later published separately), but in that work Beethoven expands an existing framework almost beyond recognition. In the "Holy Song" he does the opposite: he reduces his means and retreats into a newly-invented archaic world that no one knew existed.
The patient who gives thanks for his recov?ery was, of course, Beethoven himself. In April 1825--when he was in the middle of writing the a-minor quartet--the composer became gravely ill with an inflammation of the bowels. His physi?cian, Dr. Anton Braunhofer, prescribed a strict diet, and wrote in one of the conversation books that were the only ways to communicate with the deaf composer: "No wine, no coffee; no spices of any kind. I'll arrange matters with the cook." Beethoven's condition improved; he was able to
return to work and finished the quartet in July 1825. But with a slow movement that obviously had not been planned from the start, this was no longer the same work that Beethoven had begun before his illness.
If there is one word that occurs more often than any other in discussions of this quartet, it is contrast--contrast both within movements and between movements. The contrasts begin imme?diately in the first movement, where a mysterious slow introduction is suddenly interrupted by an allegro flourish in first violin. "The conflict revealed here casts a shadow not only over the first movement but over the quartet as a whole," musicologist William Kinderman writes in his insightful monograph on Beethoven. In fact, the anguished half-steps of the introduction and the agitated rhythms of the "Allegro" determine much of what follows, along with the lyrical sec?ond idea played by the second violin. The first two elements are contrapuntally combined in the development section and further elaborated in the subsequent sections of the movement. In a significant departure from conventional sonata form, Beethoven brings not one recapitulation but two. The first of these resembles the exposi?tion more closely but is not set in the home key, while the second treats the material with much more freedom but re-establishes a minor in the movement's vibrantly dramatic coda.
To say that the second movement is a Minuet with Trio is both true and untrue. The 34 time and ABA form are certainly present, and the drone effects of the trio have a long ancestry in movements of this type. Yet the movement does?n't sound like a minuet. In an excellent 1994 pub?lication called the Beethoven Quartet Companion, Michael Steinberg calls this movement "an always surprising mixture of the gentle and the acid," with harmonies that are "a bit tart." The frequent half-steps are audibly related to those from the slow introduction of the first movement. Of the trio section, Steinberg writes: "A country dance tune, with bagpipe drone and all, becomes trans?figured at a great height into something distant, mysterious, free of the pull of gravity." This ethe?real dance is, however, suddenly interrupted by a unison passage where even the meter changes briefly from triple to duple. Thus, even this lyrical intermezzo is not spared from the dramatic con?trasts that fill the entire work.
Beethoven took pains to specify that the "Holy Song of Thanksgiving" was in the Lydian mode, which is one of the old church modes upon which Gregorian chant and much early polyphonic music was based. The name itself is even older, going back to ancient Greece. We know that Beethoven studied some examples of Renaissance music and also theoretical writings from the period, and thus he was well aware that the Lydian mode was associated with healing in some ancient writings. According to theory books, this mode consists of the white keys of the piano starting with the note F; in other words, it is an F-Major scale with a B-natural instead of a B-flat. This poses a grave problem, however, in that the interval F-B is an augmented fourth or "tri-tone" that was called the "interval of the devil" in medieval times and usually avoided. All chant melodies notated in Lydian are actually sung with a B-flat, an alteration that was usually not notat?ed, though it was routinely applied to the music.
In Op. 132, Beethoven insisted on the B-nat?ural, and it is very likely that his use of the "Lydian mode" is the first in history not to correct the offending interval. Thus, while seemingly reviving an old musical element, Beethoven actually creat?ed something quite new. (The Lydian mode with B-natural does exist in Eastern European folk music.) The entire song of thanksgiving is harmo?nized with only "white keys," which--in conjunc?tion with the extremely slow tempo--makes the sound eerily transparent. In addition to ancient sources, Beethoven also drew on the Protestant chorale tradition in this movement--a tradition he was familiar with despite his Catholic upbring?ing. The uniform rhythms and clear-cut cadences (line endings) turn the Holy Song into a sort of chorale.
At the end of the fifth line, the second violin plays the first altered note (a C-sharp) in the movement, giving the signal for the next section, marked Neue Kraft fuhlend ("Feeling new strength"). As a total contrast to the preceding Lydian music, this section is in a bright and confi?dent D Major. In Steinberg's words: "The stac?catos, the wide leaps, the exuberant upbeats in scurrying thirty-second notes, the jubilant violin trill that rides across the top of the music, the breathless excitement in the accompaniment, all contribute to the joyful atmosphere."
The hymn returns with some fascinating changes in the texture. The static, almost frozen chords of the first appearance are softened by a more complex rhythmic interplay among the voic?es, giving the music a more flowing character. Then the second section returns, lavishly orna?mented. With the third and final return of the Lydian chorale, we understand the form as A-B-A-B-A (as in the slow movement of the Symphony No. 9), but this final "A" is more intimate and transcendent than any of its previous incarna?tions. It is also much longer. At first, only one instrument at a time adds ornaments to the melody, the others play the long notes from the beginning. As a result, each player comes forward an individual singing his own personal hymn of thanksgiving. Then, the four instruments join forces again to play the otherworldly harmonies of the movement's final measures.
The brief March that follows confirms the convalescent's return to life. Beethoven wanted a more simple and lighthearted movement after the "Holy Song," and according to his sketches, he first intended a landler-type dance at this point. He later decided otherwise, and the landler found its home as the "Alia danza tedesca" movement in Op. 130.
We might think that when we hear the March in Op. 132, the trials and tribulations are finally over. Not so. A dramatic recitative inter?rupts the happy music, leading into the "Allegro appassionato" finale. Despite the waltz-like lilt of the main theme, there is significant tension under the surface. The Rondo theme is quite close to the agitated melody of the first movement. The first episode provides momentary relief; the second even intensifies the "storm and stress." But the shift to the major mode, which was denied in the c-minor quartet, finally becomes a reality here. The tempo increases to presto and a new lyrical melody helps to give this monumental work a happy ending.
Op. 132 was the second of three works Beethoven wrote for the Russian aristocrat Prince Galitzin. It was first performed by the Schuppanzigh Quartet at a Viennese tavern named "zum wilden Mann" (The Wild Man), on September 9 and 11, 1825. The concert hall pre?miere followed two months later, in November of the same year.
Program notes by Peter Laki.
R
ecognized as one of the world's premiere string quartets, the Takacs Quartet plays with a virtuosic technique, intense immedi?acy, and consistently burnished tone. The ensem?ble explores its repertoire with intellectual curiosi?ty and passion, creating performances that are probing, revealing, and constantly engaging. The Quartet has been described as having "warmth, exuberance, buoyancy, a teasing subtlety, una?nimity of purpose without compromising the indi?vidual personalities of each performer, a blossom?ing tone, and above all the instinct to play from inside the music." The Takcics Quartet is based in Boulder, Colorado, where it has been in residence at the University of Colorado since 1983.
Now entering its 31st season, the Takacs Quartet has performed repertoire ranging from Haydn, Mozart, Beethoven, and Schubert to Bartok, Britten, Dutilleux, Janacek, and Sheng in virtually every music capital in North America, Europe, Australasia, and Japan. The ensemble is also known for its award-winning recordings on the Decca label, including, most recently, its recording of the complete Beethoven Quartet Cycle which has been awarded a Grammy Award and two Gramophone Awards.
Takacs Quartet 0607 highlights include a return to Asia with concerts in Nagoya, Tokyo, Osaka and Seoul; a continuation of the complete Beethoven Cycle at UC Berkeley and in Napa, California; concerts with pianist Stephen Hough in London, Valencia, Bilbao, and Bristol; three concerts in London's Queen Elizabeth Hall; and performances all over the US and Europe.
Recent notable Takacs Quartet appearances worldwide have included performances of the Beethoven, Bartok, Brahms, and Schubert cycles in musical capitals around the world; the world-premiere performance of Bright Sheng's Quartet No. 3; a 14-city US tour with the 39th Poet Laureate of the US, Robert Pinsky; and a collabo?ration with the Hungarian folk ensemble Muzsikas in a series of joint concerts exploring the connections between traditional Hungarian folk melodies and the works of Bart6k and Kodly.
In 2005 the Takacs Quartet signed a contract with Hyperion Records; their first recording on this label, Schubert's Death and the Maiden, was released in 2006. The Quartet has also made 16 recordings for the Decca label since 1988. The ensemble's recording of the six Bart6k String Quartets received the 1998 Gramophone Award
for chamber music and, in 1999, was nominated for a Grammy.
The Takacs Quartet was formed in 1975 at the Franz Liszt Academy in Budapest by Gabor Takcics-Nagy, Karoly Schranz, Gabor Ormai, and Andras Fejer, while all four were students. Violinist Edward Dusinberre joined the Quartet in 1993 and violist Roger Tapping in 1995. Of the original ensemble, violinist Kaoly Schranz and cellist Andras Fejer remain. Violist Geraldine Walther replaced Mr. Tapping in August, 2005. In addition to its residency at the University of Colorado, the ensemble is also a Resident Quartet at the Aspen Music Festival and School, and in 2005, its members were named Associate Artists of the South Bank Center in London. In 2001, The Takcs Quartet was awarded the Order of Merit of the Knight's Cross of the Republic of Hungary.
Takacs Quartet
UMS ARCHIVES
T
he Takcs Quartet has been making annual appearances on the UMS Chamber Arts Series since 2002. Tonight's concert marks their 10th UMS appearance.
The Quartet recently presented the com?plete Bart6k String Quartets in one evening on February 20, 2005, at Rackham Auditorium. The Quartet made their UMS debut in February 1984.
ums University Musical Society
in association with the
U-M Office of the
Provost, U-M School
of Music, Theatre &
Dance
and
Columbia Artists
Management LLC
present
The Silver River
A music theater piece based on the Chinese legend The Cowherd and the Goddess-Weaver
Composer and Music Director Bright Sheng Libretto by David Henry Hwang Directed by Ong Keng Sen Choreographed by Muna Tseng
Gordana Svilar, Scenic Design (after original scenic designs
by Christine Jones) Scott Zielinski, Lighting Design Anita Yavich, Costume Design Jim Lillie, Sound Design Dawn Rivard, Wigs and Make-up Cindy Knight, Stage Management
Friday Evening, January 12, 2007 at 8:00 Saturday Evening, January 13, 2007 at 8:00 Power Center Ann Arbor
This evening's performance is approximately 75 minutes in length and will be performed without intermission.
42nd and 43rd Performances of the 128th Annual Season
The photographing or sound and video record?ing of this production or possession of any device for such recording is prohibited.
Supported by the Maxine and Stuart Frankel Foundation, the U-M Office of the President, and the U-M Office of the Provost.
Additional support provided by U-M Center for Chinese Studies. Ingrid and William Ginsberg, International Institute, the Institute for the Humanities, U-M National Center for Institutional Diversity, and Cora Chu Chin.
This partnership could not have been achieved without the special leadership of Lester Monts, U-M Senior Vice Provost for Academic Affairs; Christopher Kendall, Dean, U-M School of Music, Theatre & Dance; James Q. Lee, Director, U-M Center for Chinese Studies; Philip Hanlon, U-M Associate Provost for Academic and Budgetary Affairs; and R. Douglas Sheldon, Senior Vice President, Columbia Artists Management LLC.
The invaluable assistance of Laura Aswad. Executive Director, Real Arts and Culture LLC; Nunally Kersh, Producer, Spoleto Festival USA; and of Erica Zielinski, General Manager of the Lincoln Center Festival, is gratefully acknowledged.
The Silver River is performed by arrangement with G. Schirmer, Inc., publisher and copy?right owner.
Special thanks to David Henry Hwang, Bright Sheng, U-M Center for Chinese Studies, James Lee, Summer Tucker, Carol Stepanchuk, Ena Schlorff, David Rolston, U-M Institute for the Humanities, and the U-M School of Music, Theatre & Dance for their support of educational residency events surrounding these performances.
Large print programs are available upon request.
Cast (in order of appearance)
Golden Buffalo (female actor trained in western style)
Jade Emperor
(Asian male singer trained
in Chinese opera)
Jade Emperor's Entourage (dancers)
Cowherd (two performers)
Goddess-Weaver (two performers)
Karen Kandel Yu Cheng Ren
Edie Shaw, Sandra Tsang
Lucas Richter (baritone) David Fedele (flutist) Yihan Chen (pipa player) Hsin-Ping Chang (dancer)
The Jade emperor speaks and sings in stylized Chinese. Sinte most of his dialogue is with the Buffalo, the meaning of his words becomes clear through either the Buffalo's speeches or translation by the Jade Emperor's attendants. No supertitles are necessary.
Music Ensemble
Conductor and Music Director Bright Sheng
@@@@Flute David Fedele
Clarinet Erin Svoboda
Pipa Yihan Chen
Percussion Michael Udow
Violin Aaron Berofsky
Cello James Wilson
Rehearsal Accompanist John Simmons

From the Composer and Librettist
The Bridge of Magpies {The Silver River Bridge) QinGuan (1049-1100)
Carried by those filigree clouds, Across the dark and endless Silver River, The two sorrowful stars, vega and altair, Meet once a year on this late summer day, When their love transcends all the
couples on earth, And their happiness all the sad and
sleepless nights.
These precious minutes and hours, Are the sweetest of all dreams; When lovers unite like water and air, How unbearable is the shadow of the returning bridge of magpies.
And yet,
If our love is pure and true, our bond
timeless, Why then. Must we have to be together every day
and night
This Sung Dynasty (960-1279) poem represents one of the many important works on the legend of The Silver River (or The Cowherd and The Goddess-Weaver) by Chinese poets, musicians, scholars, playwrights, artists, and literati. As early as four thousand years ago, when the Chinese began studying astronomy, this legend started to appear in Chinese art and literature. Today in many Asian countries, this symbolic story of unfulfilled eternal love between the earthly and celestial has become among the most beloved of every family's fairy tales.
While tragic love stories have always occu?pied a unique place in Asian culture, the popular?ity and longevity of this particular folk myth is especially significant. It reflects the traditional vision of a happy family life between a male farmer and female weaver, as well as a repressed longing amidst the arranged marriages of old Chinese society for a self-chosen love. Furthermore, the story expresses the fantasy of a perfect "heavenly love" which can exist even between different species, though it may only be fulfilled one day a year. On this occasion, the sep-
arated lovers are allowed to cross the Silver River (the Milky Way) on a bridge made by all the mag?pies in the world with their overlapped wings--a Chinese Valentine's Day.
In our day, with cultures once separated by oceans coming into contact on a daily basis, the struggle to live with, and even love, one another, continues to prove a formidable challenge. When the Buffalo declares, "Listen to the wisdom of the future: all we need is love," are these words of vision or naivete Perhaps the story of the Cowherd and Goddess-Weaver represents a bit of both, for like most great romantic myths, it cele?brates the dream of a perfect love struggling to survive in our imperfect world.
"...On the late summer night of the seventh day of the seventh month of the lunar calendar, mothers gather their young ones on their knees, and point out to them the two stars, Vega and Altair from the constellations of Aquila and Lyra, separated by the majestic silver span of the Milky Way (The Silver River). And to the eager listeners they tell the story of the Cowherd and the Goddess-Weaver."
--David Henry Hwang and Bright Sheng
Synopsis
1. Prologue: The Festival
Golden Buffalo and Jade Emperor On the seventh day of the seventh moon of the lunar calendar, the Golden Buffalo looks down from heaven. Earthly lovers stroll hand in hand, looking up at the heavens, where two constella?tions of stars--the Vega and the Altair--blink devotedly at one another across the "Silver River," as the Milky Way is called in Chinese. But the Buffalo is confined in a heavenly tower, serving an eternal punishment issued by the Jade Emperor. Even more terrible than her solitude is the fact that the Lord of Heaven has also taken away the Buffalo's hearing. She recalls the circumstances that brought her to this state.
Long ago, when heaven and earth were not quite so old and jaded, there was no division between the two. In fact, they were connected by the Silver River, which came down from the skies to the soil, and upon which creatures worldly and celestial regularly mingled. At this time, the Silver
River illuminated creation around the clock and living creatures knew nothing of night.
One day, the Jade Emperor dreams of a ter?rible chaos which will engulf heaven and earth, plunging both worlds into darkness. This calamity will be brought on by a human cowherd. The Jade Emperor sends the Golden Buffalo to earth, in order that she might work to prevent this tragedy. She descends to the world of humans, disguising herself as a common buffalo.
2. The Buffalo and the Cowherd
Buffalo and Cowherd
The Buffalo finds the Cowherd, a young man so poor that he owns no cows, hardly someone who appears to be a threat. She becomes his sole com?panion, and very attached to him, particularly the beautiful music he plays on his flute. His music is sweeter than all sounds in the Celestial Court, save one. In fact, the Buffalo becomes so enchanted that she soon neglects her heavenly duties, and finds herself content to lead the life of an earthly cow, forgetting her true identity and losing herself in her disguise. Eventually, the Cowherd confides that he has long seen a face in his dreams: a woman "who makes heavenly music," that appeared to him in the stars.
3. The Jade Emperor's Judgment
Buffalo, Jade Emperor, and Cowherd The Jade Emperor discovers his emissary's derelic?tion of duty and orders her to return for punish?ment. Before she leaves, the Buffalo awakens the Cowherd; speaking to him for the first time, she grieves for the loneliness they will both suffer upon her departure; as a result of her time here on earth, she has begun to experience human emotions. Out of her love, she reveals to him that the face he has seen in his dreams is that of the ninth daughter of the Jade Emperor--the fairest Goddess-Weaver, who spins the stars of the heav?ens. Only one other time has she heard music as beautiful as the Cowherd's flute; these are the tunes played by the Goddess-Weaver. "On the seventh day of the seventh month, the Fairest Goddess-Weaver comes to bathe in the Silver River." The Buffalo is convinced the two are made for one another, and charges the Cowherd to fol?low her instructions.
4. The Cowherd meets the Goddess-Weaver
Cowherd and Goddess-Weaver When the young man awakens, the Buffalo is gone. Distraught, the Cowherd follows her advice. Sneaking to the Silver River, he indeed beholds the Goddess-Weaver bathing, playing her loom, which serves as a source of music when she is not hard at work. He recognizes hers as the face he has seen in his dreams all these years. As instructed by the Buffalo, the Cowherd steals the Goddess-Weaver's cloak, the means by which all heavenly creatures acquire flight. She turns to see this earthly being who desires her, and a smile crosses her lovely face. The Goddess-Weaver is mute, but the Cowherd can understand her feel?ings through her music. They fall in love and she remains on earth.
5. The Skies Grow Dark
Buffalo, Goddess-Weaver, Cowherd, Jade Emperor As time passes, the Goddess-Weaver and the Cowherd learn their music is vastly different--one from the earth and the other from heaven. The reality of life together proves much more difficult to achieve than their first easy dreams of union.
In heaven, the Jade Emperor realizes that the imprisoned Buffalo has brought his daughter together with this mortal, and has served to fulfill the prophecy. He orders the Buffalo to travel back to earth and return the Goddess-Weaver. When the Buffalo protests, the Jade Emperor punishes her by taking away her hearing. At that same moment, she notices that the skies are indeed growing darker; the Goddess-Weaver has become so pre-occupied with her new love that she no longer weaves stars for the heavens. The Jade Emperor's concerns have been valid all along.
Chastened, she returns to earth to carry out the Jade Emperor's orders. While the Cowherd sleeps, the Goddess-Weaver resists the Buffalo's attempt to take her away, but the Buffalo over?powers her.
6. The Cowherd searches for his love
Cowherd, Goddess-Weaver, Buffalo, Jade Emperor the Cowherd awakens to find that his love has gone. Overcoming his own fears and doubts, he dons the cloak that he took from the Goddess-Weaver, and ascends to heaven in hopes of find?ing her.
The Cowherd sees the Goddess-Weaver, who reaches out to her husband. But the Jade Emperor recites a sacred incantation, causing the Silver River to change course; it now becomes a dividing line, separating his daughter from this mortal. Unable to touch one another, the Goddess-Weaver begins playing her Pipa and the Cowherd his flute--now, in perfect harmony, as this separation has taught the Goddess the mean?ing of pain, and therefore of being human. Their music is so sad that no soul in heaven or earth is immune to their grief. The tears shed cause an enormous flood to break out, lasting six months.
The Jade Emperor can no longer endure this chaos. To placate the lovers, he decrees that on the evening of the seventh day of the seventh moon, all magpies in the world will form a bridge across the Silver River, allowing the lovers to spend one day together. By placing the Silver River in the heavens, both heaven and earth shall now be dark for half the span of the clock. Night and day have been created.
Epilogue: The Yearly Reunion
Cowherd, Goddess-Weaver, Buffalo Back in the present-day, the Buffalo awaits her own miracle--in his mercy, the Jade Emperor declared that each year during the lovers' reunion, the Buffalo's hearing will be restored for just that evening. As the melodies enter her ears, she joins all other beings basking in the glow of this reunion. This is her reward and recompense for all her devotion and suffering; to hear the sounds, and remember the face, of the man whom she now knows that she also loves.
PRODUCTION HISTORY
T
he Silver River was co-commissioned by the Santa Fe Chamber Music Festival, the Chamber Music Society of Lincoln Center, the John F. Kennedy Center for the Performing Arts, Chamber Music Northwest, and the Philharmonic Society of Orange County. It had its premiere at the Santa Fe Chamber Music Festival in 1997.
The initial concept for The Silver River was to create a musical theater work with different ele?ments from various theatrical disciplines (opera, play, Chinese opera, etc.). The story is by-and-large based on the 4,000-year-old Chinese legend, which is now popular all over Asia. It is the hope of the creative team to bring this touching and fascinating story to life, and that our contemporary audience will find relevance and connection to the story.
In 1999, Ong Keng Sen was brought in to stage a new production, and worked with Mr. Sheng and Mr. Hwang to conceive the work for the Spoleto Festival USA, the Prince Music Theater (Philadelphia), TheatreWorks (Singapore), and the Lincoln Center Festival.
B
orn in 1955 in Shanghai, China, Bright Sheng {Composer and Music Director) began piano studies at the age of four with his mother. After the Cultural Revolution, he moved to New York in 1982. Mr. Sheng's teachers included Leonard Bernstein (composition and conducting), George Perle, Hugo Weisgall, Chou Wen-Chung, and Jack Beeson.
Steeped in the tradition of Western classical music, Mr. Sheng's compositions draw from late
20th-century contemporary ideas and the folk music of China and the surrounding Silk Road region. Bright Sheng has served as the artistic advisor to Yo-Yo Ma's Silk Road Project. His importance in the international music communi?ty is evidenced by his numerous commissions: Red Silk Dance (2000), a piano concerto for
Emanuel Ax and the Boston Symphony; Nanking! Nanking! (1999, for pipa and orchestra) for the NDR Symphony Orchestra; The Song and Dance of Tears (2003), a Silk Road Project quadruple concerto for the New York Philharmonic for Western and Eastern solo instruments; China Dreams (1995) and The Phoenix (2004) for the Seattle Symphony and Jane Eaglen; and H'un (Lacerations, 1988) for the New York Chamber Symphony, written as a response to his experi?ences during the Cultural Revolution.
In the opera world, Madame Mao, Bright Sheng's two-act, psychological portrait of Jiang Qing (Chairman Mao's wife), was premiered by Santa Fe Opera in 2003. Set to a libretto by its stage director Colin Graham, the work received accolades worldwide. From 1989 to 1992, Mr. Sheng served as composer-in-residence at the Lyric Opera of Chicago where he wrote The Song of Majnun (1992), a one-act "Persian Romeo and Juliet," in collaboration with librettist Andrew Porter.
Bright Sheng currently serves as composer-in-residence for the New York City Ballet, where he will collaborate on two new ballets with Christopher Wheeldon (2007) and Peter Martins (2008). He has also worked with choreographer Helgi Tomasson and the San Francisco Ballet.
Mr. Sheng was the composer-in-residence at the 2006 Saratoga Chamber Music Festival (NY), where Charles Dutoit and the Philadelphia Orchestra participated in a performance of The Phoenix, sung by Shana Blake Hill. Mr. Sheng's future collaborations with the Philadelphia Orchestra include the world premiere of the com?missioned Concerto for Orchestra: Zodiac Tales.
Since 1995, Bright Sheng has been a mem?ber of the composition faculty at the University of Michigan, where he now serves as Leonard Bernstein Distinguished University Professor of Music.
David Henry Hwang's (Librettist) plays include M. Butterfly (Tony Award, Pulitzer Finalist), Golden Child (Tony nomination, OBIE Award), The Dance and the Railroad (Pulitzer Finalist), and FOB (OBIE Award). He wrote the book for the 2002 revival of Rodgers and Hammerstein's Flower Drum Song (Tony nomination), co-authored
Disney's interna?tional musical hit Aida, with music and lyrics by Elton John and Tim Rice, and is currently represented on Broadway as the bookwriter of Disney's Tarzan, with music by Phil Collins. His opera libretti include three works with Philip Glass, as well as Bright Sheng's The Silver River and Osvaldo Golijov's
Ainadamar, which was recently nominated for three 2007 Grammy Awards. Hwang penned the feature films M. Butterfly, Golden Gate, and Possession (co-writer), and co-wrote the song "Solo" with composerperformer Prince. Upcoming works include his new play, Yellow
Bright Sheng
David Henry Hwang
Face, which will premiere in 2007 at Los Angeles' Mark Taper Forum and New York's Public Theatre; and The Fly, an opera with composer Howard Shore, for the LA Opera and Paris's Theatre du Chatelet. Mr. Hwang serves on the Council of the Dramatists Guild.
Ong Keng Sen (Director) is an interdisciplinary performance director, curator, artistic process
researcher, and Asian arts net-worker. He has been Artistic Director of TheatreWorks since 1988 and is now artistic director of the newest perform?ance space in Singapore, 72-13. Ong gradu?ated from the National University of Singapore in law in 1988 and did his post-gradu?ate studies on intercultural per-
formance at the Performance Studies Department, Tisch School of Arts, New York University, on a Fulbright Scholarship in 1993.
Ong directed the Tokyo premiere of Lear, in 1997, to critical acclaim. It went on to tour eight cities in Asia, Europe, and Australia, including a performance at Berlin's Theatre der Welt in 1999. Ong's works have been presented at various inter?national festivals and theaters, including Lincoln Center (New York), Joseph PappPublic Theatre, (New York), The Kitchen (New York), Spoleto Festival USA (Charleston), Institute of Contemporary Arts (London), House of World Cultures (Berlin), Kampnagel (Hamburg), Centre National de la Danse (Paris), Schauspielhaus (Vienna), Rotterdam Schouwburg (Rotterdam), Kronburg Castle (Elsinore, Denmark), Dansens Hus (Stockholm), Goteborg Dance and Theater Festival, (Goteborg, Sweden), Dansens Hus (Oslo), Zurich Theater Spektakel Festival (Zurich), Adelaide Festival, Melbourne International Arts Festival, Hong Kong Arts Festival, and Singapore Arts Festival.
Ong is a holder of several foundation fel?lowships, including the Japan Foundation, British Council, the German Academic Exchange Service (DAAD), and Asian Cultural Council (New York). Ong is the first Singapore artist to have received both the Young Artist Award (1992) and the Cultural Medallion Award (2003) for Singapore.
Muna Tseng (Choreographer) is a choreographer and dancer acclaimed for her seamless poetic fusion of Asian and Western abstract forms. Ms. Tseng founded Muna Tseng Dance Projects in New York in 1988, and has toured through the US, Europe, and Asia. Ms. Tseng has received repeat choreographic fellowships from the National Endowment for the Arts and the New York Foundation for the Arts. Her acclaimed pro?ductions include the Bessie Award-winning SlutForArt, Liquid, The Idea of East, The Pink, Water Mysteries, and Post-Revolutionary Girl. She has collaborated with composers Tan Dun and Phill Niblock and with directors Ping Chong and Ong Keng Sen. Her honors include "Chinese-American Cultural Pioneer for Distinguished Services in the Arts" from the New York City Council President and "Artist of National Merit" from The Smithsonian Institution. Ms. Tseng has taught at New York University, Rutgers University, and City University of New York at Queens College.
Karen Kandel (Golden Buffalo) is an Artistic Associate with New York's legendary avant-garde troupe, Mabou Mines. She has performed in New York, on Broadway and off, as well as interna?tionally in festivals throughout Europe and Asia. Her credits include Geisha, with Ong Keng Sen, Gojo Masanosuke, Kineya Katsumatsu, and Toru Yamanaka; Mabou Mines' Lear, a gender-reversed adaptation of Shakespeare's play; Peter and Wendy, a re-telling of J.M. Barrie's classic with Lee Breuer; The Silver River, with Bright Sheng, David Henry Hwang, and Ong Keng Sen; Talk, by Carl Hancock-Rux; BFE, with Julia Cho and Gordon Edelstein; and Heiner Mueller's Quartet and Racine's Phedre, both with JoAnne Akalaitis. She has collaborated with other artists including Anne Bogart, Ariel Dorfman, Doug Hughes, Ruth Maleczech, Peter Sellars, Anna Deavere Smith, Meryl Streep, Daniel Sullivan, and Wendy Wasserstein. Karen is continuing to devel?op her own storytelling-based work from her writing and visual art. She has received encour-
Ong Keng Seng
agement and developmental support from the Spencer Cherashore Fund, Jim Henson Foundation, Audrey-Skirball Kenis T.I.M.E. Grant, Peter S. Reed Foundation, and Asian Cultural Council. Artist residencies include Mabou Mines Suite and Arts at St. Ann's.
Yu Cheng Ren (Jade Emperor) is a member of the Chinese Theatre Artists Association and has been a member of the Harbin Peking Opera Theatre since his graduation from the China Drama League in 1990. Since that time, he has become the leading painted-face performer with the Harbin Peking Opera Theatre. He appeared in the Peking Opera Company's Capturing Tiger Mountain at the 2001 Peking Opera Festival held in New York. The recipient of a number of major awards in national and provincial opera contests, Mr. Ren's major repertoire includes Farewell My Concubine, LiJui's Visit to His Mother, and YeZhu Lin. In 2002, Mr. Ren was cast as Jade Emperor in a performance of Silver River at the Lincoln Center Festival. Mr. Ren is still active with Chinese Theatre Works and Qi Shu Fang Peking Opera Company. He has appeared as Hunter in The Little Red Riding Hood, Zhang Fei in Promotion of Zhang Fei, and has performed in Fairy Gold Fish Fights Eight Immortals and Journey to the West.
Edie Shaw (Jade Emperor's Entourage) lives in Toronto and has been performing for over 25 years. She counts among her greatest influences Muna Tseng, Alfredo Corvino, Paul Taylor, Libby Nye, Ze'eva Cohen, Darcey Callison, and Paula Thomson. Over the past 15 years she has been widely sought as a dance instructor for her unique approach to teaching a Limon-based technique, and in the theatre community for her movement training for actors. She has taught for Canadian Children's Dance Theatre, York University, the University of Waterloo, and Theatre Rusticle.
Sandra Tsang (Jade Emperor's Entourage) has performed in various dance, theater, and musical theater productions in New York, New Jersey, Connecticut, and other locations in the US. She is a graduate of NYU School of Law and Princeton University. She received her early dance training with Helena Baron, Brunilda Ruiz, Paul Sutherland, and the teachers at the School of American Ballet, including Madame Alexandra Danilova, Andrei Kramarevsky, Suki Schorer, Antonina Tumkovsky,
and Stanley Williams. She briefly attended the School of the Hong Kong Ballet and has since con?tinued her training at Steps 74th and Broadway Dance Center in New York. She has also worked with numerous independent choreographers and has previously choreographed her own works, as well as acted as Artistic Director for a small, inde?pendent dance group.
Lucas Richter (Cowherd, Baritone) is from Mustang, Oklahoma. He earned his B.M. and M.M. in Voice Performance from Oklahoma City University under the instruction of Larry Keller. His acting training is in the Sanford Meisner method under the direction of Dennis Schneider. He was most recently seen as Jimmy Smith in Thoroughly Modem Millie at the West Virginia Public Theatre. Other recent credits include Chris in Miss Saigon at the West Virginia Public Theatre, Radames in Disney's Aida at the Broadway Palm in Mesa, Arizona, and Harold in the Full Monty at the New Times in Syracuse, New York. Some of Mr. Richter' favorite regional credits include Archibald in The Secret Garden, Danilo in the Merry Widow, and Ganzalve in L'heure Espangole. His non-musical stage experience includes such roles as Torvald Helmer in Isben's A Doll's House and Nick in David Mamet's The Woods. Mr. Richter resides in New York where in addition to pursuing his stage career he also enjoys teaching voice in the opera, musical theater, and poprock styles.
David Fedele (Cowherd, Flute) performed his acclaimed New York and Kennedy Center debuts as winner of the Young Concert Artists International Audition Award. The recipient of many honors, Mr. Fedele has performed as soloist and recitalist throughout the US, Europe, South America, and Asia. He has also appeared at sev?eral festivals including Lincoln Center Festival and Spoleto USA among others. Mr. Fedele tours nationally with his own trio. Trio Fedele, which recently premiered Lowell Liebermann's Trio Number 2, written for the group at The National Flute Association Convention. The world premiere recording of this work will be released on Artek Records in 2007. April 2006 marked the release of a CD on the Naxos label by The University of Kansas Wind Ensemble, which features Mr. Fedele as soloist in Michael Mower's Concerto for Flute and Wind Band. He performs and has recorded with numerous other ensembles including The
Chamber Music Society of Lincoln Center, The Steve Reich Ensemble, and Ensemble 21. He is a graduate of The Curtis Institute and The Juilliard School, where he studied with Julius Baker. Mr. Fedele currently serves as Professor of Flute at the University of Kansas.
Yihan Chen (Goddess Weaver, pipa) is a soloist of the pipa, a traditional Chinese instrument, and a member of the Chinese Musicians Association. Ms. Chen was a former pipa instructor of the China Conservatory of Music. She was the Prizewinner of the 1989 "ART Cup" and the 1995 International Chinese instrument Competition in Beijing, China. Ms. Chen received her B.M. in Pipa Performance in 1995 from China Conservatory of Music in Beijing, China, where she studied with the pipa masters and Professors Wu Junsheng, Wang Fandi and Liu Dehai. After graduation, she became a faculty member of the school as a pipa instructor. Meanwhile she was also the pipa soloist of Hua Xia Chamber Ensemble in Beijing. Since she arrived in the US, Ms. Chen has joined Music From China in New York. As a pipa soloist and a chamber musician, Ms. Chen has performed in China, Japan, France, Poland, Portugal, Italy, Canada, and the US.
Hsin-Ping Chang (Goddess Weaver, dancer) was born in Taiwan and moved to the United States in 1988. She received her B.F.A. in Dance from The Juilliard School in New York. She recently finished performing as a soloist in Madama Butterfly with The Metropolitan Opera, directed by Oscar-win?ner Anthony Minghella. She also appeared as Principal dancer in The King and I, directed by Tony Award-winner Christopher Renshaw during its first national tour throughout the US, London's West End, and throughout the United Kingdom. Her dance company credits include the Battery Dance Company, Mary Seidman and Dancers, and Chen and Dancers.
Erin Svoboda (Clarinet) is an active orchestral and chamber musician. A native of Jacksonville, Florida, Ms. Svoboda graduated with distinction and honors from the New England Conservatory of Music. Ms. Svoboda has been heard as a soloist with the Melrose Symphony and Quincy Symphony Orchestras. She is a participant at the Marlboro Music Festival where she has worked with artists such as Gilbert Kalish and Charles Neidich. Ms. Svoboda has also spent three sum?mers at the Tanglewood Music Center, two as a fellow; playing under Seiji Ozawa, Kurt Masur,
Christoph von Dohnanyi, and Rafael Fruhbeck de Burgos; and one as a member of the New Fromm Players, the contemporary chamber music ensem?ble in residence, working with John Harbison and Yehudi Wyner. It was there that she played Bright Sheng's Concertino for Clarinet and String Quartet. Future projects include a recording of Bright Sheng's Tibetan Dances and a performance of his Concertino in New York. Ms. Svoboda is currently pursuing a master's degree from Temple University and studies with Ricardo Morales. Her previous teachers include Thomas Martin and Scott Andrews.
Michael Udow (Percussion) has been principal percussionist with the Santa Fe Opera since 1968 and teaches percussion at the University of Michigan. Dr. Udow is an active performing soloist, composer, inventor, and instrument designer. Recent engagements have included fea?tured appearances with the Beijing Philharmonic, a Suntory Hall concert with the Japan Philharmonic, and appearances in Australia, Croatia, and Korea, where a suite from his opera, The Shattered Mirror, was performed. Dr. Udow has received commissioning grants from The Michigan Council for the Arts, The Arts Foundation of Michigan, Washtenaw Council for the Arts, and has won four University of Michigan Office of the Vice-President for Research Awards and an award from the U-M Division of Research Development and Administration. Dr. Udow has received the School of Music's Harold Haugh Award, a Horace H. Rackham Faculty Research Grant, and the University of Michigan's Faculty Recognition Award. His sound score to the 3-D Animated Video, TokenCity, by visual artist Muriel Magenta, has received numerous international festival awards. Dr. Udow is currently working on an opera commission for 2009 in Korea and is also writing a philosophical treatise about the art of percussion performance and pedagogy.
Aaron Berofsky (Violin) has appeared as soloist with orchestras around the world, including those in the US, Germany, Italy, Spain, and Canada. As a recitalist, Mr. Berofsky recently completed his fifth annual performance at the International Deia Festival in Spain, a series in which he is perform?ing the complete sonatas of Mozart with pianist Alfredo Oyaguez, a project to be completed in 2009. He also recorded a CD of Mozart's Sonatas
that will be released in 2007. Mr. Berofsky per?forms frequently with the Camerata Adriatica as soloist and has performed and recorded with the acclaimed chamber orchestra, Tafelmusik, on peri?od instruments. With a strong interest in new music, he has performed and recorded John Cage's Atlas Edipticalis, and has commissioned, premiered, and recorded music by William Bolcom, Michael Daugherty, Aaron Jay Kernis, and Susan Botti. As first violinist of the Chester String Quartet, Mr. Berofsky has performed at Lincoln Center's Alice Tully Hall, the 92nd Street Y, Carnegie's Weill Recital Hall, the Kennedy Center, the Corcoran Gallery, and throughout North America and Europe. Recent tours have taken the Quartet to Holland, England, Switzerland, Costa Rica, and Mexico. Mr. Berofsky is the concertmas-ter of the Ann Arbor Symphony and is Professor of Violin at the University of Michigan and the Meadowmount School of Music. He can be heard on the Sony, New Albion, Audio Ideas, ECM, and Chesky labels.
James Wilson (Cello) has performed throughout the world over the past 15 years. He has appeared at Lincoln Center, Carnegie Hall, Kennedy Center, the Casal's Hall in Tokyo, and the Sydney Opera House. As recitalist and chamber musician, he has performed at music festivals around the world including the Hong Kong Arts Festival, the City of London Festival, the Deutches Mozartfest in Bavaria, the Mostly Mozart Festival, and the Aspen Music Festival. Mr. Wilson has collaborated with artists such as Joshua Bell, Eugenia Zukerman, Christopher O'Riley, Eliot Fisk, actress Claire Bloom, and the Tokyo String Quartet. At home in New York, he has performed with many groups including the Music of the Spheres Society, Music from Copland House, the Brooklyn Chamber Music Society, Music Under Construction, and the Orpheus Chamber Orchestra, with which he has served as principal cellist. He has also been a member of the Shanghai and Chester String Quartets, touring extensively worldwide with both groups. Born and raised in Ann Arbor, Mr. Wilson is an alumnus of the University of Michigan, where he studied cello with Jeffrey Solow and Samuel Mayes. He graduated with the School of Music's highest honour, the Albert E. Stanley Medal.
Gordana Svilar (Scenic Designer) has designed for theatre, opera, TV, and corporate events. Ms. Svilar has been on the faculty of the theatre departments of Swarthmore College and Bard College. Her theatre work includes Phedra at the Court Theater in Chicago, the world premiere of Las Meninas at San Jose Repertory, and the US premiere of Perfect Pie at the Wilma Theatre in Philadelphia. Her opera work includes Tosca at the Opera Festival of New Jersey, Opera Omaha, and Manitoba Opera; and Flying Dutchman at the Spoleto Festival. Ms. Svilar also works as a stylist for Martha Stewart. She has a graduate degree in Set Design and Art Direction from New York University and a Bachelor's degree in Architecture from University of Zagreb in Croatia.
Scott Zielinski (Lighting Designer) has designed the Broadway production of TopdogUnderdog as well as productions at Lincoln Center, The Joseph Papp Public Theater, Theater for a New Audience, Manhattan Theater Club, Playwrights Horizons, New York Theater Workshop, Signature Theater, and Classic Stage Company. He has also designed extensively at most regional theaters throughout the US, and internationally for productions in cities all over Europe and Asia. For dance his designs have been seen at The Joyce, Kennedy Center, American Dance Festival (all with Twyla Tharp), American Ballet Theatre, National Ballet of Canada, Centre National de la Danse, San Francisco Ballet, Boston Ballet, and Kansas City Ballet. His opera designs include work for New York City Opera, The English National Opera, Houston Grand Opera, Minnesota Opera, Toronto Opera, Pittsburgh Opera, Arizona Opera, Gotham Opera, Berkshire Opera, Opera Colorado, Spoleto USA, and BAM.
Anita Yavich (Costume Designer) has designed for several productions in New York, including Peel with David Parsons Dance, Orfeo for Ballet Hispanico, Miracle Brothers at the Vineyard, Beast on the Moon at Century Center Theatre, and Orphan of Chao at Lincoln Center Festival, all of which were directed by Chen Shi Zheng. Her opera credits include Cyrano De Bergerac at the Met and the Royal Opera Covent Garden, Osvaldo Golijov's Ainadamar at Tanglewood and Disney Hall, Fidelio and Die Walkure at the Washington Opera, and The Silver River at the Spoleto and Lincoln Center Festivals.
Cindy Knight (Stage Manager) was the stage manager for Silver River when it was performed at Spoleto Festival USA, TheatreWorks Singapore and the Lincoln Center Festival. She has been on the stage management staff at New York City Opera for 12 years. Her other credits include Opera Theatre of St. Louis, Boston Lyric Opera, The Skylight Opera, Florida Grand Opera, Ft. Worth Opera, Downtown Cabaret Theater, South Jersey Regional Theatre, New Mexico Repertory Theatre, and The American Jewish Theatre. A native of Roswell, New Mexico, Cindy now resides in New York.
Production Credits for 'The Silver River"
Ken Fischer, President, University Musical Society (UMS) Christopher Kendall, Dean, School of Music, Theatre &
Dance (SOMTD)
Lester Monts, U-M Senior Vice Provost of Academic Affairs R. Douglas Sheldon, Senior Vice President, Columbia
Artists Management LLC
Producer: Jeffrey Kuras, SOMTD
Programming Director: Michael Kondziolka, UMS
Production Managers: Amanda Mengden, SOMTD;
Doug Witney, UMS
Company Manager: Karen Kloster, CAMI Technical Supervisor: Mark Berg, SOMTD Development: Bright Sheng, SOMTD, Christopher
Kendall, SOMTD, Carrie Throm, SOMTD, Maureen
Martin, U-M Provost's Office Project Manager: Dilip Das
Assistant Stage Manager: Joe Schlenke Assistant to the Costume Designer: Terese Wadden Assistant to the Lighting Designer: Susanna Gellert Audition Coordinator: Laura Aswad
Production Acknowledgements
Scenery constructed by the Scenic and Paint Departments of University Productions. Costumes provided by the Spoleto Festival USA and fabricated by Martin Izquierdo Studio, New York City with Ann Arbor assistance from Heather Phillips.
Properties provided by the Spoleto Festival USA and the Properties Department of University Productions.
Stagehands provided by IATSE Local 395.
Lighting preparation provided by the Theatrical Lighting Department of University Productions
Additional equipment and staff for music, sound, stage management, video equipment, and rehearsal space are provided by the School of Music, Theatre & Dance.
The Education, Marketing, Production, Programming, and Ticket Services Departments of UMS have provided vital administrative expertise.
Special thanks to Bill DeYoung and Mary Cole for the use of the dance studios, Aimee Baker at U-M Procurement, Stan Bies at the U-M General Counsel 's Office, Gary Custer at U-M Accounts Payable, Larry at Advantage Trucking, Dan at T & D Neon, and Tony at Ann Arbor Plastics for assistance on the pool.
ums University Musical Society
the 51st (dream) state
Conceived and written by Sekou Sundiata
Directed by Christopher McElroen
Original Sound Score by Graham Haynes
Vocal Arrangements by Richard Harper
Choreography by David Thomson
Projections by Sage Marie Carter
Additional original music composed by Bill Toles, Sekou Sundiata
Sekou Sundiata, Poet
Ronnell Bey, La Tanya Hall, Samita Sinha, Bora Yoon, Vocalists
Eddie Allen, Trumpet
Chris Eddleton, Drums
Calvin Jones, Bass
Adam Klipple, Keyboards and Laptop
Bill White, Guitar
David Thomson, Dancer
Saturday Evening, January 20, 2007 at 8:00 Power Center Ann Arbor
Tonight's performance is approximately one hour and 30 minutes and will be performed without intermission.
44th Performance of the 128th Annual Season
The photographing or sound and video record?ing of this production or possession of any device for such recording is prohibited
This performance is co-presented with the U-M Office of Academic and Multicultural Initiatives.
Media partnership provided by Michigan ChronicleFront Page and WEMU 89.1 FM.
Special thanks to U-M Institute for the Humanities, Daniel Herwitz, Eliza Woodford, Imagining America, Julie Ellison, Josephine Tsai, U-M Center for Afroamerican and African Studies, Elizabeth James, U-M Arts of Citizenship, Christian Willauer, The Neutral Zone, and Jeff Kass.
Lead commissioning and development support for the 51st (dream) state has been provided by Waterworks, an initiative of HARLEM STAGE Aaron Davis Hall, Harlem Center for the Performing Arts, New York, NY. Waterworks is sponsored by Time Warner, Inc.; with additional support from Altria Group, Inc. and the National Endowment for the Arts. Nathan Cummings Foundation provided the initial funding for Waterworks.
For further information about Sekou Sundiata and this project, please visit www.multiartsprojects.com
Large print programs are available upon request.
Production Credits
Set Design: Troy Hourie
Lighting Design: Roderick Murray
Costume Design: Liz Prince
Sound Design: Lucas Indelicato
Music Director: Eddie Allen
Vocal Director: La Tanya Hall
Production Supervisor: Vincent DeMarco, KelVin Productions, LLC
Sound Engineer: Christopher Ericson
Stage Manager: Kelly Varley
Company Manager: Katea Stitt
Executive Producer: dance & be still arts, Sekou Sundiata, Artistic Director
Producer. MultiArts Projects & ProductionsMAPP
Commission support for the 51st (dream) state has been provided by Carolina Performing Arts at The University of North Carolina at Chapel Hill; Clarice Smith Performing Arts Center, University of Maryland, College Park, MD; Cuyahoga Community College, Cleveland, OH; Melbourne International Arts Festival, Australia; Miami Dade College, Center for Cultural Collaborations International; Stanford Lively Arts at Stanford University, CA; and Walker Art Center, Minneapolis, MN.
New World Theater, Amherst, MA; University of Michigan, Ann Arbor; the Arab American National Museum, Walker Art Center, Minneapolis, MN; Eugene Lang CollegeNew School University; and Lafayette College provided essential develop?mental and production residencies. The work was also developed in association with Imagining America: Artists and Scholars in Public Life, a national consortium of college, universities and cultural institutions
the 51st (dream) state is made possible in part by a grant from the Association of Performing Arts Presenters Ensemble Theatre Collaborations Grant Program, a component of the Doris Duke Charitable Foundation Theatre Initiative. The devel?opment of this work is also made possible with generous support from the Ford Foundation, The Rockefeller Foundation Multi-Arts Production Fund, the New York State Council on the Arts and the National Endowment for the Arts.
Audio recordings by Cornel West excerpted from Restoring Hope, delivered at Pasadena Community College, December 2003. Used with permission.
Audio recording by Jacob Needleman excerpted from Rediscovering the American Soul, delivered January 29, 2003 in Washington, D.C. Used with permission.
Projected text by Michael Ignatieff excerpted from The American Empire, The Burden published by The New York Times Magazine, January 5, 2003. Used with permission.
Video interviews with Kiku Uno and Uday Sohshie; Anan Ameri and Ismael Ahmed. Grey by Ani DiFranco. Used with permission.
The House I Live In by Allan Lewis and Earl Robinson. O1942 by Music Sales Corporation (ASCAP) for US International Copyright Secured. All Rights Reserved. Used with permission.
Ute Sun Song by Valerie Naranjo and Traditional music, arranged by Valerie Naranjo. Used with permission.
My Love Is You by Abbey Lincoln. Used with permission.
Pure Innocence, traditional music arranged by Samita Sinha. Used with permission.
Original music for New American Theater by Bora Yoon. Used with permission.
S
ekou Sundiata is a poet who writes for print, performance, music, and theater. He has been a Sundance Institute Screenwriting Fellow, a Columbia University Revson Fellow, a Master Artist-in-Residence at the Atlantic Center for the Arts (Florida), the first Writer-in-Residence at the New School University, and he is currently a Lambent Fellowship in the Arts Fellow. He was featured in the Bill Movers' PBS series on poetry, The Language of Life, and as part of Russell Simmons' Def Poetry Jam on HBO. Mr. Sundiata is currently a professor at Eugene Lang College in New York City.
Mr. Sundiata has written and performed in highly acclaimed performance theater works including The Circle Unbroken is a Hard Bop, which toured nationally and received three
Sekou Sundiata
AUDELCO Awards and a BESSIE Award; The Mystery of Love, commissioned and produced by New VoicesNew Visions at HARLEM STAGE Aaron Davis Hall in New York City and the American Music Theater Festival in Philadelphia; and Udu, a music-theater work produced by 651 ARTS in Brooklyn and presented by the International Festival of Arts and Ideas in New Haven, the Walker Art Center and Penumbra Theater in Minneapolis, Flynn Center in Burlington, VT, the Hopkins Center at Dartmouth College in New Hampshire, and Miami-Dade College in Florida.
UMS ARCHIVES
T
onight's performance marks Sekou Sundiata's fifth appearance under UMS auspices.
!n January 2003, UMS presented Mr. Sundiata's first solo theater piece blessing the boats at the Trueblood Theatre. Immediately following the Ann Arbor theatrical run of blessing the boats, Mr. Sundiata appeared under UMS auspices performing his music in concert with his band at the Michigan Theater.
blessing the boats, Mr. Sundiata's first solo theater piece, opened in November 2002 at HARLEM STAGEAaron Davis Hall, NYC, and has since been presented in more than 30 cities in the US, Scotland, and Australia. In March 2005, Sundiata produced The Gift of Life Concert, an organ donation public awareness event at the Apollo Theater that kicked off a three-week run of blessing the boats at the Apollo Theater SoundStage.
Mr. Sundiata's first recording, the Grammy Award-nominated The Blue Oneness of Dreams (Mouth Almighty Mercury), and its successor, longstoryshort (Righteous Babe Records), are both rich with the sounds of blues, funk, jazz, and African and Afro-Caribbean percussion. He has toured internationally with his band; in 2001, they performed in 23 cities in the US and Canada as part of Ani DiFranco's "Rhythm and News Tour".
Eddie Allen {Trumpet and Musical Director) stud?ied music at the Wisconsin Conservatory of Music in Milwaukee, the University of Wisconsin in Green Bay, and received his B.M. from William Paterson University of New Jersey. Mr. Allen has worked with such jazz greats as Art Blakey, Billy Harper, Randy Weston, Dizzy Gillespie, Henry Threadgill, Bobby Watson, Jon Faddis, Benny Carter, Panama Francis, Joe Henderson, and Steve Turre. He has recorded, performed with, and com?posed for Louis Hayes, Lester Bowie, Jack McDuff, Etta Jones, Houston Person, Mongo Santamaria,
Chico Freeman, Charli Persip, Vanessa Rubin, and Muhal Richard Abrams. Allen currently leads a quartet, a quintet, a LatinBrazilian project bring?ing together acoustic and electronic instruments, and a big band.
Ronnell Bey's (Vocals) off-Broadway credits include: Running Man, (Music-Theatre Group) Eli's Comin' (Vineyard-OBIE Award). She has per?formed at Brooklyn Academy of Music, The Fez, The New School with Sekou Sundiata and Joe's Pub with La Chanze. Regional credits include: Ain't Misbehavin' (Madison Rep.), Best of Both Worlds (New York) The Life and Life of Bumpy Johnson by Amri Baraka (San Diego Rep.), and All Night Strut (MichiganCalifornia). Ms. Bey's televi?sion appearances include: Rosie O'Donnell X-Mas Special and The Tony Awards (with Broadway Inspirational Voices).
Chris Eddleton (Drums) has performed at Central Park Summerstage with the Brazilian per?cussionist Cyro Baptista's band Beat the Donkey and Greg Tate's free jazz group Burnt Sugar. For 10 years he has been the house drummer for the jazz-hip hop open-mic show All That, which included an appearance on BET's Planet Groove. Mr. Eddleton also appeared on The Chris Rock Show with Def-Jam recording artist Saul Williams.
He has appeared with Brazilian trumpeter Claudio Roditi, Latin jazz pianist Hilton Ruiz, and N'Dea Davenport of the Brand New Heavies. In the US, Mr. Eddleton has toured in Brown Butterfly, and performed at the Monterey Jazz Festival. Internationally, he has played throughout Europe with World Village recording artist Marta Topferova and with Saul Williams. He has toured to Russia, Uzbekistan, and Kyrgistan and played in Turkey, Hong Kong, and Okinawa.
La Tanya Hall (Vocals and Vocal Director) has performed on tour and made special appearances with Diana Ross, Julio Iglesias, Bobby McFerrin, Harry Belafonte, Aretha Franklin, Gloria Gaynor, and Jon Secada. Her television performances include: 700 Center Street (A&E), Law & Order (NBC), The Sopranos (HBO), Now and Again (CBS), One Life to Live (ABC), The Chris Rock Show (HBO), and An Evening with Harry Belafonte & Friends (PBS). Her work on film can be seen in The Devil and Daniel Webster. Ms. Hall's theatrical credits include: A Christmas Carol, Stormy Weather, Dreamgirls, Storyville, What the World Needs Now, and Promises and Promises. Ms. Hall is also an in-demand session and jingle singer, vocal arranger, and director.
Calvin Jones {Bass) a graduate of the University of Miami (FL), has performed, recorded, and toured with Ronny Jordan, James McBride, Steve Coleman, Craig Harris, Cassandra Wilson, Greg Osby, Eartha Kitt, Alex Bugnon, Carla Cook, Chico Freeman, Donald Byrd, Patti Austin, James 'Blood' Ulmer, Max Roach, Pharoah Sanders, Andrew Hill, Ray Andreson, and Jon Hendricks. He has also performed on Broadway and toured with Bring N' Da Noise, Bring N' Da Funk; Ain't Nothin' But the Blues; and All Shook Up. Mr. Jones has performed in 39 states and 25 countries.
Adam Klipple (Keyboards) leads two ensembles: AK4 and Drive-By Leslie. His piano quartet, the AK4, not only plays derangements of traditional standards, but also forays into Brazilian, Latin, West African, funk, and pop. The AK4 was rec?ognized as a Jazz Ambassador in 2003, and was sponsored by the Kennedy Center and the US Department of State on a six-week tour of Russia and Central Asia. Drive-By Leslie, his Hammond organ quartet, delivers riotous funk-jazz-dance music. In addition to his personal endeavors, Mr. Klipple is involved in stage and recording projects with Craig Harris, Joe Bowie and Defunkt, Jay Rodriguez, and Michael Ray and the Cosmic Krewe. He has appeared at such renowned ven?ues as the Blue Note, Iridium, Blues Alley, the Knitting Factory, and at international jazz festivals.
Samita Sinha's (Vocals) repertoire spans a range of styles in several different languages, though she is trained foremost in classical Hindustani music. Ms. Sinha experiments in synthesizing ele?ments of Hindustani music with jazz, electronic music, and theater, creating new sonic intersec?tions by bringing the precision and detail of the classical Indian vocal tradition to various contexts. Ms. Sinha began training in Indian classical music at age 10 in Flushing, the same time she started playing piano and singing in choral and jazz ensembles and musicals. In 2002 she was award?ed the Fulbright Scholarship to study in the guru-student tradition in India with Dr. Alka Deo Marulkar. During this time Ms. Sinha developed a unique vocal and compositional style drawing from the various musical and linguistic idioms she knows (Hindi, Urdu, Braj, Mandarin, English, and vocal sound painting), and performed this music throughout India and the Middle East. Currently she leads KAASH, a music collective, and also works with the Sunny Jain Collective. For more information see www.samitasinha.com.
Bill White (Guitar) is a native New Yorker and received his bachelor's degree from SUNY-Old Westbury. He has performed, toured, and record?ed with Cecil Bridgewater, Miriam Makeba, Chaka Khan, Hall & Oates, Me'shell Ndege'Ocello, Patti Austin, Taylor Dane, Miki Howard, Jean Cam, Bernie Worrell, Melba Moore, Craig Harris, and his own Bill White 350 Project, which has three CDs released. Mr. White scored the music for the off-Broadway play, Sacrifice to Eros. He performed on Broadway with Bring N' Da Noise, Bring N' Da Funk, and was featured on Bill Moyers' PBS special The Language of Life with Sekou Sundiata.
Bora Yoon {Vocals, Violin, and Electronics) is a musical architect and multi-instrumentalist with a twisted penchant for the iconoclastic. She has col?laborated with site-specific choreographer Noemie Lafrance, media philosopher DJ Spooky (premiering Subliminal Strings in Paris at Festival Sons D'Hiver), members of Meredith Monk's vocal ensemble, multimedia artist Emile Bennett (DCA, STEIM), and NY Fringe. From the Guggenheim to the airwaves of MTV Networks, she has per?formed her original work nationally and interna?tionally, garnering awards from the John Lennon Songwriting Contest, Billboard, and the Arion Music Award committee. Recent projects include the live acoustic sound design of AGORA II in the historic 55,000 square-foot empty McCarren Pool, and the sonic curation of the experimental musicfilm SummerScreen series.
Designers and Collaborators
Christopher McElroen (Director) is the Co-Founder of the Classical Theater of Harlem (CTH) where he has produced 27 productions in six sea?sons yielding 12 AUDELCO Awards, five OBIE Awards, a 2006 Lucille Lortel Award, a 2004 Drama Desk Award and CTH being named "one of eight theaters in America to Watch" by the Drama League. As a director, he has helmed numerous productions at CTH including Waiting for Godot with Wendell Pierce, The Cherry Orchard with Earle Hyman, and The Blacks: A Clown Show (four OBIE Awards and named one of the best Off-Broadway productions of the 2003 season by The New York Times).
Graham Haynes (Composer) was born in 1960 and raised in the New York suburb of Hollis, Queens. His father, Roy Haynes (who appeared with Alice Coltrane on the UMS Jazz Series in September 2006), revolutionized modern jazz drumming. He has recorded seven CDs of his own music as well as other recordings with Steve Coleman, Cassandra Wilson, Lonnie Plaxico, George Russell, Jaki Byard, Vernon Reid, Bill Laswell, Brandon Ross, and DJ Logic. Mr. Haynes has twice been nominated for the Alpert Award in the Arts and has been awarded grants by the National Endowment for the Arts, the New York State Council on the Arts, and Meet the Composer. He has been a lecturer at New York University on the subject of Music and Trance.
Richard Harper (Vocal Arranger), a multi-instru?mentalist, has recorded on piano, trombone, bari?tone horn, and voice with artists such as Makanda Ken Mclntyre, James Jabbo Ware, Assai String Quartet, Jack Walrath, Miles Griffith, Fred Ho, and Bill Laswell. He has served as the musical director for the Charles Moore Dance Theater, Pepsi Bethel Authentic Jazz Dance, and numerous original productions including Udu, You Don't Miss Your Water, and A Winter's Tale. His compo?sitions and arrangements have been featured Off-Broadway (Late Great Ladies of Blues and Jazz) and on television (Dance In America, City of Acapella). Dr. Harper holds a PhD in Ethnomusicology and Composition from the Union Institute and University, and teaches at New School University.
David Thomson (Choreographer and Dancer) began dancing at HaverfordBryn Mawr Colleges and later received a BA in Liberal Arts from SUNY Purchase. He has performed downtown, Off-Broadway, and in London's West End with the acclaimed a cappella performance group Hot Mouth, of which he is a founding member. Mr. Thomson has been on the faculties of Sarah Lawrence College, Movement Research, NYU (Experimental Theater Wing) as well as having taught both nationally and internationally. In 2001, he received a New York Dance and Performance (BESSIE) Award for Sustained Achievement in Performance. Most recently, he has worked with Ralph Lemon (Geography Trilogy: Parts 2 & 3), Dean MossLaylah Ali (Figures on a Field), and Bebe Miller (LandingPlace).
Sage Marie Carter's (Projections Designer) the?ater credits include: Moonlight and Magnolias (Manhattan Theater Club, Alliance Theater), Never Sang for My Father (Steppenwolf), Dirty Tricks (Public Theater), blessing the boats (US tour), Miss Saigon (current US tour), Oo Bla Dee (Oregon Shakespeare Festival), One Flew Over the Cuckoo's Nest (Broadway, RSC London, Steppenwolf), Missing Footage (Helen Hayes PAC), Having Our Say (Broadway, McCarter Theatre, and national tour), Cakewalk (A.R.T.), and Techno Sacre (Guggenheim Works & Process). She has created projections for televi?sion, chamber music, opera, dance, street art, fine art installations, sporting events, stand-up come?dy, and rock concerts.
Troy Hourie's (Set Designer) off-Broadway work includes: Temporary Help (Revelation Theatre, 2003 Drama Desk Nomination); Tartuffe (Acting Company); Eduardo Machado's Havana is Waiting (Cherry Lane Theatre); The Passion of Frida Kahlo (Directors Company Arclight); and work with the Classical Theatre of Harlem (2005 Audelco Award, 2001 and 2004 Nominations). Other New York credits include: The Zipper Theatre, Theatreworks USA, The Culture Project, INTAR, and numerous shows at Juilliard Drama School. Mr. Hourie has also worked in a large number of US regional theaters, as well as in regional and New York opera.
Roderick Murray's (Lighting Designer) lighting designs have been seen nationally and interna?tionally since he received a 2001 BESSIE Award for his work for Wally Cardona's Trance Territory. Murray recently was the lighting designer for Ralph Lemon's Come home Charley Patton and Wally Cordona's Everywhere, both performed at the BAM Harvey. Prior to dedicating himself full time to design, he performed for nine years with the award-winning Circus Amok.
Liz Prince (Costume Designer) has designed cos?tumes for dance and theater projects for over 20 years. Productions include works by: Bill T. Jones, Doug Varone, Neil Greenberg.Trey Mclntyre, Mark Dendy, Mikhail Baryshnikov's White Oak Dance Project, Arthur Aviles, Jane Comfort, Ralph Lemon, Lenora Champagne, Lawerence Goldhuber, Pilobolus, Bebe Miller and Sarah East Johnson. Ms. Prince's costumes have been exhib-
ited at The New York Public Library for the Performing Arts, Snug Harbor Cultural Center, and Cleveland Center for Contemporary Art. She received a 1990 BESSIE for costume design.
Lucas Indelicato's (Sound Designer) recent cred?its include: Associate for the 2005 Lincoln Center Festival and Designer for Ralph Lemon's free and Come home Charley Patton. As an engineer, Mr. Indelicato tours the world with Meredith Monk.
Production
Vincent J. DeMarco, KelVin Productions'
(Production Supervisor) credits include: Fantasy Traveller US Tour (National Blacklight Theatre Prague) Cookin' (Richard Frankel Productions), Millennium World Peace Summit for Religious Leaders (United Nations), and Seaside SummerMIK Concert Series. Mr. DeMarco was the Associate Production Manager at the NYSFPublic Theater 2000-2004. He is a Managing Partner of KelVin Productions, LLC, with John Finen and Kelly Cobb.
Christopher Thomas Ericson (Sound Engineer) born and raised in Dearborn, Michigan, received his B.A. in technical theatre from Western Michigan University. After recently completing his M.F.A. in Sound Design and Audio Technology from University of Illinois, Christopher has designed sound for Mikel Rouse's End of Cinematics, Music for Minorities, and Failing Kansas. Other recent design credits include The Baseball Music Project, featuring baseball hall of fame inductee Dave Winfield, and assistant sound designer to Lucas Indelicato on Ralph Lemon's Come Home Charley Patton. Christopher has also worked with many other artists such as Phillip Glass, Ravi Shankar, Emmylou Harris, Herbie Hancock, Slipknot, Slayer, Sevendust, Saliva, Andrea Zonn, and Allison Brown. Recently leav?ing Krannert Center for the Performing Arts as an Audio Assistant, Christopher and his wife have moved to the Chicago area.
Katea Stitt (Company Manager) began her career as a performing arts producer in 1987. In 1994 she launched her own company, Anyanwu Management, to offer production, tour, and artist management services to individuals, ensembles, and organizations. Currently, she is the Road Manager for renowned vocal ensemble Sweet Honey In The Rock. From 1999 until 2004, Ms. Stitt was the Coordinator of and an oral historian for the Smithsonian Institution's Jazz Oral History Program. She is a producer for Pacifica Radio and hosts an eclectic weekly Jazz and World music program on Washington, DC Pacifica radio affili?ate WPFW. Ms. Stitt is a co-chair of Black Voices for Peace.
MultiArts Projects & Productions (MAPP) is a
NY-based arts organization dedicated to produc?ing and sustaining performing artists as they develop multidisciplinary projects that raise ques?tions about the complexities of our time. MAPP works in dose collaboration with artists, arts organizations, and other arts professionals to pro?vide a holistic set of production and touring serv?ices tailored to the specific nature and needs of each project. MAPP was founded in 1994 by Executive Director Ann Rosenthal, and since 1998 has been co-directed by Rosenthal and Cathy Zimmerman. MAPP has managed, produced, and toured music, dance, and theater projects by more than 50 artists from 15 countries.
ums University Musical Society
with
KeyBank and Key Private Bank
present
The Chieftains
Paddy Moloney, Uilleann Pipes and Tin Whistle Kevin Conneff, Bodhran and Vocals Matt Molloy, Flute Sean Keane, Fiddle
with special guests
Triona Marshall, Harp
Maureen Fahy, Fiddle, Vocals, and Dancing
Jon Pilatzke, Fiddle and Step Dancing
Nathan Pilatzke, Step Dancing
Cara Butler, Traditional Irish DancingStep Dancing
Ryan MacNeil, Keyboards and Vocals
and
Liadan
Sile Denvir Elaine Cormican Valerie Casey Deirdre Chawke Claire Dolan Stephanie Geremia
Program
Sunday Afternoon, January 21, 2007 at 4:00 Hill Auditorium Ann Arbor
This afternoon's program will be announced by the artists from the stage and contains an intermission.
45th Performance of the 128th Annual Season
The photographing or sound and video record?ing of this concert or possession of any device for such recording is prohibited.
This performance is sponsored by KeyBank and Key Private Bank. Additional support is provided by Borders Group.
Media partnership provided by WEMU 89.1 FM, WRCJ 90.9 FM, WDET 101.9 FM, and Metro Times.
The Chieftains appear by arrangement with ICM Artists. The Chieftains record exclusively for RCA Victor.
Large print programs are available upon request.
The Chieftains
W
ith a career that spans 43 years and 43 albums, The Chieftains are not only Ireland's premiere musical ambassadors but also the most enduring and influential creative force in establishing the international appeal of Celtic music.
Paddy Moloney, the group's founder and front man, first brought together a group of local musi?cians in Dublin in 1962, fashioning an authentic instrumental sound that stood in sharp contrast to the slick commercial output of most Irish music at the time. The group's first four albums, recorded between 1963 and 1974, established their world?wide reputation even as the group continued to perform on a semi-professional basis.
In 1975, The Chieftains recorded the sound?track to Stanley Kubrick's Barry Lyndon, featuring the hit single "Women of Ireland", for which they won an Academy Award. Continued extensive touring fol?lowed, further establishing them as a major concert attraction and a string of subsequent albums, includ?ing such standouts as Bonaparte's Retreat, Boil The Breakfast Early, and Chieftains in China, enhanced their status as Ireland's premier musical export.
In 1988, they joined forces with fellow coun?tryman Van Morrison on Irish Heartbeat. This began an historic series of collaborations including record?ings with James Galway, Jackson Browne, Elvis Costello, The Rolling Stones, Sting, Tom Jones, Sinead O'Connor, Linda Ronstadt, Los Lobos, and Ry Cooder. They also continued their acclaimed work in soundtracks, on such films as Treasure Island, Tristan and Isolde, The Grey Fox, and Far and Away.
In 1992, they recorded the double Grammy Award-winning Another Country, with perform?ances by such country and bluegrass stars as Emmylou Harris, Ricky Skaggs, Willie Nelson, Chet Atkins, and Don Williams. They returned to Nashville in 2002 for Down the Old Plank Road, their Grammy-nominated 40th career album,
featuring such special guests as Vince Gill, Lyle Lovett, Earl Scruggs, Alison Krauss, and Martina McBride. Further Down the Old Plank Road contin?ued the historic musical and cultural collaboration explored on Down the Old Plank Road, with 16 new tracks from an extraordinary array of artists, all backed by the Chieftains and produced by the group's founder Paddy Moloney, along with Jeff White and Steve Buckingham. The album also con?tains some of the final performances from multi-instrumentalist Derek Bell, a long-standing Chieftains member who passed away in 2002.
The Grammy-nominated Live from Dublin: A Tribute to Derek Bell, released early in 2005, cele?brates the life and legacy of one of the Chieftains' finest musicians. Recorded live at Ireland's premiere performing venues, the Gaiety Theater and National Concert Hall, Live from Dublin includes a moving medley--"Derek's Tune"--composed by Moloney as a fitting send-off for their friend. The landmark recording is also filled with1 other brand-new selections that exemplify and enhance the group's traditional sound, rounded off through the distinctive artistry of harpist Triona Marshall and pipe virtuoso Carlo Nunez.
Their 2006 release, The Essential Chieftains, has arrived to critical acclaim and serves as a gath?ering of the group's greatest and most-loved melodies. With classics like "O'Sullivan's March," "Boil the Breakfast Early," and "Santiago de Cuba," it is a collection that rightly honors the band's longevity in the musical world.
Six-time Grammy winners and 19-time Grammy nominees, The Chieftains maintain an international touring schedule that has brought them before literally millions of fans on every con?tinent. Their yearly tour schedule has included per?formances in North America, Europe, and Asia, and in March 2001 they played a tribute performance for rescue workers at Ground Zero of the World Trade Center.
UMS ARCHIVES
T
his afternoon's concert marks The Chieftains' fourth appearance under UMS auspices. The Cheiftains made their Ann Arbor debut in March 1989 and last appeared under UMS auspices in January 2002 at Hill Auditorium.
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.

12 Fri
12-13 w-sat
20 Sat
21 Sun
1 Thu
3 Sat
6Tue
11 Sun
16-17 W-Sat
18 Sun
22 Thu
11 Sun
14 Wed
15 Thu
16 Fn
17 Sat
20 Tue
23 Fn
24 Sat
30 Fn
31 Sat
12 Thu
13 Fn
15 Sun
19 Thu
20-21 Fri-Sat
21 Sat
22 Sun
SSat
12 Sat
Takcs Quartet
Bright Sheng's Silver River
Sekou Sundiata: the 51st (dream) state
The Chieftains
Big 3 Palladium Orchestra
Joshua Bell
Hubbard Street Dance Chicago
Michigan Chamber Players
Stephen Petronio Company
Time for Three
Dave Holland Octet and Big Band
Midori
Tamango's Urban Tap: Bay Mo Dilo (Give Me Water)
Wynton Marsalis and Jazz at Lincoln Center Orchestra
Gilberto Gil
Murray Perahia
Orchestre Philharmonique de Radio France
Rahim AlHaj and Souhail Kaspar
Canadian Brass
Pablo Ziegler Quintet for New Tango with Claudia Acufia
David Krakauer's Klezmer Madness
Measha Brueggergosman and William Bolcom
John Williams and John Etheridge
Jerusalem String Quartet
Netherlands Bach Society: Bach's Mass in b minor
Trinity Irish Dance Company
Trinity Irish Dance Family Performance
Los Folkloristas
Breakin' Curfew
Ford 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 informa?tion 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
Masterclasses--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 winter's NETWORK performances include:
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 Winter 07 season features special youth pre?sentations of 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 techniques 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 arts to the curriculum per 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
Saturday, May 5, 2007, 8 pm, Power Center In a special collaboration with the Neutral Zone, Ann Arbor's teen center, UMS presents this yearly performance highlighting the area's best teen performers. Ticket Prices: $10 stu?dents, $15 adults.
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 on www.annarbor.org familydays.
Family performances of the Trinity Irish Dance Company are featured in the Winter 07 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.
06-07 Season Education Program Supporters
Ford Motor Company Fund
Michigan Council for Arts and Cultural Affairs University of Michigan
Arts at Michigan
Bank of Ann Arbor
Kathy Benton and Robert Brown
Borders Group, Inc.
The Dan Cameron Family
FoundationAlan and
Swanna Saltiel Chamber Music America Doris Duke Charitable
Foundation
DTE Energy Foundation The Esperance Family
Foundation Dr. Toni Hoover, in memory of
Dr. Isaac Thomas III JazzNet Endowment 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
NEA Jazz Masters on Tour Noir Homes, Inc. Performing Arts Fund Pfizer Global Research and
Development, Ann Arbor
Laboratories
Randall and Mary Pittman ProQuest Company Prudence and Amnon Rosenthal
K-12 Education Endowment
Fund Target
Thomas B. McMullen Company 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
Wallace Endowment Fund 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 Boulevard734.761.7800
Gratzi
326 South Main 888.456.DINE
Michigan Car Services
30270 Spain Court, Romulus800.561.5157
Palio
347 South Main Street 888.456.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 Washington734.213.1700
Victors Restaurant at the Campus Inn
615 East Huron 734.769.2282
Zanzibar
216 South State Street 734.994.7777
UMS is PROUD to be a MEMBER of the
FOLLOWING ORGANIZATIONS
Ann Arbor Area Chamber of Commerce
Ann Arbor Area Convention & Visitors Bureau
ArtServe Michigan Association of Performing Arts Presenters
BoardSource
Chamber Music America
International Society for the Performing Arts
Michigan Association of Community Arts Agencies
State Street Association
UMS DELICIOUS EXPERIENCES
Please join us for a Delicious Experience this season. For information about these events, please call 734-647.8009.
Inside Stories at Inglis House
January 26, 2007
A Big Easy Evening January 27, 2007
An Amuse-Bouche Tasting
February 10, 2007
Wine and Cheese Tasting with Midori March 11, 2007
Ahlan wa Sahlan and Welcome to the Levant
April 29, 2007
Sunset in the Boma
May 19, 2007
Elegant Prairie Feast
June 9, 2007
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 organization of 59 volunteers who contribute approximately 4,000 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. Meetings are held every two months and membership tenure is three years. For information, please call 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!
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.
On the Road with UMS
Last September, over 300 people enjoyed an evening of food, music, and silent and live auc?tions, netting more than $80,000 to support UMS educational programs. On the Road will be held in September 2007.
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-November 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 November 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
Northwest Airlines
The Power Foundation
MAESTRO
$20,000-$49,999
Arts at Michigan
Borders Group
Linda and Maurice Binkow
Cairn Foundation
CFI Group
Charles H. Gershenson Trust,
Maurice Binkow, Trustee DaimlerChrysler Corporate Fund Detroit Auto Dealers Association Charitable
Foundation 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 National Endowment for the Arts Gilbert Omenn and Martha Darling Larry and Beverly Price ProQuest Company Dennis and Ellie Serras Barbara Furin Sloat Toyota Technical Center The Whitney Fund at the Community
Foundation for Southeastern Michigan Ann and Clayton Wilhite
VIRTUOSO
$10,000-$ 19,999
Michael Allemang and Janis Bobrin
Bank of Ann Arbor
Kathy Benton and Robert Brown
Carl and Isabelle Brauer Fund
Chamber Music America
Charter One Bank
Comerica Bank
Concord Music
Edward Surovell RealtorsEd and
Natalie Surovell Elastizell Corp of America Mrs. Thomas C. Evans David and Phyllis Herzig LaSalle Bank Mrs. Robert E. Meredith Donald L. Morelock 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 Ann Arbor Automotive The Ann Arbor News Dave and Pat Clyde Dykema Gossett Ken and Penny Fischer Paul W. McCracken Miller Canfield Paddock
and Stone P.L.C. National Dance Project of the New
England Foundation for the Arts Performing Arts Fund Duane and Katie Renken A. Douglas and Sharon J. Rothwell Jane and Edward Schulak
PRODUCER
$5,000-$7,499
Herb and Carol Amster
Anonymous
Emily Bandera and Richard Shackson
Paulett Banks
Blue Nile Restaurant
Ronald and Mimi Bogdasanan
Robert and Victoria Buckler
Thomas and Marilou Capo
Douglas D. Crary
Hal and Ann Davis
Jim and Patsy Donahey
David and Jo-Anna Featherman
llene Forsyth
Dr. Sid Gilman and Dr. Carol Barbour
Sue and Carl Gingles
Susan and Richard Gutow
David and Kathryn Heleniak
Debbie and Norman Herbert
Carl and Charlene Herstein
Honigman Miller Schwartz and Cohn LLP
Keki and Alice Arani
Mohamed and Hayat Issalssa Foundations
David and Sally Kennedy
Jill Latta and David Bach
Richard and Carolyn Lineback
Mainstreet Ventures, Inc.
Susan McClanahan and Bill Zimmerman
THE MOSAIC FOUNDATION (of R. & P.
Heydon)
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 Dan Cameron Family FoundationAlan
and Swanna Saltiel Sesi Lincoln Mercury Volvo Mazda Loretta M. Skewes Richard and Susan Snyder Thomas B. McMullen Company Tisch Investment Advisory Marion T. Wirick and James N. Morgan Gerald B. and Mary Kate Zelenock
LEADER
$3,500-$4,999
Jerry and Gloria Abrams
Mrs. Bonnie Ackley
Bernard and Raquel Agranoff
Susan and Alan Aldworth
Essel and Menakka Bailey
June and Clyde Bennett
Joan A. Binkow
Barbara Everitt Bryant
Edward and Mary Cady
Mary Sue and Kenneth Coleman
Molly Dobson
Sara and Michael Frank
Paul and Anne Glendon
Noir Homes
Mrs. Charles Overberger (Betty)
Randall and Mary Pittman
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
Max Wicha and Sheila Crowley
PRINCIPAL
$2,500-$3,499
Jim and Barbara Adams
Anonymous
Arnold and Janet Aronoff
Bob and Martha Ause
Lesli and Christopher Ballard
Raymond and Janet Bernreuter
Suzanne A. and Frederick J. Beutler
Donna and Gerry Bishop
Charles and Linda Borgsdorf
Jeannine and Robert Buchanan
Bruce Conybeare and Elizabeth Brien
Anne and Howard Cooper
Dennis A. Dahlmann and Patricia Garcia
Sally and Larry DiCarlo
Al and Kendra Dodds
Eugene and Emily Grant Family Foundation
Mr. and Mrs. George W. Ford
General Motors Corporation
Linda and Richard Greene
John and Helen Griffith
Janet Woods Hoobler
Dr. H. David and Dolores Humes
Shirley Y. and Thomas E. Kauper
Gloria and Bob Kerry
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
Tom, Meghan, Mary and T.J. O'Keefe
William C. Parkinson
Jim and Bonnie Reece
Rosebud Solutions L.L.C.
Corliss and Dr. J.C. Rosenberg
Dr. Nathaniel H. Rowe
Nancy W. Rugani
Craig and Susan Sincock
TCF Bank
Jim Toy
Don and Carol Van Curler
Don and Toni Walker
Elise Weisbach
Robert 0. and Darragh H. Weisman
Roy and Jo An Wetzel
Arnold Zuroff
PATRON
$1,000-$2,499
Michael and Suzan Alexander
Anastasios Alexiou
Dr. and Mrs. David G. Anderson
Anonymous
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. Briggs
Lawrence and Valerie Bullen
Patrons, cont.
Letitia J. Byrd
Amy and Jim Byrne
Betty Byrne
Barbara and Al Cain
jean W. Campbell
Michael and Patricia Campbell
Margot Campos
Bruce and Jean Carlson
Carolyn M. Carty and
Thomas H. Haug Jean and Ken Casey Janet and Bill Cassebaum Anne Chase Pat and George Chatas Leon S. Cohan Hubert and Ellen Cohen Lois and Avern Conn Jeffrey and Cynthia Colton Conlin Travel
William J. and Ellen A. Conlin Phelps and Jean Connell Jim and Connie Cook Jane Wilson Coon and
A. Rees Midgley. Jr. Paul N. Courant and
Marta A. Manildi Ronnie and Sheila Cresswell Kathleen Crispell and Tom Porter Richard J. Cunningham Susan T. Darrow Charles W. and
Kathleen P. Davenport Robert and Janice DiRomualdo Andrzej and Cynthia Dlugosz Jack and Alice Oobson Heather and Stuart Dombey John Dryden and Diana Raimi Dr. and Mrs. Theodore E. Dushane Aaron Dworkin and Afa Sadykhly Jack and Betty Edman 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 Enid Galler
Thomas and Barbara Gelehrter Beverley and Gerson Gettner William and Ruth Gilkey Clement and Margo Gill Karl and Karen Gotting Cozette T. Grabb Elizabeth Needham Graham Mrs. Robert C.Graham Ruth B. and Edward M. Gramlich Leslie and Mary Ellen Guinn Charlene and Walton Hancock Martin D. and Connie D. Harris Clifford and Alice Hart Paul Herstein Julian and Diane Hoff Carolyn B. 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 Krimm 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 McOowan and
Michael B Staebler Mercantile Bank of Michigan Merrill Lynch Pierce Fenner
& Smith Inc.
Bernice and Herman Merte Russ and Brigitte Merz The Millman Harris Romano
Foundation
Jeanne and Lester Monts Paul Morel
Alan and Sheila Morgan Melinda and Bob Morris Cyril Moscow
Cruse W. and Virginia Patton Moss Edward Nelson Donna Parmelee and
William Nolting Nustep, Inc.
Mark and Susan Orhnger Mohammad and
J. Elizabeth Othman 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 Rosalie EdwardsVibrant
Ann Arbor Fund Prudence and Amnon Rosenthal Doris E. Rowan Jim and Adrienne Rudolph Marjorie and William Sandy Norma and Dick Sams Maya Savahno Frank J. 5chauerte Charles Schmitter Dr. JohnJ. 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
Kate and Philip Soper
Joseph H. Spiegel
Lloyd and Ted St. Antoine
Gary and Diane 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
Target
Mrs. Robert M. Teeter
Katherine Terrell and Jan Svejnar
Elizabeth H. Thieme
Catherine 8. Thoburn
Bradley Thompson
Louise Townley
Jack and Marilyn van der Velde
Mary C Vandewiele
Varian Associates
Bruce and Betsy Wagner
Florence S. Wagner
Thomas and Mary Wakefield
Robert D. and Liina M. Wallin
Robin and Harvey Wax
W. Scott Westerman, Jr.
Harry C. White
Max and Mary Wisgerhof
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
Ann Arbor Area Community
Foundation Anonymous
Dr. and Mrs. Rudi Ansbacher Harlene and Henry Appelman Tracey Baetzel
Ralph Lydic and Helen Baghdoyan Laurence R. and Barbara K. Baker Lisa and Jim Baker Reg and Pat Baker Nan Barbas and Jonathan Sugar Patricia Bard
David and Monika Barera Norman E. Barnett Frank and Lindsay Tyas Bateman Linda and Ronald Benson Dr. Rosemary R. Berardi James and Lynda Berg L. S. Berlin
Naren and Nishta Bhatia Irene and Daniel Biber Christel D. and Jurg Bieh 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 N. Caddell H. D. Cameron Tsun and Siu Ying Chang
Joan and Mark Chester
John and Camilla Chiapuris
Dr. Kyung and Young Cho
Janice A. Clark
Linda and Robert Cody
Peter Coggan
Jonathan Conn
Dr. and Mrs. Harvey Colbert
Wayne and Melinda Colquitt
Ralph Conger
Kathryn G. Coon
Hugh and Elly Cooper
Susan anc Arnold Coran
Peter C. and Ltndy M. Cubba
Jean Cunningham and
Fawwaz Ulaby
Roderick and Mary Ann Daane Timothy and Robin Damschroder Michelle Deatrick and
Steven Przybylski Ellwood and Michele Derr Elizabeth Dexter
Linda Dintenfass and Ken Wisinski Cynthia M. Dodd Robert J. and Kathleen Dolan Elizabeth A. Doman James Eng and Patricia Randle Ernst & Young Foundation Elly and Harvey Falit Margaret and John Faulkner Fausone, "aylor & Bonn, LLP 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 Ronald Goala and Janice Gnchor Beth Genne and Allan Gibbard Beverly Gershowitz 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 He ler
Rose and John Henderson Lee Hess and Irene Levine Houghton Mifflin Sun-Chien and Betty Hsiao Jane H. Hughes Ralph and Del Hulett Ann D. Hungerman Thomas and Kathryn Huntzicker Eileen and Saul Hymans Jean Jacobson Kent and Mary Johnson Mark S. and Madolyn Kaminski Herbert and Jane M. Kaufer Christopher Kendall and
Susan Schilperoort
Benefactors, cont
Rhea Kish
James and Jane Kister
Shira and Steve Klein
Hermine R. Klingler
Joseph and Marilynn Kokoszka
Michael J. Kondziolka and
Mathias-Philippe Floreni Badin Dr. Melvyn and Mrs. Unda Korobkm Barbara and Ronald Kramer Barbara and Michael Kratchman Dr. Gerald and Phyllis Krause Bert and Geraldine Kruse Bud and Justine Kulka Donald John Lachowia Jane Fryman Laird Dale and Marilyn Larson John and Jeanine Lawrence Laurie and Robert LaZebnik David Lebenbom Julaine LeDuc Mary Rabaut Le Fauve 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 Nancy and Philip Margolis Kenneth A. and Lynn F. Marko Carole J. Mayer 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 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 Smilhe John and Jeanne Pfeifer Evelyn Pickard Juliet S. Pierson Peter and Carol Polverini Richard and Laurie Prager Ann Preuss Jacob M. Price Wallace and Barbara Prince Anthony L. Reffells R. E. Reichert Marnie Reid and Family Marc Renouf
Retirement Income Solutions Jay and Machree Robinson Jeffrey K. and Huda Karaman Rosen Richard and Edie Rosenfeld Margaret and Haskell Rothstein Ina and Terry Sandalow Miriam Sandweiss Diane and Joseph Savin Susan Schooner and Thomas Wieder Ann and Thomas J. Schriber Drs. David E. and
Monica S. Schteingart David and Elvera Shappirio Julie and Mike Shea Howard and Aliza Shevrin
Edward and Kathy Silver
Carl P. Simon and Bobbi Low
Robert and Elaine Sims
Don and Sue Sinta
Irma J. Sklenar
William and Andrea Smith
Mrs. Gretchen Sopcak
Holly and Mike Sorscher
Ralph and Anita Sosin
HildrethH. Spencer Ph.D.
David and Ann Staiger
Eric and Virginia Stein
James L. Stoddard
Jeff Stoller
Eric and Ines Storhok
Cynthia Straub
Ellen and Jeoffrey Stross
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 Shirley Verrett Victors at the Dahlmann
Campus Inn
Angela Welch and Lyndon Welch Iris and Fred Whitehouse Sally M. Whiting Whole Foods Market Reverend Francis E. Williams Lawrence and Mary Wise Charles Witke and Aileen Gatten James and Gail Woods Stanley J. and Priscilla Woollams Frances Wright Dr. and Mrs. Clyde Wu Mayer and Joan Zald Maria Zampierollo and Brian Partin Mr. and Mrs. David Zuk
ASSOCIATES
$250-$499
Thomas and Joann Adler
Family Foundation ADP Foundation
Roger Albin and Nili Tannenbaum James and Catherine Allen Catherine M. Andrea Anonymous Bert and Pat Armstrong Nancy J. Arnfield Frank and Nancy Ascione Penny and Arthur Ashe Mary and Al Bailey Reeve and Marian Bailey Robert L. Baird Daniel and Barbara Balbach John and Ginny Bareham David and Lois Baru Frank and Gail Beaver Gary Beckman and Karla Taylor Harry Benford Prof, and
Mrs. Erling Blondal Bengtsson Rodney and Joan Bentz Helen V. Berg
John E. Billi and Sheryl Hirsch llene and William Birge Beverly J. Bole
Bob and Sharon Bordeau Victoria C. Botek and
William M. Edwards Robert M. Bradley and
Charlotte M. Mistretta William R. Brashear David R. Bryant Martin and Mary Buckingham Trudy and Jonathan Bulkley Marilyn Burhop Tony and Jane Burton Andrew Campbell and
Monica Lypson Brent and Valerie Carey Carlisle Wortman Associates, Inc. James and Mary Lou Carras Dennis Carter John and Patricia Carver Knsten Chapman
Charles Reinhart Company Realtors Kwang and Soon Cho Reginald and Beverly Ciokajlo Brian and Cheryl Clarkson William and Rita Close Edward J. and Anne M. Comeau Minor J. Coon Peter and Celia Copeland Dr. and Mrs. Clifford J. Cox Lloyd and Lois Crabtree Merle and Mary Ann Crawford Mary C. Crichton Jean C. Crump Bruce Cur ran
Mary R. and John G. Curtis Alisande Cutler Connie O'Amato Sunil and Merial Das Art and Lyn Powrie Davidge Ed and Elhe Davidson Alice and Ken Davis Norma and Peter Davis William Davis John and Jean Debbink Nicholas and Elena Delbanco Sophie and Marylene Delphis Alice Fishman and Michael DiPietro Judy and Steve Dobson Dallas C. Dort
Michael and Elizabeth Drake Elizabeth Duell Swati Dutta
Eva and Wolf Duvernoy Bradley Dyer
Morgan and Sally Edwards Dr. Alan S. Eiser Sol M. and Judith Elkin Mary Ann Faeth Mark and Karen Falahee Dr. and Mrs. S.M. Farhat Irene Fast Peter Fayroian Phil and Phyllis Fellin James and Flora Ferrara Dr. James F. Filgas Dr. Lydia Fischer Beth and Joe Fitzsimmons Jessica Fogel and Lawrence Weiner Paula L Bockenstedt and
David A. Fox
Jerrold A. and Nancy M. Frost Philip and Renee Frost Harriet and Daniel fusfeld Barbara and James Garavaglia Garris, Garris, Gams & Gams, P.C. Allan and Harriet Gelfond Deborah and Henry Gerst Elmer Gilbert and Lois Verbrugge
J. Martin Gillespie and Tara Gillespie
Joyce L. Ginsberg
Maureen and David Ginsburg
Irwin Golcstein and Martha Mayo
Eszter Gombosi
Mitchell and Barbara Goodkin
Enid M. Gosling
Charles and Janet Goss
James W. and Maria I Gousseff
Michael Gowing
Helen M. Graves
Mark and Susan Griffin
Werner H Gnlk
Bob and Jane Grover
Anna Grzymala-Busse and
Joshua Berke Margaret and Ken Guire Arthur W. Gulick. M.D. H & R Block
George and Mary Haddad M. Peter and Anne Hagiwara Yoshiko Hamano Tom Hammond Mr. Paul Hysen and
Ms. Jeanne Harrison Naomi Gottlieb Harrison and
Theodore Harrison DOS Tricia and Steve Hayes Kenneth and Jeanne Heininger J. Lawrence and
JacqLeline Stearns Henkel Keith and Marcelle Henley Kathy and Rudi Hentschel Therese and Alfred Hero Herb and Dee Hildebrandt Peter Hinman and Elizabeth Young James and Ann Marie Hitchcock Mary Anr and Don Hitt Jeffrey and Allison Housner Mabelle Hsueh Harry anc Ruth Huff Robert B. Ingling Mr. and Mrs. Eugene 0. Ingram John H. and Joan L Jackson Mel and Myra Jacobs Beverly P. Jahn Dr. David and Tina Jahn Elizabeth Jahn Jim and Dale Jerome Mark anc Linda Johnson Paul and Olga Johnson Dr. Marilyn S. Jones Paul R. and Meredyth Jones Dr. Arthur A. Kaselemas John B. Kennard, Jr. Frank Kennedy
Linda Atkins and Thomas Kenney George L Kenyon and
Lucy A. Waskell Roland and Jeanette Kibler Donald and Mary Kiel Richard and Patricia King Drs. Peter and Judith Kleinman Anne F. Kloack Thomas and Ruth Knoll Dr. and Mrs. Jerry Kolins Adam and Rebecca Kozma Mary Kramer Doris and Don Kraushaar Pamela and Stephen Landau Neal and Anne Laurance Cyril and Ruth Leder John and Theresa Lee Sue Leong Jacqueline H. Lewis Myron and Bobbie Levine Ken and Jane Lieberthal
Associates, cont.
Daniel Little and Bernadette Lintz
Rod and Robin Little
Dr. and Mrs. Lennart H. Lofstrom
Julie M Loftin
Naomi E. Lohr
Charles P. and Judy B Lucas
Carl J. Lutkehaus
Pamela J. MacKintosh
Carol Makielski and Chip Lake
Paula Malone and Daniel Hill
Meivin and Jean Mams
Geraldine and Sheldon Market
Peter Marshall
irwm and Fran Martin
Laurie McCauley and Jessy Grizzle
Margaret and Harris McClamroch
James Mclntosh and Elaine Gazda
James A. Mclntosh
McNaughton & Gunn, Inc.
Nancy A. and Robert E. Meader
Gerlinda S. Melchiori Ph.D.
Warren and Hilda Merchant
Sara Meredith
John and Fei Fei Metzler
Don and Lee Meyer
Joetta Mial
Carmen and Jack Miller
Mr. and Mrs. Eugene A. Miller
Mr. and Mrs. William Moeller
Olga Moir
Fred Mollcnkopf
Jean Marie Moran and
Stefan Chmielewski Frieda H. Morgenstern Lewis and Kara Morgenstern
Mark and Lesley Mozola
Tom and Hedi Mulford
Lisa Murray and Mike Gatti
Drs. Louis and Julie Jaffee Nagel
Frederick C. Neidhardt
Laura Nitzberg
Chnster E. and Outi Nordman
Jack and Kerry Kelly Novick
Arthur S. Nusbaum
John and Gwen Nystuen
Nels and Mary Olson
David and Andrea Page
William and Hedda Panzer
Donna D. Park
Brian P. Patchen
Zoe and Joe Pearson
Jean and Jack Peirce
Margaret and Jack Petersen
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
Rebecca Minter and John Rectenwald
Michael J. Redmond
Anne and Fred Remley
Molly Resnik and John Martin
Alice Rhodes
Betty Richart
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 Marcia and David Schmidt Leonard Segel Harriet Selin
Jean and Thomas Shope Hollis and Martha A. Showalter Patricia Shure Or. Terry M. Silver Gene and Alida Silverman Sandy and Dick Simon Michael and Maria Simonte Scott and Joan Singer Nancy and Brooks Sitterley, M.D. Tim and Marie Slottow Carl and Jan Smith David and Renate Smith Gregory and Margaret Smith James A. Somers Jeff Spindler Burnette Staebler Rick and Lia Stevens Aileen and Clinton Stroebel Donald and Barbara Sugerman Brian and Lee Talbot Peg Talburtt and Jim Peggs Judy and Lewis Tann Eva and Sam Taylor Textron
Paul and Jane Thielking Mary H. Thieme Edwin J. Thomas
Dr. Hazel M. and Victor C. Turner, Jr.
Dr. Samuel C. and Evelyn Ursu
Jim and E-nilie Van Bochove
Charlotte Van Curler
Douglas and Andrea Van Houweling
Michael Van Tassel
Dr. and Mrs. Edward Van Wesep
Hugo and Karla Vandersypen
Mrs. Theodore R. Vogt
Harue and Tsuguyasu Wada
Jack Wagoner
Drs. Bill Lee and Wendy Wahl
Elizabeth and David Walker
Charles R and Barbara H. Wallgren
Jo Ann Ward
Arthur and Renata Wasserman
Enid Wasserman
Carol Weber
John M. Weber
Deborah Webster and George Miller
Jack and Jerry Weidenbach
Kathenne White
Leslie Wh tfield
Nancy Wiernik
Robert J. and Anne Marie Willis
Donna Winkelman and Tom Easthope
l.W. and Beth Winsten
Charlotte A. Wolfe
Brian Woodcock
David and April Wright
Phyllis B. Wright
Betty and Robert Wurtz
Don and Charlotte Wyche
MaryGrace and Tom York
ANNUAL ENDOWMENT SUPPORT
July 1, 2005-November 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 endowment funds from July 1, 2005 through November 1, 2006. We are grateful for their generous support for UMS, now and in the future.
$50,000 or more
Estate of Douglas Crary
Doris Duke Charitable Foundation
Natalie Matovinovic
The Wallace Foundation
$20,000-$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-$4,999
Anonymous
Essel and Menakka Bailey 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-$999
Bernard and Raquel Agranoff 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 DDS Joyce and John Henderson Keki and Alice Irani Denise and Perry Kantner Myron and Bobbie Levine Kathleen Nolan and Doug Kelbaugh Gilbert Omenn and Martha Darling Elaine and Bertram Pitt Rick and Mary Price John and Dot Reed Jack and Aviva Robinson Charles and Julie Steedman Richard and Madelon Weber
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 fo the following funds:
H. Gardner and Bonnie Ackley
Endowment Fund Herbert S. and Carol Amster Fund Catherine S. Arcure Endowment Fund Carl and Isabelle Brauer Endowment Fund Choral Union Fund Hal and Ann Davis Endowment Fund 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-deYcung 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
Burton Tower Society, cont.
Charlotte McGeoch Michael G. McGuire M. Haskell and
Jan Barney Newman Len Niehoff
Dr. and Mrs. Frederick C. O'Dell Mr. and Mrs. Dennis M. Powers Mr. and Mrs. Michael Radock Mr. and Mrs. Jack Ricketts Mr. and Mrs. Willard L. Rodgers Prudence and
Amnon Rosenthal Margaret and Haskell Rothstein Irma J. Sklenar Herbert Sloan Art and Elizabeth Solomon Roy and JoAn Wetzel Ann and Clayton Wilhite Mr. and Mrs. Ronald G. Zollars
Tribute Gifts
Contributions have been received in honor andor mem?ory of the following individuals:
H. Gardner Ackley Herb and Carol Amster Robert G. Bartle Michael Allemang and
Janis Bobrin
Linda and Maurice Binkow Mary Gene Birdsall Isabelle Brauer Germaine Chipault Heidi Cohan Arthur F. Cox, Jr. Miles Davis Benning Dexter Pauline DiPietro Angela S. Dobson Martin Edwards Rosalie Edwards Janel Fain
Ken and Penny Fischer Matt and Renee Fischer Sara B. Frank
Maxine and Stuart Frankel Martha Gall Lila Green Lisbeth Louise Hildebrandt
Johnson Harbeck Mark Jacobson Robert Kelch, M.D. Leslie Kish
Dr. 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
Marvin Selin Sam Silverman 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
Ayi.i & Company
Barbara Bach
Bailey, Banks & Biddte
Steven Ball
BANA Salon & Spa
Bank One
Paulett Banks
Milh Baranowski
Bob and Wanda Bartlett
Barton Hilts 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 Collman Common Grill Community High School Jazz
Ensemble
Jean and Flip Connell Conor O'Neills
Chandra Cooper, Jules Furniture Howard Cooper Cottage Inn Restaurant Country Kennels Pet Care Center Karl 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 Derezinski 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 Finley, 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 Paul Glendon Susan Goddard. CMT Gold Bond Cleaners Good Scents Gardens Goodman Theater. Chicago Siri Gottlieb Michael Grace Gratzi
Great Lakes Cydery and Fitness Gnllworks, Inc. Monroe and Daryl Hafter Charlene and Walt Hancock Happy Nails Catherine Hemenway.
Jacques Sessange
Debbie and Norman Herbert
Carl and Charlene Hersiein
David and Phyllis Herzig
Peter Hinman and Elizabeth Young
Hollander's
Ideal Image
Integrated Architecture PLLC
The Issa Family
John Jabero
Mark Jacobson
Jazzercise Center of Ann Arbor
Wallie 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 iesler
King's Keyboard House
King's Men Barbers
David and Heidi Klein
Michael Kondziolka
La Belle Maison
Gene Lasowski
Learning Express
Richard LeSueur
Lelty's
Jerry and Carol Levin
Mike and Bobbie Levine
Lewis Jewelers
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 anc Chandler Matthews Martha Mayo and Irwin Goldstein Susan McClanahan and Bill Zimmerman Liz Messrer 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
Specia ty Foods Louis Nagel
Napa Val ey 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 3oggi Allison Poggi Pat Pooley Prickly Pear
Mike and Lisa Psarouthakis Purple Rose Theater PWB Marketing Communications Radrick Farms Golf Course Raja Ran
Paula Rand,
Juliana Collection Randy Parnsh Fine Framing Dave Rassenfoss Rear Ends
Red Hawk Bar & Grill Deanna Relyea Renaissance Jeff Renner Huda Rosen
Prue and Ami Rosenthal Doug and Sharon Roihwell Ellen Rowe Ruby's Balm
Jim and Adrienne Rudolph Swanna Saltiel,
Silkmoons Design Bill and Marjorie Sandy Maya Savarino
JCN joWoll
Schakolad Schlanderer & Sons Paul and Penny Schreiber Tom and Ann Schriber Sheri Schultz,
Apple Computer SEE Eyewear SeloShevel Gallery Dennis and Ellie 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 MaryC.Vandewiele Victory Lane Vie-Fitness & Spa Vintage to Vogue Dody Viola Voila Boutique Vox Earty 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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