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UMS Concert Program, Friday Sep. 28 To Oct. 06: University Musical Society: Fall 2007 - Friday Sep. 28 To Oct. 06 --

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Day
28
Month
September
Year
2007
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Rights Held By
University Musical Society
OCR Text

Season: FALL 2007
University Of Michigan, Ann Arbor

ums
FALL 2007 SEASON
UNIVERSITY Of MICHIGAN ANN ARBOR
university musical society
Fall 07 University of Michigan Ann Arbor P2 Letters from the Presidents P5 Letter from the Chair
UMSLeadership 6 UMS Corporate and Foundation Leaders 14 UMS Board of DirectorsNational Council SenateAdvisory Committee P15 UMS StaffTeacher Advisory Committee
UMSlnfo P17 General Information P19 UMS Tickets
UMSAnnals P21 UMS History 22 UMS Venues and Burton Memorial Tower
UMSExperience P27 UMS Education Programs P33 UMS Student Programs
UMSSupport 37 Corporate Sponsorship and Advertising 37 Individual Donations P39 UMS Volunteers P41 Annual Fund Support 46 Annual Endowment Support 48 UMS AdvertisersMember Organizations
Cover: Dancer from Cudamani appearing at Hill Auditorium Friday, October 19, 2007. Photo by Jorge Vismara.

FROM THE U-M PRESIDENT
Welcome to the 129th season of the University Musical Society (UMS). All of us at the University of Michigan are proud of UMS, the nation's oldest university-related performing arts presenter and one of the most distinguished. This past season's residency with the Royal Shakespeare Company, a US-exclusive engagement arranged by UMS, gave 30,000 people from 39 states and four countries the opportunity to see this remarkable company. I am pleased that 20 percent of the audience were students using specially discounted tickets. Members of the company, when not on the stage at the Power Center, became deeply engaged throughout all of southeast Michigan in some 140 educational events. We look forward to having them back in the future.
Other distinctive features of UMS:
In January, UMS received the inaugural Arts PresentersMetLife Foundation Award for Arts Access in Underserved Communities, a national award recognizing UMS's commitment to serving all communities.
UMS has commissioned more than 50 new works since 1990, demon?strating its commitment to supporting creative artists in all disciplines.
In the past three seasons, 54 percent of UMS presentations featured artists making their UMS debuts, a measure of UMS's commitment to new and emerging artists, and 55 percent featured artists from outside the United States, highlighting UMS's belief that artistic expression can foster greater understanding and appreciation of diverse cultures.
UMS has worked in partnership with more than 50 U-M academic units and more than 150 U-M faculty members during the past three years, in addition to more than 100 community-based partners.
Thank you for attending this UMS performance. Please join us for other UMS events and for performances, exhibitions, and cultural activities offered by our faculty and students in U-M's many outstanding venues. To learn more about arts and culture at Michigan, visit the University's website at www.umich.edu.
Sincerely,
Ajl.
Mary Sue Coleman
President, University of Michigan
FROM THE UMS PRESIDENT
Welcome to this UMS performance. I hope you enjoy the experience and will come to other UMS events during our exciting 129th season. You'll find all of our performances listed on page 2 of the program section of this book.
In many organizations, longevity breeds predictability. But at UMS, we strive to surprise, to investigate thought-provoking themes and ideas that emerge from the changing world around us. The 0708 season marks the fourth in our series of global programs focusing on different regions of the world (the Arab World in 0405, Africa in 0506, and Mexico and the Americas last season). This season we invite you to join us as we explore the performing arts through an Asian lens with presentations from Japan, Cambodia, Pakistan, Central Asia, and China. Indeed, this year marks the University of Michigan's China Theme Year, so look for special educational sessions created by UMS and our U-M partners intended to animate and provide context for the six UMS presentations that feature Chinese or Chinese-American artists. Check out our website at ums.org for more information.
Other highlights of the 0708 season include:
The launching of a two-year exploration of Beethoven's Piano Sonatas by Andras Schiff, one of the most thoughtful pianists performing today.
The presentation of two exciting international theatrical productions where theater moves beyond the boundaries of stage plays.
Choral music to die for...from the Tallis Scholars, Russian Patriarchate Choir, and Messiah in the first half of the season to the St. Matthew Passion and Choir of King's College Cambridge in the second.
The Ford Honors Program to close the season when we hear Sir James Galway in recital and honor him with the UMS Distinguished Artist Award.
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, send me an e-mail message at kenfisch@umich.edu or call me at 734.647.1174.
Very best wishes,
Kenneth C. Fischer UMS President
It is inspiring and humbling to serve on the Board of UMS, which is widely recognized as one of the world's leading arts presenters. UMS is committed to performance, education, and the creation of new works, and has a 128-year history of excellence in all three areas. Our task at UMS is to advance the arts, to the benefit of the national and international arts communities, the University of Michigan, our local community, and our present and future patrons.
Each of us has an important role to play in this endeavor, whether as an audience member at a performance or an educational activity, a donor, or a volunteer member of the Board, Senate, Advisory Committee, or the new UMS National Council, which is enhancing our visibility around the country. We all are fortunate to have an opportunity to contribute to the special history of UMS.
Arts organizations exist because those who came before us chose to take advantage of the same kind of opportunity. To me, this is exemplified by some?thing that I was once told by a producer before a theatrical performance. He took us into the theater and said that, despite the not insignificant cost of our tickets, we should know there was the equivalent of a $50 bill on every seat-the contribution made by others enabling us to enjoy that presentation.
The same is true for UMS. About half of the cost of what we do comes from ticket sales. The remainder comes from you and your predecessors in this hall. Some sat in the second balcony as students and experienced the transformative power of the arts. Some sat with friends for 30 years in the same section of Hill. And some witnessed children being excited and inspired at a youth performance. All have chosen to leave money on their seats.
When you take your seat, think about what others have done that makes your experience possible. I hope you will be inspired to contribute to the UMS legacy. Consider your opportunity to "leave money on your seat," through both your participation and financial contributions. Be an active part of UMS, and when a member of the next generation arrives, they will be thankful that they got your seat.
Sincerely,
Carl W. Herstein
Chair, UMS Board of Directors
Leadership
CORPORATE AND FOUNDATION LEADERS
James G. Vella
President, Ford Motor Company Fund ( and Community Services "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."
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."
Robert P. Kelch
Executive Vice President for Medical Affairs, University of Michigan Health System "The arts are an important part of the University of Michigan Health System. Whether it's through perform?ances for patients, families, and visitors sponsored by our Gifts of Art program, or therapies such as harmonica classes for pulmonary patients or music relaxation classes for cancer patients, we've seen firsthand the power of music and performance. That's why we are proud to support the University Musical Society's ongoing effort to bring inspiration and entertainment to our communities."
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 0708 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."
Charles E. Crone, Jr.
Ann Arbor Region President, Comerica Bank "Our communities are enriched when we work together. That's why we at Comerica are proud to support the University Musical Society and its tradition of bringing the finest in performing arts to our area."
Fred Shell
Wee President, Corporate and Government Affairs,
DTE Energy
'The DTE Energy Foundation is pleased to support exemplary
organizations like UMS that inspire the soul, instruct the
mind, and enrich the community."
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."
Kingsley P. Wootton
Plant Manager, GM Powertrain Ypsilanti Site "Congratulations on your 129th season! Our community is, indeed, fortunate to have an internationally renowned musical society. The extraordinary array of artists; the variety, breadth and depth of each season's program; and the education and community component are exceptional and are key ingredients in the quality of life for our community, region, and state. It is an honor to contribute to UMS!"
Carl W. Herstein
Partner, Honigman Miller Schwartz and Cohn LLP "Honiqman 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."
Bill Koehler
District President, KeyBank
'KeyBank remains a committed supporter of the performing arts in Ann Arbor and we commend the University Musical Society for it's contribution to the community. Thank you, UMS. Keep up the great work!"
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, Can field, Paddock and Stone, P.LC. "Miller Canfield proudly supports the University Musical Society for bringing internationally-recognized artists from a broad spectrum of the performing arts to our community, and applauds UMS for offering another year of music, dance, and theater to inspire and enrich our lives."
John W. McManus Regional President, National City Bank "National City Bank is proud to support the efforts of the University Musical Society and the Ann Arbor community."
Michael B. Staebler
Senior Partner, Pepper Hamilton LLP "The University Musical Society is an essential part of the great quality of life in southeastern Michigan. We at Pepper Hamilton support UMS with enthusiasm."
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."
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 "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."
Robert K. Chapman
Chairman and Chief Executive Officer, United Bank & Trust J 'At United Bank & Trust, we believe the arts play an important role in evolving the quality of life and vibrancy of the community. So it is with great pleasure that United supports the University Musical Society and the cultural excellence they provide to our area."
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."
Susan Bellinson
Director of Marketing and Community Relations, Whole Foods Whole Foods Market is delighted to support the University Musical Society. Our city is most fortunate to be the home of this world-class organization!"
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
$50,000-599,999
Anonymous DTE Energy Foundation Esperance Family Foundation The Power Foundation
S20,000-$49,999
Cairn Foundation Maxine and Stuart Frankel
Foundation National Dance Project of the
New England Foundation
for the Arts National Endowment for the
Arts The Whitney Fund at the
Community Foundation
for Southeastern Michigan
$10,000-519,999
Chamber Music America
$5,000-59,999
Arts Midwest Performing Arts
Fund Issa Foundations
$1,000-54,999
Eugene and Emily Grant
Family Foundation Martin Family Foundation THE MOSAIC FOUNDATION
(of R. & P. Heydon) Millman Harris Romano
Foundation Sarns Ann Arbor Fund
UNIVERSITY MUSICAL S 0 C I E T Y of the University of Michigan
UMS BOARD OF DIRECTORS
Carl W. Herstein,
Chair James C. Stanley,
Vice Chair Kathleen Benton,
Secretary Michael C. Allemang,
Treasurer
Wadad Abed
Carol L. Amster
Lynda W. Berg
D.J. Boehm
Charles W. Borgsdorf
Robert Buckler
Mary Sue Coleman
Hal Davis
Sally Stegeman DiCarlo
Al Dodds
Aaron P. Dworkin
Maxine J. Frankel Patricia M. Garcia Anne Glendon David J. Herzig Christopher Kendall Melvin A. Lester Joetta Mial Lester P. Monts Roger Newton Philip H. Power Todd Roberts
A. Douglas Rothwell Edward R. Schulak John J. H. Schwarz Ellie Serras Joseph A. Sesi Anthony L. Smith Cheryl L. Soper Michael D. VanHemert
Chris Genteel, fioard Fellow
UMS NATIONAL COUNCIL
Clayton E. Wilhite, Chair John Edman Janet Eilber
Eugene Grant Charles Hamlen David Heleniak
Toni Hoover Judith Istock Zarin Mehta
Herbert Ruben Russell Willis Taylor
UMS SENATE (former members of the UMS Board of Directors)
Robert G. Aldrich Herbert 5. Amster Gail Davis Barnes Richard 5. 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 Ronald M. Cresswell Robert F. DiRomualdo James J. Duderstadt David Featherman Robben W. Fleming
David J. Flowers George V. Fornero Beverley B. Geltner William 5. Hann Randy J. Harris Walter L. Harrison Deborah S. Herbert Norman G. Herbert Toni Hoover Peter N. Heydon Kay Hunt Alice Davis Irani Stuart A. Isaac Gloria James Kerry Thomas E. Kauper David B. Kennedy Thomas C. Kinnear Marvin Krislov F. Bruce Kulp Leo A. Legatski Earl Lewis
Patrick B. Long Helen B. Love Judythe H. Maugh Paul W. McCracken Rebecca McGowan Barbara Meadows 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 Erik H. Serr 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 B. Joseph White Marina v.N. Whitman Clayton E. Wilhite Iva M. Wilson Karen Wolff
ADVISORY COMMITTEE
Andrea Smith, Chair Phyllis Herzig, Wee Chair Alice Hart, Secretary Betty Byrne, Treasurer Meg Kennedy Shaw, Past Chair
Randa Ajlouny MariAnn Apley Lorie Arbour Barbara Bach Rula Kort Bawardi Poage Baxter Nishta Bhatia Luciana Borbely
Mary Breakey Mary Brown Heather Byrne Janet Callaway Laura Caplan Cheryl Clarkson Wendy Comstock Jean Connell Phelps Connell Norma Davis Mary Dempsey Mary Ann Faeth Michaelene Farrell Sara Fink Susan Fisher
Kathy Goldberg Joe Grimley Susan Gutow Lynn Hamilton Charlene Hancock Raphael Juarez Jen Kelch Jean Kluge Pam Krogness Julaine LeDuc Mary LeDuc Joan Levitsky Eleanor Lord Judy Mac Jane Maehr
Joanna McNamara Jeanne Merlanti Liz Messiter Kay Ness Sarah Nicoli Thomas Ogar Betty Palms Allison Poggi Lisa Psarouthakis Paula Rand Wendy Moy Ransom Stephen Rosoff Swanna Saltiel Agnes Moy Sams Jamie Saville
Penny Schreiber Bev Seiford Alida Silverman Loretta Skewes Nancy Stanley Karen Stutz Eileen Thacker Janet Torno Amanda Uhle Dody Viola Enid Wasserman Amy Weaver Ellen Woodman Mary Kate Zelenock
UMS STAFF
AdministrationFinance
Kenneth C. Fischer, President John B. Kennard, Jr., Director of
Administration
Patricia Hayes, Senior Accountant John Peckham, Information Systems
Manager Beth Gilliland, Gift Processor
IT Assistant
Choral Union
Jerry Blackstone, Conductor and
Music Director
Jason Harris, Assistant Conductor Kathleen Operhall, Chorus Manager Jean Schneider, Accompanist Scott VanOrnum, Accompanist Nancy K. Paul, Librarian Donald Bryant, Conductor Emeritus
Development
Susan McClanahan, Director Lisa Michiko Murray, Manager of
Foundation and Government
Grants M. Joanne Navarre, Manager of
Annual Giving Mamie Reid, Manager of Individual
Support Lisa Rozek, Assistant to the Director
of Development Cynthia Straub, Advisory Committee
and Events Coordinator Susan Bozell, Manager of
Corporate Support Rachelle Lesko, Development
Assistant
EducationAudience Development
Ben Johnson, Director Bree Juarez, Education and
Audience Development Manager Omari Rush, Education Manager Mary Roeder, Residency
Coordinator
MarketingPublic Relations
Sara Billmann, Director
Erika Nelson, Marketing Associate
Production
Douglas C. 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 Carlos Palomares, Artist Services
Coordinator
Ticket Services
Nicole Paoletti, Manager Sally A. Cushing, TicAref Office
Associate Jennifer Graf, Assistant Ticket
Services Manager Suzanne Davidson, Assistant
Manager, Front-of-House Stephanie Zangrilli, 77cfcef Office
Associate
Kaarina Quinnell, Group Sales
Coordinator Sara Sanders, Assistant Front-of-
House CoordinatorTicket Office
Assistant
Karen Jenks, Ticket Office Assistant Dennis J. Carter, Bruce Oshaben,
Brian Roddy, Head Ushers
Students
Catherine Allan Gabriel Bilen Greg Briley Tyler Brunsman Caleb Cummings Vinal Desai Amy Fingerle Jonathan Gallagher Eboni Garrett-Bluford Elizabeth Georgoff Charlie Hack William Hubenschmidt Toniesha Jones Max Kumangai-McGee Bryan Langlitz Michael Lowney Ryan Lundin Alejandro Manso Mary Martin Michael Matlock Michael Michelon Parmiss Nassiri-Sheijani Leonard Navarro Meg Shelly Andrew Smith Priscilla Jane Smith Trevor Sponseller Liz Stover Robert Vuichard Julie Wallace
UMS TEACHER ADVISORY COMMITTEE
Abby Alwin Fran Ampey Robin Bailey Greta Barfield Joey Barker Alana Barter Judy Barthwell Rob Bauman Brita Beitler Elaine Bennett Ann Marie Borders Sigrid Bower Marie Brooks Susan Buchan
Deb Clancy Leslie Criscenti Karen Dudley Saundra Dunn Johanna Epstein Susan Filipiak Katy Pillion Delores Flagg Joey Fukuchi JetfGaynor Joyce Gerber Jennifer Ginther Bard Grabbe Chrystal Griffin
Nan Griffith Joan Grissing Linda Hyaduck Linda Jones Jeff Kass
Deborah Kirkland Rosalie Koenig Sue Kohfeldt Laura Machida Janet Mattke Jamie McDowell Jose Mejia Eunice Moore Michelle Peet
Anne Perigo Cathy Reischl Jessica Rizor Tracy Rosewarne Sandra Smith Julie Taylor Cayla Tchalo Dan Tolly Barbara Wallgren Joni Warner Kimberley Wright Kathryn Young
UMSlnfo
? GENERAL INFORMATION
3arrier-Free Entrances
:or persons with disabilities, all venues have oarrier-free entrances. Wheelchair locations vary by venue; visit www.ums.orgtickets or call 734.764.2538 for details. Ushers are available for assistance.
istening Systems
:or hearing-impaired persons, Hill Auditorium, Jower Center, and Rackham Auditorium are equipped with assistive listening devices. Earphones may be obtained upon arrival. Jlease ask an usher for assistance.
lost and Found
-or items lost at Hill Auditorium, Lydia Mendelssohn Theatre, Power Center, or Rackham Auditorium please call University Droductions at 734.763.5213. For the Michigan Theater, call 734.668.8397. For St. Francis of tesisi, call 734.821.2111.
Parking
?lease allow plenty of time for parking as the campus area may be congested. Parking is available in the Church Street, Maynard Street, Thayer Street, Fletcher Street, and Fourth Avenue structures for a minimal fee. Limited street parking is also available. Please allow enough time to park before the performance begins. UMS donors at the Patron level and above ($1,000) receive 10 complimentary park?ing 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 0708 Choral Jnion 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 donors at the Leader level and above ($3,500-$4,999) 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. Maynard Street struc?ture, entrances off Maynard and Thompson between William and Liberty, $.80hr, free on Sunday.
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--enter 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.
.atecomers
.atecomers will be asked to wait in the lobby ?jntil seated by ushers. Most lobbies have been outfitted with monitors andor speakers so that atecomers 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 svery effort to alert patrons in advance when ,ve know that there will be no late seating.
UMS tries to work with the artists to allow 3 flexible late-seating policy for family perform?ances.
UMS TICKETS
Sroup Tickets
Treat 10 or more friends, co-workers, and family members to an unforgettable performance of ive music, dance, or theater. Whether you nave 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 ou 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 734.763.3100 or e-mail umsgroupsalesO umich.edu.
Classical Kids Club
Parents can introduce their children to world-renowned classical music artists through the Classical Kids Club. For more information please see page P31.
NETWORK Tickets
Members of the UMS African American Arts Advocacy Committee receive discounted tickets to certain performances. For more information please see page P27.
Student Tickets
Discounted tickets are available for University students and teenagers. Information on all UMS University Student Ticketing programs can be found on page P33. Teen Ticket infor?mation can be found on page P31.
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.
Retums
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.
Ticket Exchanges
Subscribers may exchange tickets free of charge. Non-subscribers may exchange tickets for a $6 per ticket exchange fee. Exchanged tickets must be received by the Ticket Office
Info
(by mail or in person) at least 48 hours prior to the performance. The value of the tickets may be applied to another performance or will be held as UMS Credit until the end of the season. You may also fax a copy of your torn tickets to 734.647.1171. Lost or misplaced tickets cannot be exchanged. UMS Credit for this season must be redeemed by May 9, 2008
UMSAnnals
UMS HISTORY
Through 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-hg series of world-class artists, who represent the diverse spectrum of today's vigorous and exciting live performing arts world. Over its 128 years, strong leadership coupled with a devoted (ommunity has placed UMS in a league of internationally recognized performing arts pre-:enters. Today, the UMS seasonal program is a reflection of a thoughtful respect for this rich ?snd varied history, balanced by a commitment to dynamic and creative visions of where the performing arts will take us in this new millen?nium. Every day UMS seeks to cultivate, nurture, md stimulate public interest and participation in every facet of the live arts.
UMS grew from a group of local university ind townspeople who gathered together for ihe study of Handel's Messiah. Led by Professor Henry Simmons Frieze and conducted by ''rofessor Calvin Cady, the group assumed the lame 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, commissioning of new works, youth programs, artist residencies, and other collaborative proj?ects, UMS has maintained its reputation for quality, artistic distinction, and innovation. UMS now hosts over 50 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.
The UMS Choral Union has likewise expanded their charge over their 128-year history. Recent collaborations have included the Grammy Award-winning recording of William Bolcom's Songs of Innocence and of Experience, as well as performances of John Adams's On the Transmigration of Souls with the Detroit Symphony Orchestra and Shostakovich's Symphony No. 13 ("Babi Yar") with the Kirov Orchestra of St. Petersburg.
While proudly affiliated with the University of Michigan, housed on the Ann Arbor campus, and a regular collaborator with many University units, UMS is a separate not-for-profit organi?zation that supports itself from ticket sales, corporate and individual contributions, founda?tion and government grants, special project support from U-M, and endowment income.
UMS VENUES AND BURTON MEMORIAL TOWER
Hill Auditorium
After an 18-month $38.6-million dollar renova?tion overseen by Albert Kahn Associates, Inc. and historic preservation architects Quinn EvansArchitects, Hill Auditorium re-opened to the public in January 2004. Originally built in 1913, renovations have updated Hill's infra?structure and restored much of the interior to its original splendor. Exterior renovations include the reworking of brick paving and stone retaining wall areas, restoration of the south entrance plaza, reworking of the west barrier-free ramp and loading dock, and improvements to landscaping.
Interior renovations included the creation of additional restrooms, the improvement of barrier-free circulation by providing elevators and an addition with ramps, the replacement
of seating to increase patron comfort, introdu tion of barrier-free seating and stage access, the replacement of theatrical performance and audio-visual systems, and the complete replacement of mechanical and electrical infra?structure systems for heating, ventilation, and air conditioning.
Hill Auditorium seats 3,575.
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 botr 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 200 '
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 Auditoriur 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, togethi r 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-toned. 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 cf The Grass Harp (based on the novel by 7'uman Capote), the Power Center achieved the seemingly contradictory combination of providing a soaring interior space with a unique level of intimacy. Architectural features include 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 fea?tures 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 0708 season.
f ickham Auditorium Fifty years ago, chamber music concerts in Ann Arbor were a relative rarity, presented in an assortment of venues including University Fall (the precursor to Hill Auditorium), Hill Auditorium, and Newberry Hall, 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 awarded the University of Michigan the funds not only to build the Horace H. Rackham Graduate School which houses Rackham Auditorium, but also to estab?lish a $4 million endowment to further the development of graduate studies. Even more remarkable than the size of the gift is the fact that neither he nor his wife ever attended the University of Michigan.
Designed by architect William Kapp and axhitectural sculptor Corrado Parducci,
Rackham Auditorium was quickly recognized as the ideal venue for chamber music. In 1941, UMS presented its first chamber music festival with the Musical Art Quartet of New York per?forming three concerts in as many days, and the current Chamber Arts Series was born in 1963. Chamber music audiences and artists alike appreciate the intimacy, beauty, and fine acoustics of the 1,129-seat auditorium, which has been the location for hundreds of chamber music concerts throughout the years.
St. Francis of Assisi Catholic Church
Dedicated in 1969, 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 1,000 people and has ample free parking. In 1994, St. Francis pur?chased a splendid three manual "mechanical action" organ with 34 stops and 45 ranks, built and installed by Orgues Letourneau from Saint Hyacinthe, Quebec. Through dedication, 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 con?templation of sacred a cappella choral music and early music ensembles.
Burton Memorial Tower
Seen from miles away, Burton Memorial Tower is one of the most well-known University of Michigan and Ann Arbor landmarks. Designed by Albert Kahn in 1935 as a memorial to U-M President Marion Leroy Burton, the 10-story tower is built of Indiana limestone with a height of 212 feet. The carillon, one of only 23 in the world, is the world's fourth heaviest containing 55 bells and weighing a total of 43 tons. UMS has occupied administrative offices in this building since its opening, with a brief pause in the year 2000 for significant renovations.
o
Fall 2007 Season 129th 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 children should be able to sit quietly in their own seats throughout any UMS performance. Children unable to do so, along with the adult accompany?ing 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 everyone may enjoy this UMS event disturbance-free. In case of emergency, advise your paging service of auditorium 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, September 28 through Saturday, October 6, 2007
Shen Wei Dance Arts 7
Second Visit to the Empress
Friday, September 28, 8:00 pm Saturday, September 29, 8:00 pm Sunday, September 30, 4:00 pm Power Center
AndrasSchiff 19
Beethoven Sonata Project Concert 1 Wednesday, October 3, 8:00 pm Rackham Auditorium
Andras Schiff 25
Beethoven Sonata Project Concert 2 Friday, October 5, 8:00 pm Rackham Auditorium
Filarmonica della Scala 33
Saturday, October 6, 8:00 pm Hill Auditorium
H
Fall 2007
September
16 Sun Michigan Chamber Players
(complimentary admission) 28-30 Fri-Sun Shen Wei Dance Arts:
Second Visit to the Empress
October
3 WedAndras Schiff: Beethoven Concert 1
5 Fri Andras Schiff: Beethoven Concert 2
6 SatOrchestra Filarmonica della Scala
12 FriKrystian Zimerman, piano
13 SatDianne Reeves featuring
Romero Lubambo 19 Fri Cudamani: Odalan Bali 20-21 Sat-Sun Pamina Devi:
A Cambodian Magic Flute 24 MedSpiritual Sounds of Central Asia 25-27 Thu-SatHubbard Street Dance Chicago 30 Tue Russian Patriarchate Choir
November
4 Sun St. Petersburg Philharmonic 8 Thu Madeleine Peyroux
8 Thu Zehetmair String Quartet
9 Fri Caetano Veloso
10 SatYo-Yo Ma, cello Kathryn Stott, piano 18 Sun Los Angeles Guitar Quartet
December
1-2 Sat-Sun Handel's Messiah
6 Thu The Tallis Scholars
8 5afYoussou N'Dour and The Super Etoile
9 Sun Leo Kottke and the
Turtle Island String Quartet
Winter 2008
January
4 FriEmerson String Quartet
16 Wed-Jazz at Lincoln Center Orchestra
with Wynton Marsalis: Love Songs of
Duke Ellington 20 Sun Yuja Wang, piano 27 Sun Moiseyev Dance Company
February
1 FriAssad Brothers' Brazilian Guitar Summit
2 Sat A Celebration of the Keyboard
8 Fri Chicago Classical Oriental Ensemble
9 SatGuarneri String Quartet and Johannes
String Quartet
10 Sun Wu Man, pipa, and Chinese Shawm Band
14 Thu Christian Tetzlaff, violin
15 FriNoism08: NINA materialize sacrifice
16 SatAhmad Jamal
March
5 WedOrion String Quartet and David Krakauer, clarinet
9 Sun Michigan Chamber Players
(complimentary admission)
12 WedLeila Haddad and
Gypsy Musicians of Upper Egypt
13 77u-SFJAZZ Collective:
A Tribute to Wayne Shorter
14 FriSan Francisco Symphony
21 Fri Bach's St. Matthew Passion 28-29 Fri-SatUrban Bush Women and
Compagnie Jant-Bi: Les ecailles de la memoire (The scales of memory)
April
2 Wed Lang Lang, piano
4 Fri Brad Mehldau Trio
5 Sat Choir of King's College, Cambridge
10 Thu-eighth blackbird 12 5af-Lila Downs 18fn-Mehrand Sher AN:
Qawwali Music of Pakistan
19 SatBobby McFerrin, Chick Corea, and
Jack DeJohnette
20 Sun Andras Schiff: Beethoven Concert 3
22 Tue Andras Schiff: Beethoven Concert 4
May
10SafFord Honors Program: Sir James Galway
UMS Educational Events
through Thursday, October 11, 2007
All UMS educational activities are free, open to the public, and take place in Ann Arbor unless other?wise noted. For complete details and updates, please visit www.ums.org or contact the UMS education department at 734.647.6712 or umsed@umich.edu.
Shen Wei Dance Arts
Chinese Opera LectureDemonstration: Behind Second Visit to the Empress
Saturday, September 29, 2:00-4:00 pm, Britton Recital Hall, Earl V. Moore Building, School of Music, 1100 Baits Drive, North Campus
With David Rolston, U-M Professor of Chinese Language and Literature; Joseph Lam, U-M Pro?fessor of Music and Director of the Stearns Col?lection of Musical Instruments; and Shen Wei, choreographer.
Generations of Beijing opera actors and musi?cians developed an artistic system of words, music, dance, and visuals to economically and dramatical?ly present the world of traditional China on what was practically a bare stage. What is that world and what are its sonic and visual expressions How are they transformed and presented in Shen Wei's creative Second Visit to the Empress!
To address these and other questions (in?cluding some that might occur to the audience as the symposium) in this lecturedemonstration, the two lecturers will provide concise explanations il?lustrated by audio-visual examples and through interviewing artistic director Shen Wei.
A collaboration with the U-M Center for Chinese Studies and the U-M School of Music, The?atre & Dance.
Dragon Boat Festival
Sunday, September 30, W:00am-S:00pm, Gallup Park, 2970 Fuller Road
The first-ever university-sponsored Chinese drag?on boat race comes to Ann Arbor as part of a cam?pus-community festival to launch the ChinaNow LSA Theme Year--a series of ground-breaking lectures, exhibitions, symposia, films, and perfor?mances building up to the 2008 Olympics.
Dragon boat races (the second most popu?lar water sport in the world) are the heartbeat of the festival, a centuries-old tradition in China. Teams of 20 paddlers per boat comprised from U-M departments, student organizations, and the community will race to drummers' beats in heats throughout the day. Activities on the banks of the river include a drum and gong procession (U-M Percussion Ensemble), lion dancing (Asian Martial Arts Studio), performances by high energy per?cussion group Groove, opera-style face painting, kite making, yo-yo spinning (Ann Arbor Chinese Center of Michigan), food, and more. The festival is a green event to bring about greater awareness of natural resources, particularly water.
For more information, contact the U-M Center for Chinese Studies at 734.764.6308 or visit the LSA China Theme Year website at www.lsa.umich.educhinanow.
A collaboration with the U-M Center for Chinese Studies. Part of the ChinaNow LSA Theme Year series of outreach events.
UMS Educational Events
continued
Andras Schiff
Beethoven: The Sonata Obsession-Student Laboratory Concert 3
Sunday, September 30, 4:30pm, Britton Recital Hall, Earl V. Moore Building, School of Music, 1100 Baits Drive, North Campus
Inspired by the UMS Beethoven Sonata Project featuring the artistry of Andras Schiff, students of the U-M School of Music, Theatre & Dance perform all of Beethoven's sonatas, solo and col?laborative, in a two-year exploration comprising lecture-recitals and chamber concerts. The lec?ture-recitals have been scheduled to prepare lis?teners for each concert in Mr. Schiff's Beethoven cycle.
Titled "Grand Designs," this event features student performers and lecturers from the U-M School of Music, Theatre & Dance performing Beethoven piano sonatas. Included on this con?cert are: Sonata No. 4 in E-flat Major, Op. 7 and Sonata No. 8 in c minor, Op. 13 ("Pathetique").
A collaboration with the U-M School of Music, Theatre & Dance.
Public Symposium:
Simply Sonata: Reflections on Beethoven's
Transformation of a Musical Genre
Thursday, October 4, 4:00 pm. School of Socia Work Building, Room 1636, 1080 5. University Avenue (Corner of South University Avenue anc East University Avenue)
A public symposium on the Beethoven soli sonatas organized by the U-M Center for Euro pean Studies as part of their series Conversation on Europe. Featuring Alan Gosman, Assistai Professor of Music, U-M Department of Musi Theory; Kevin Korsyn, Professor, U-M Departmen of Music Theory; and Steven Whiting, Associat-Dean for Graduate Studies and Associate Profes sor, U-M Department of Musicology.
A collaboration with the U-M School c Music, Theatre & Dance and the U-M Center fc European Studies.
and
Pfizer Global Research
and Development
present
Second Visit to the Empress
A production of
Shen Wei Dance Arts
Concept, Direction, and Choreography, Shen Wei
Music Direction, Zhenguo Liu
Lighting, Jennifer Tipton
Set and Costume Design, Shen Wei
Conductor, Li Ping Zhang
Program
Friday Evening, September 28, 2007 at 8:00 Saturday Evening, September 29, 2007 at 8:00 Sunday Afternoon, September 30, 2007 at 4:00 Power Center Ann Arbor
Performed in Chinese with English supertitles
This performance runs approximately 70 minutes and is performed without intermission.
Second, Third, and Fourth Performances of the 129th Annual Season
Global Series: Asia
The photographing or sound and video recording of this performance or possession of any device for such recording is prohibited.
This performance is sponsored by Pfizer Global Research and Development: Ann Arbor Laboratories. Special thanks to David Canter, Senior Vice President of Pfizer, for his continued and generous support of the University Musical Society.
Friday's performance is supported by Jane and Edward Schulak. Saturday's performance is sponsored by The Ann Arbor News. Funded in part by the Wallace Endowment Fund.
Funded in part by the National Dance Project of the New England Foundation for the Arts, with lead funding from Doris Duke Charitable Foundation. Additional funding provided by The Andrew W. Mellon Foundation, The Ford Foundation, and JP Morgan Chase Foundation.
Funded in part by the Performing Arts Fund, a program of Arts Midwest funded by the National Endowment for the Arts, which believes a great nation deserves great art, with additional contributions from General Mills Foundation, Land O'Lakes Foundation, and Michigan Council for Arts and Cultural Affairs.
Media partnership is provided by Michigan Radio, Between the Lines, and Metro Times.
Co-commissioned by American Dance Festival with support from the Doris Duke Awards for New Work and the Andrew W. Mellon Foundation; New York City Opera; Het-Muziektheater Amsterdam; and the John F. Kennedy Center for the Performing Arts. Additional support for this production provided by the Asian Cultural Council.
This production was made possible by the Doris Duke Fund for Dance of the National Dance Project, a program administered by the New England Foundation for the Arts with funding from the Doris Duke Charitable Foundation, The Ford Foundation, The Andrew W. Mellon Foundation, JP Morgan Chase Foundation and MetLife Foundation.
This program is supported, in part, by public funds from the New York City Department of Cultural Affairs, the New York State Council for the Arts, and the National Endowment for the Arts.
The company would like to thank the Chinese Music Ensemble of New York.
Special thanks to the U-M Center for Chinese Studies, Carol Stepanchuk, Summer Tucker, David Rolston, Joseph Lam, U-M Stearns Collection of Musical Instruments, U-M College of Engineering, ChinaNow LSA Theme Year, Chinese Leadership Committee, and Daisy Wu.
Special thanks to photographer Bryan Whitney for his contributions to the Power Center lobby exhibit.
Shen Wei Dance Arts appears by arrangement with IMG Artists, New York, NY. Large print programs are available upon request.
Cast
Empress Li, Emperor's Widow General Yang Bo, Minister Duke Xu Yanzhao, Minister Miss Xu, Royal Attendant
Jing-Lan Guan He Wei Deng Mu Wei Song Yang
Musicians
Music Director Conductor
Bowed Strings Jinghu (First String) Jing Erhu Da Gerhu Erhu
Plucked Strings Yueqin (First String) Pipa Daruan
Winds
Dizi (First Wind)
Sheng, Dizi
Percussion
Bangu (First Percussion)
Jiu Yingluo
Raubuo
Zhenguo Liu Li Ping Zhang
Zhenguo Liu Cheng Lin Huang Qing Ping Xiao Hao Qian
Zheng Ping Zhao
Yi Zhou
Zhao Shun Guo
Cheng Lin Huang Yun Xie
Li Ping Zhang Shi Rong Huang Bairu Song
Dancers
Lindsay Clark Andrew Cowan Dai Jian Duan Ni Jessica Harris
James Healey Hou Ying Sara Procopio Shen Wei
Synopsis
Second Visit to the Empress is the third in a triptych of operas, preceded by Pillars of the Dynasty and Visiting the Mausoleum. The first two operas are summarized in the pro?logue of the current production.
Pillars of the Dynasty
Following the death of Emperor Muzong (1567-72), Empress Li assumes the role of regent, as her infant--the heir--is too young to attend to state affairs. Not knowing that her own father, Li Liang, plans to usurp the throne, she announces her in?tent to appoint Li Liang as interim governor. Two senior ministers, Duke Xu Yanzhao and General Yang Bo, are strongly opposed, but the Empress is adamant. A fierce argument ensues, and the Duke and General have a falling out with the Empress.
Visiting the Mausoleum
Their advice refused, Duke Xu and General Yang are devastated. At the mausoleum, they tearfully pray at the grave of the late Emperor, vowing to save the imperiled country.
Second Visit to the Empress
Li Liang stages a coup d'etat and soon controls the inner precincts of the imperial palace. The Empress and the young Emperor are inside and defenseless. The Empress now realizes and re?grets her dreadful mistake. Duke Xu and General Yang revisit the palace to advise the Empress. She admits her mistake, entrusts to them the care of the young Emperor, and offers to appoint them state advisers. General Yang and his men defeat Li Liang and have him executed. All avoid a po?tential disaster, and stability is preserved through the persistence of two loyal subjects. The Empress is credited for the wisdom to admit her mistake in time.
Scene 1
Prologue: Pillars of the Dynasty and
Visiting the Mausoleum
Scene 2
Empress Li is imprisoned inside the Palace
Scene 3
Duke Xu and General Yang revisit the Palace
Scene 4
Duke Xu and General Yang's Second Visit to
the Empress
Scene 5
Duke Xu and General Yang leave the Palace
Scene 6
Epilogue
Music and lyrics are adapted from the Anthology of Classical Peking Operas.
Second Visit to the Empress premiered in June 2005 at the American Dance Festival in Durham, North Carolina.
Director's Note
I often picture an old man, at peace, walking slowly or sitting in the park. He holds a tea pot, a bird cage, a fan--and whistles, savoring a tune from Chinese opera. It is a similar joy for mu?sic, and particularly that of the traditional Chinese opera, that led me to choose this work.
In Chinese opera, no one element dominates. Instead, a rich intersection of forces--including orchestral music, vocals, spoken text, pantomime, acrobatics, and martial arts--produces infinite dramatic possibility.
In 1978 I began studies in Chinese opera (Xian style) at the Hunan State Arts School, and Second Visit to the Empress was one of the first operas we learned to sing. Almost every Chinese opera performer's training begins with this piece, as it is one of the most challenging works in the repertory, often taking years to master. Since 1989, when I completed my time as a Chinese op?era performer, it has been one of my dreams to re-envision the form.
Empress features three central characters with distinct vocal attributes. For this production, I have developed a discrete movement vocabulary to interpret each. Traditionally these three charac?ters were staged in a triangle at stage center, re?maining more or less stationary from beginning to end. This static approach has impacted the form's accessibility, especially among modern audiences. Sensing an increasing apathy toward the form in China and a relative ambivalence in the West, I have sought with Empress to provide an alternate point of access through modern dance. We have
done the same with the scenery. Although Em?press is traditionally staged using a single stage environment throughout the entire performance, this version employs seven.
From a design standpoint, I have attempted to honor the noblest elements of traditional Chi?nese arts, taking special notice of water painting. There are also, inevitably, more Western, modern influences, as I have had the benefit of working, studying, and interacting with Western forms in New York and throughout Europe for the last 12 years.
A hybrid creative process allows the vocal?ists to engage with other performing arts and expand their capacity in movement and inter?pretation. These performers--rigorously trained in the traditional format--have encountered an entirely different process of storytelling. And since the performance of a Chinese opera score is interpretive--these vocalists and musicians ex?plore variations in meter and phrasing with each performance--our dancers, who are accustomed to Western meter and tonalities, are challenged to understand the jazz-like cadence, textures, and irregularities inherent in the performance of a Chi?nese opera score. With the choreography, I have attempted to create a vocabulary parallel to the internal energy, fluctuations, surging tempi, and polyphonic movement of the vocals.
My hope is that today's audiences will, by way of this movement, find renewed access to and appreciation for this treasure of world cul?ture.
--Shen Wei
Notes on the Program
Second Visit to the Empress is a landmark of the Beijing opera canon, and this production represents the first known new staging of the work in over 200 years. The opera originated in the Xi'an region sometime during the early part of the 18th century (artists unknown), prior to the establishment of a nationalized form in Peking during the Qing Dynasty. In 1790, Emperor Qian-long, inspired by the manifold operatic traditions he encountered in his travels throughout China, convened companies from four regions--includ?ing Xi'an--from whose collaboration emerged the
style we recognize today as Beijing opera. Second Visit to the Empress originally featured Master Chen Der Ling and premiered at the private the?ater in the Qing Dynasty Palace, at a performance attended by Empress Dowager Cixi.
Beijing Opera is a comprehensive perform?ing art combining music, singing, dialogue, pan?tomime, acrobatics, and martial arts. Because Empress features an unusually demanding vocal score, each vocalist has been selected for a mas?tery of roles typified by distinct vocal styles: the wife or attendant (female soprano), the intellec?tualphilosopher advisor (male soprano), and the military advisor (baritone). The current production also incorporates 11 musicians (on 13 traditional Chinese instruments), as well as a corps of nine dancers who form a characterless, physicalized counterpart to the score, embodying the music through movement. Zhenguo Liu has adapted the score, enhancing its strengths and editing where necessary while preserving the traditional form.
The production premiered at the American Dance Festival in June 2005. The 2007 version includes 20 minutes of new material (which sum?marizes the first two parts of the opera triptych). The overall vision draws the traditional structure of Beijing opera through the lens of Shen Wei's choreographic and scenic style.
Role Types
Characters in Empress assume three of the four role types common to traditional Chinese opera. For the accustomed operagoer, these roles will immediately communicate gender, age, social sta?tus, and profession and moral quality. Sheng, or male roles, are subdivided into lao sheng (middle-aged or elderly men), xiao sheng (young men), and wu sheng (men with martial skill). In Empress, the latter characterizes General Yang. Dan, or fe?male roles, are subdivided into qing yi (of a strict moral code, as is Empress Li); wu dan (women with martial skill, like Miss Xu), hua dan (vivacious younger women), and lao dan (elderly women). Jing, or painted-face roles, usually include war?riors, heroes, statesmen, or even demons. Jing are divided into wen jing (civilians) and wu jing (war?riors, as is Duke Xu). The fourth role type, chou, a clown-like figure, does not appear in Empress.
About Traditional Beijing Opera and Instrumentation
Among the hundreds of operatic styles found throughout China, Beijing opera has the greatest influence and is therefore regarded as the national form. Symbolism prevails, with pantomime form?ing the basis of physical storytelling. Elaborate footwork, intricate hand or facial gestures, and codified body movements symbolize everyday as well as significant actions. Staging is likewise representative; four generals and four soldiers will represent an army of thousands.
Beijing opera scoring combines tonal mo?dalities from several regions, including er huang from the Anhui tradition, xipi from Hubei, and other elements from the Kunshan tradition. A typical orchestra is comprised of four principal instrument groups: bowed and plucked strings, woodwinds, and percussion. The two-stringed fiddles, the jing hu and erhu, form the basis of a "continuo" complement and, together with the dizi and sheng (reed pipes), yueqin (moon-shaped mandolin), pipa (lute), and suona (clarinet), com?prise the orchestral core. Percussive instruments include drums (such as the gu), bells, gongs, and hardwood clappers (ban).
While singing in Beijing opera calls predomi?nantly on the xipi tradition, dialogue borrows from both the yunbai (Hubei and Anhui) and jing-bai (Beijing) dialects. Yunbai is used by main and serious characters and jingbai for minor and frivo?lous roles.
In traditional Beijing opera, more than 1000 painted facial patterns are used with jing types to illustrate age, profession, and personality through color. Each color symbolizes a certain character?istic: red for loyalty and valor; black for a rough, stern, or straightforward nature; yellow for rash?ness and ferocity; white for cunning and deceitful-ness; and gold and silver for the deities. Costumes are bright and magnificently embroidered. Certain of the current production's costumes recall those of the Ming Dynasty (1368-1644). Color connotes social status: yellow for the imperial family; red for high nobility; red or blue for the virtuous; white for elders, etc. Students usually wear blue gowns; generals, padded armor; and emperors, a dragon-like robe. Jeweled girdles and hair ornaments are also common.
Choreographer, dancer, painter, and de?signer, Shen Wei was born in Hunan, China. He studied Chinese opera from the age of nine. From 1984 to 1989, he worked with the Hunan Province Xian Opera Company. From 1991 to 1994, he was an original member (dancer and choreographer) of the Guangdong Modern Dance Company, the first modern dance company in China, with which he appeared in festivals in Korea, China, Hong Kong, Singapore, and India.
After receiving a scholarship from the Niko?laisLouis Dance Lab in 1995, Shen Wei moved to New York City and formed Shen Wei Dance Arts in 2000. For the past seven years, the company has toured worldwide, performing his work in?cluding Rite of Spring, Folding, Near the Terrace (Parts I and II), Connect Transfer, Map, Behind Resonance, and Re(Part I). For each dance and opera work choreographed for his company, Shen Wei also creates the set, costume, and makeup designs. The New York Times described Shen Wei's vision as "painterly, mathematical and idio?syncratic. . This is imagery and conceptualism with a difference."
Prior to forming Shen Wei Dance Arts in 2000, his work was presented at the American Dance Festival (1995), National Theater of Taiwan (1996), The Place Theater in London (1997), The Asia Society in New York (1997), Stockholm Dance House (1999), Brighten Arts Festival (2000), the Edinburgh Festival Theater (2000), and the Ger?many Millennium Moves Festival (2000).
He has received numerous awards. In China, he won first prize for both choreography and per?formance at the 1994 Inaugural National Modern Dance Competition. In the US, he received a fel?lowship from the New York Foundation for the Arts in 2000, and in that same year the Ameri?can Dance Festival's Ben Sommer Fellowship. He received a John Simon Guggenheim Fellowship in 2001, the Nijinsky Award for Emerging Cho?reographer in 2004, Australia's 2005 Helpmann Award for Best Ballet or Dance Work, and the 2006 Les Etoiles de Ballet, Palais des Festival, in Cannes, France. He has received commissions from the American Dance Festival (1995, 2000-2006), Het Muziektheater Amsterdam (2004 and 2007), Lincoln Center Festival (2005), the John F. Kennedy Center for the Performing Arts (2007), New York City Opera (2005), Alvin Ailey Dance Theater II, Dances We Dance Company of Ha?waii, the Margrit Mondavi Center for Performing
Arts at the University of California, Davis, and the Guangdong Modern Dance Company.
As a visual artist independent of the dance company, his paintings have been exhibited in New York and Hong Kong. A series of paintings created in conjunction with his ballet Rite of Spring were first exhibited as part of the company's New York debut at the Lincoln Center Festival in 2003. In October 2006, the paintings toured with the company at the Hong Kong New Vision Festival, and in July 2007 they returned to the New York State Theater in tandem with the company's per?formance of Second Visit to the Empress as part of Lincoln Center Festival.
Shen Wei is part of the creative team design?ing the opening ceremonies of the 2008 Olympics in Beijing.
Zhenguo Liu (Music Direction, Jinghu) started his training in jinghu at age eight and was admitted to the prestigious China Theater College. After graduating, he was retained by the college as a faculty member, becoming the youngest jinghu teacher in the school's history. At age 23, he was selected as jinghu player for Ma Changli, a dis?tinguished master of Beijing opera. Liu has over 30 years of professional performing and teaching experience and has received much recognition and many awards for his virtuosity. He has taught and performed extensively along the East Coast, particularly in New York, New Jersey, and Pennsyl?vania, where he has worked with the Philadelphia Chinese Opera Society. In 2004 he established the Zhenguo Beijing Opera House, both in New York and New Jersey, a training program that now en?rolls over 100 students.
Jennifer Tipton {Lighting) is well known for her work in theater, dance, and opera. Her recent work in opera includes Salvatore Sciarrino's Da Gelo a Gelo directed by Trisha Brown in Schwetzingen, Germany; Mozart's The Magic Flute directed by Tim Albery at Santa Fe Opera and directed by Wil?liam Kentridge at the Brooklyn Academy of Music; and Trovatore directed by David McVicar at Lyric Opera of Chicago. Her recent work in dance in?cludes Christopher Wheeldon's DVG for the Royal Ballet in London, Trisha Brown's O Composite for the Paris Opera Ballet, and Paul Taylor's Lines of Loss at City Center. In theater her recent work in?cludes Dael Orlandersmith and David Cale's The Blue Album at Long Wharf Theater and Hamlet
for the Wooster Group at St. Anne's Warehouse in Brooklyn. Ms. Tipton teaches lighting at the Yale School of Drama. She received the Dorothy and Lillian Gish prize in 2001, the Jerome Robbins prize in 2003, and the Mayor's award for Arts and Culture in New York City in 2004.
Jing-Lan Guan (Empress Li), born into a family of Peking Arts performers, studied in the "Mei" style at the Beijing Peking Opera School. In 1981, she continued her studies with the Peking opera master, Zhang Jun-Qiu. A member of China's First Class Performing Artists, she has received numer?ous awards including the Beijing Performing Arts Award (1984), the Plum Blossom Award (China's highest Peking Opera accolade; 1992), and a Life?time Achievement Award from Lincoln Center for the Performing Arts (1998). She currently lives in the New York area.
Deng Mu Wei (Duke Xu Yanzhao) is a member of the National First Class Performing Arts, the highest level of professional ranking in the theater field in China. Deng holds numerous national first class awards, including the Plum Blossom Award,
Best Performance Award in the National Middle-Aged and Young Peking Opera Performing Art?ists TV Competition, and the Golden Award in the Langfang Mei Golden Award Competition. In addition to his regular participation in national first-level competitions, Deng also performs on a regular basis in China Central TV's Spring Festi?val Concert, as well as other prestigious concerts sponsored by China's Ministry of Culture.
He Wei (General Yang Bo) was born in 1957 and is a First Class Opera Performer in China. He grad?uated from the Hebei Province School of Perfor?mance Arts and furthered his studies at the China Traditional Opera Academy in Beijing, majoring in lao sheng roles. He was promoted to the Chinese Opera Company in 1993, performing lead roles in Generals of the Yang Family, Beating Drums and Yelling at Cao, and Yang Silang Visits His Moth?er. His artistry has been highly acclaimed by the Chinese media, and he has received a variety of awards, including Best Vocal Performance in the China Broadcast Theater and Vocal Competition (2001), the First Prize of the Beijing Youth The?atrical Artists Competition (1993), and the Best
Performance of the China Youth Opera Actors Competition (1991).
Song Yang (Miss Xu) began studying Beijing op?era at the China Traditional Opera Academy at age 10 and has served as a principal vocalist with the Beijing Opera Company. In 1999 she performed the role of Madam Du, as well as 10 other minor characters, in Chen Shi-Zheng's 20-hour opera The Peony Pavilion, which premiered at Lincoln Center Festival and toured to Paris, Berlin, Vienna, Milan, Perth, and other major festivals worldwide. Song has given solo recitals with the Lyon Sym?phony Orchestra, the Brussels Orchestra, and the Singapore Orchestra for Tan Dun's Gate. In 2003 she played the male general in the Chinese ver?sion of The Orphan of Zhao at Lincoln Center Fes?tival. Song teaches Beijing opera movement and martial arts at China Traditional Opera Academy in Beijing and at the California School of the Arts in Los Angeles.
Dancers
Lindsay Clark was born in San Francisco, Califor?nia. She attended North Carolina School of the Arts and received her BFA from SUNY Purchase.
Andrew Cowan was born in southern California, where he began his dance training at the Idyllwild Arts Academy. He continued his dance training at New York University's Tisch School of the Arts, where he received a BFA in dance. Mr. Cowan has performed in New York with various companies, including WilliamsWorks and Keigwin+Co. Most recently, he toured in the UK and Israel with Bare-Bones, performing works by David Massingham, Arthur Pita, and Liam Steel.
Dai Jian was born in Hunan Province, China, and is a recent graduate of the Beijing Dance Acade?my. He majored in performance and choreography and studied Graham technique, Limon repertory, release techniques, and Tai Chi. Dai joined Shen Wei Dance Arts in 2005. From 2004 to 2005, he performed with the Jin Xing Dance Company. He also studied modern dance at the Guangdong ATV Professional Academy for Performing Arts, founded by Madam Yang Meiqi.
Duan Ni was born in China and started dancing when she was 10. In 1990 she undertook five years of professional training at the Art College Dancing Group in Shanxi Province, China. After graduating, she participated in the Splendid Na?tion Choreography Group and received a first-rate dancer award in the Shenzhen City First Dancing Competition. Between 2000 and 2004, she stud?ied at the Beijing Dance Academy under of one of China's foremost dance teachers, Madame Yang Meiqi. Duan danced with the Akram Khan Com?pany in 2005.
Jessica Harris received her dance training at the Chapel Hill Ballet School and Carolina Friends School. She has danced with Carolina Dancers, Chapel Hill Dance Theater, Duke University's 15-501 Ballet, and The Whirlwind Dance Company and is the founder of the Carolina Friends School Annual Alumni Dance Project. Ms. Harris joined Shen Wei Dance Arts in 2000.
James Healey is originally from Grants Pass, Or?egon. He began his career as a gymnast, which led to an introduction to dance through his high school drill team. Mr. Healey continued his path in dance as a scholarship student at the University of Nevada, Las Vegas, and the American Dance Festival. After graduating, he became an acro?bat on the Las Vegas strip, moved to California for three years with Malashock Dance & Com?pany in San Diego, and proudly became a found?ing company member of Shen Wei Dance Arts in 2000.
Hou Ying was born in Jilin, China, and is a gradu?ate of the Jilin Arts Institute. She studied Chinese dance at the Beijing Dance Academy and worked for the Beijing Police's Art Troupe. She danced with the Guangdong Modern Dance Company from 1994 to 2002 and also choreographed many works for the company. She won first prize for choreography at the ninth Belarussian Vitebsk Modern Dance Competition and was a recipient of an Asian Cultural Council 2002 Fellowship. She joined Shen Wei Dance Arts in 2002.
Sara Procopio is originally from Syracuse, New York. She began her dance training at the Center for Ballet and Dance Arts and received her bach?elor's and master's degrees in liberal studies from Hollins University. While at Hollins, she co-found-
ed the Hollins Dance Project under the artistic di?rection of Donna Faye Burchfield and also studied extensively at the American Dance Festival. Ms. Procopio joined Shen Wei Dance Arts in 2000.
Musicians
Cheng Lin Huang (ling Erhu, Dizi) is a graduate of the Shanghai Chinese Drama School, where he studied under Kong Jin, Zhao Jigeng, and Dai Jin-fu. He is a master of various instruments, includ?ing the two-stringed fiddle, flute, Chinese clarinet, and moon-shaped mandolin, among others.
Shi Rong Huang (Jiu Yingluo) graduated from the Shanghai Traditional Opera School in 1996 and has performed in more than 50 Beijing and Kunqu operas as percussion conductor, including Cao Cao and Yang Xiu. He won first prize at the National Opera Gala sponsored by the China Cul?tural Department.
Bairu Song (Percussion) graduated from China Tianjin Music Conservatory Chinese Opera School. Specializing in drum and clappers, he worked at Tian Jing Youth Peking Opera Troupe and is well known for his fine skills. He was invited to join The American Tung Ching Chinese Center for the Arts in 1996.
Hao Qian (Ehru) began his studies with Profes?sor Shao Zhang at Beijing's China Music Conser?vatory. In 1976, he joined the China Broadcasting Performing-Arts Troupe as the principal erhu player. He is currently a National First Level musi?cian in China. He has performed throughout China, Singapore, and the US.
Qing Ping Xiao (Da Gerhu) graduated from the Shanghai Conservatory of Music High School, and is a member of The Cellist Association of China. She performed with the Shanghai Broadcast and Television Orchestra and served as principal cellist in the Song and Dance Ensemble. She is a member of the Chinese Music Ensemble of New York.
Yun Xie (Sheng, Dizi) graduated from the Tianjin Music Conservatory and has worked at the City of Tianjin Opera House. From a very young age, he studied with the well-known performer and edu?cator Liu Guanyue.
Li Ping Zhang (Bangu) graduated from the mu?sic department at China Music Drama School and was awarded the first prize in percussion three times at the Folk Music Competition held by China Central Radio Station. In China he has served as conductor for the Youth Peking Opera Troupe in Beijing.
Zhao Shun Guo (Zhongruan) graduated from the Tianjin Music Conservatory and was a soloist with the Tianjin Provincial Dancing and Singing Troupe. He won "Best New Composition" in a competition held by China Central TV in 1987 and First Prize in pipa performance at the na?tional competition of ethnic musical instruments in 1991.
Zheng Ping Zhao {Yueqin) graduated from the Shanghai Opera Academy, specializing in Beijing opera. He is a master of more than 10 musical in?struments and has more than 30 years of stage experience, performing in over 1,000 shows in major cities in China and abroad. He has per?formed, lectured, and taught classes throughout North America.
Yi Zhou (Pipa) is a graduate of Shanghai Con?servatory of Music in China. A recipient of many awards, he has toured Japan, Singapore, Taiwan, Hong Kong, and Italy as a soloist with the Chinese National Music Group. In 1998 he was invited to perform and lecture throughout the US.
Shen Wei Dance Arts seeks a new approach to movement and the body. With each work, Artistic Director Shen Wei develops an original physical vocabulary based on move?ment research. The choreography, at tums repre?sentational and abstract, incorporates Eastern and Western aesthetics and strong scenic elements to create a total, hybridic mise-en-scene.
Since its inception at the American Dance Festival in 2000, the company has assumed a position among the top tier of dance ensembles worldwide. In addition to repeated engagements at the American Dance Festival (1995, 2000-2007), Lincoln Center Festival (2003-2005, 2007), and the Venice Biennale (2004, 2005), Shen Wei Dance Arts has appeared in renowned festivals around the world. In 2005, the company received Australia's Helpmann Award for Best Ballet or Dance Work when it was presented by the Sydney
Festival in association with Sydney Opera House. In March 2007, the company closed the Festival de Mexico en el Centra Histbrico in Mexico City with a public performance for 10,000 in the Zocalo Pla?za. In May 2007, it initiated a five-year residency at the Kennedy Center in Washington, DC, and in June 2007, the company became the first dance company presented in Frank Gehry's Disney Hall in Los Angeles, when it gave three performances of Connect Transfer with live accompaniment from the Flux Quartet and pianist Gloria Cheng.
Other recent engagements include: Jacob's Pillow (2004, 2006), the Kennedy Center (2001, 2005, 2007-11), Dorothy Chandler Pavilion at the Los Angeles Music Center (2004), Zellerbach Hall CalPerformances (2004, 2007), Dance Umbrella & Sadler's Wells in London (2004), The Barbican in London (2007), Israel Festival (2004), Het Muz-iektheaterAmsterdam (2003, 2005, 2007), Syd?ney Festival (2005), the Esplanade in Singapore (2005), Movimentos FestivalGermany (2005), Montpellier FestivalFrance (2005), Melbourne In?ternational Arts Festival (2005), Les Grands Ballets Canadiens de Montreal (2006), MODAFE in Seoul, Korea (2006), the Joyce Theater (2006), the Hong Kong New Vision Festival (2006), and the inaugu?ral Luminato Festival in Toronto (2007).
Upcoming performances include Connect Transfer at the Barbican Centre in London (Octo?ber 2007) and the Kennedy Center (March 2008); Second Visit to the Empress at Het-Muziektheater Amsterdam (November); and the European pre?miere of Map and Re(Part One) at Mercat de las Flors in Barcelona, with subsequent performances at the Kimmel Center in Philadelphia, and at the Yerba Buena Center in San Francisco. In 2008, the company will also perform in Italy, Serbia, France, Israel, New Zealand, Spain, and throughout the US.
This weekend's performances mark the UMS debut of Shen Wei Dance Arts.
Shen Wei Dance Arts
Board of Directors
Paul Kellogg, Chairman Shen Wei, President Caroline Cronson Stephanie French Lawrence W. Greene, Treasurer Mary Yung Kantor Helen Little Ernestine Ruben Patricia P. Tang
Executive Director, Brett Egan
Managing Producer. Melissa Caolo
Production and Lighting Supervisor, John Torres
Production Stage Manager, Jessie Ksanznak
Technical Director, Ted Sullivan
Associate Lighting Supervisor, John Burkland
Sound Design, Jonah Lawrence
Wardrobe Supervisor, Gui-Ying Yang
Music Adaptation, Zheng jo Liu
Script Editors, Shen Qing Tong, Shen Wei
Translator, Diana Liao
Supertitles Operator and Company Manager, Catherine Lee
Artistic Associate, Sara Procopio
Rehearsal Directors, lames Healey, Hou Ying
Assistant Wardrobe Supervisors, Jessica Harris, Lindsay Clark
Assistant Makeup Supervisor, loan Wadopian
Assistant Stage Manager, lack Lynch
Shen Wei Dance Arts Acknowledgements
Shen Wei Dance Arts gratefully acknowledges its individual pa?trons, and in particular the leadership of Caroline Cronson, An?thony John Hardy, Carolyn Hsu-Balcer, Karen Hsu, Edward S. Hy-man and Caroline Howard Hyman, Paul Kellogg, Diana T-L Liao, William and Helen Little, the Pachikov Kondratieva Family, Ernes?tine Ruben, Abel and Sophia Sheng, Mary Sharp Cronson, Emily and Savio Woo, and Tai Zhang.
SWDA also recognizes the indispensable support of the Norman & Rosita Winston Foundation, Greenwall Foundation, Emma Sheafer Charitable TrustJ.P. Morgan Chase, New York State Council on the Arts (a state agency), the New York City Depart?ment for Cultural Affairs, and the National Endowment for the Arts, which believes that a great nation deserves great art.
Additional support provided by Altria Group, Arnhold Founda?tion, Asian Cultural Council, Bossak-Heilbron Charitable Founda?tion, ChinaSprout, Evelyn Sharp Foundation, Fidelity Charitable Gift Fund, GM Hope International, Harkness Foundation for Dance, Kay Family Foundation, Rockefeller Foundation Multi-Arts Production Fund, SUNY Purchase PAC, USArtists International (a program of the NEA, with support from JP Morgan Chase and managed by Mid Atlantic Arts Foundation), and US China Cultural Foundation.
Special thanks to Charles Reinhart and the American Dance Festi?val for their early and ongoing support of SWDA.
For their leadership in developing Empress, the company extends heartfelt thanks to Pieter Hofman, Paul Kellogg, Michael M. Kai?ser, Alicia Adams, and Michael Kondziolka; Nancy Gabriel, Julia Glawe, Gillian Newson and Emily Rybinski-Benish of IMG Artists; and Brian McCurdy and the Performing Arts Center, Purchase Col?lege, State of New York.
The company also thanks Pentacle (Mara Greenberg, Anna Nuse), Cowan, Liebowitz & Latman, PC, Chambers Fine Art (Christophe Mao) Gallery 456 (Alan Chow), NYCollective (Wayne Kasserman), Fredrica Jarcho, Shirley Young, Vivian Chiu, Lisa Booth, Deirdre Valente, Patty Bryan, Anting Chung, Robert Ogden, Zhou Long, Amy Terpening, Jodee Nimerichter, Andrew Holland, Scott Bol-man, Ruth Pongstaphone, Paul Ziemer, Michael Smoller, Kate Taylor, Kristen Young, Sandra Eu, Dan Sedgwick, Larry Majorca, and Rachel Cooper.
Legal Services provided by Lawrence W. Greene. ShenWeiDanceArts.org
Shen Wei Dance Arts is represented in the Americas and Asia by: Julia Glawe, www.imgartists.com
In Europe:
Gillian Newson, gnewsoneimgartists.com
presents
Andras Schiff
Piano
Wednesday Evening, October 3, 2007 at 8:00 Rackham Auditorium Ann Arbor
Beethoven Piano ?onatas
Concert I
Sonata No. 1 in f minor. Op. 21
Allegro
Adagio
Menuetto: Allegretto
Prestissimo
Sonata No. 2 in A Major, Op. 22
Allegro vivace Largo appassionato Scherzo: Allegretto Rondo: Grazioso
Sonata No. 3 in C Major, Op. 23
Allegro con brio Adagio
Scherzo: Allegro Allegro assai
INTERMISSION
Sonata No. 4 in E-flat Major, Op. 7
Allegro moto e con brio
Largo, con gran espressione
Allegro
Rondo: Poco Allegretto e grazioso
Fifth Performance of the 129th Annual Season
45th Annual Chamber Arts Series
The photographing or sound and video recording of this recital or posses?sion of any device for such recording is prohibited.
Tonight's performance is supported by The Morris and Beverly Baker Foundation in memory of Morris D. Baker.
Media partnership is provided by WGTE 91.3 FM and Observer & Eccentric newspapers.
Special thanks to the U-M School of Music, Theatre & Dance, Steven Whiting, Logan Skelton, U-M Center for European Studies, Alan Gosman, Kevin Korsyn, and Marysia Ostafin for their participation in this residency.
The Steinway piano used in this evening's recital is made possible by Hammell Music, Inc., Livonia, Michigan.
Special thanks to Tom Thompson of Tom Thompson Flowers, Ann Arbor, for his gener?ous contribution of floral art for tonight's recital.
Mr. Schiff appears by arrangement with Kirshbaum Dernier S Associates, Inc., New York, NY.
Large print programs are available upon request.
Conveying the Meaning of Every Note
B
eethoven's Piano Sonatas and Their Inter?pretation: Andras Schiff in conversation with Martin Meyer
Martin Meyer: The conductor and pianist Hans von Bulow designated Beethoven's 32 piano so?natas as the "New Testament" in the repertoire of the instrument. Is this monumental cycle still of such binding force in our time
Andras Schiff: Certainly. The sonatas have lost none of their relevance and freshness. Mind you, they constantly have to be interpreted with re?newed vigour--or to put it more precisely, their individual character has to be grasped. For my own part, I deliberately waited until compara?tively recently before dedicating myself to such an enormous task. Whereas the works of Bach or Mozart, for instance, often seemed to me like vir?gin territory, with Beethoven I feel as though I'm confronted with a strong history of interpretation that stretches back as far as Liszt.
The history and tradition of Beethoven interpreta?tion could certainly inhibit the pianist of today--as though a great deal, and perhaps everything, had already been said.
Of course, such restraints can't entirely be dis?missed. On the other hand, once you become deeply involved in the musical texts you soon real?ize the secrets and challenges that still lie hidden in them. As a child I often heard the "Waldstein" Sonata, without it making much of an impression on me--that was probably due to unsatisfactory performances. Whenever I play the piece today I'm overwhelmed by the revolutionary power of its enormous canvas. The "Moonlight" Sonata could provide us with another example. Beethoven in?structs that the entire first movement should be played "senza sordino"--that's to say with the dampers raised; or to put it another way, with the sustaining pedal applied throughout, so that the whole instrument resonates. Most performers ig?nore the direction, yet if one takes the trouble to read the text correctly and perform the piece ac?cordingly, the music sounds entirely new.
In Beethoven the music's sonority and dynamics are expanded by the scope of the music's rhyth?mic energy. Where do you see the differences be?tween him and his predecessors such as Haydn and Mozart
We shouldn't forget that Beethoven had already appeared in public in Bonn, and then from 1792 onwards in Vienna, as a great improviser and vir?tuoso. So the expressive depth of his playing in?formed his composing right from the start. Like Haydn--and in contrast to Mozart--Beethoven starts with tiny cells and motifs that define the thematic structure of his material. Whereas Mo?zart creates melodies and allows them to unfold at length, Beethoven lays greater emphasis on surprising harmonic transformations of mono-thematic material. In addition--and again in contrast to Mozart, but in a sort of kinship with Haydn--there are several two-movement sonatas in Beethoven. Again, with Beethoven we find a sort of earthbound humor, whereas in Mozart we hear floating, faraway merriment, so to speak. Again, with Mozart the slow movements gen?erally unfold at no more extreme tempos than "andante" or "andantino." Compared with that, Beethoven often writes "adagio" or "largo"--the music becomes solemn. Finally, Haydn certainly served Beethoven as a model in his experiments in tonality and harmonic change. But of course Beethoven far surpasses Haydn in terms of virtu?osity and orchestral aplomb.
Mozart composed with the voice of song; Beethoven is more orientated towards speaking, or even rhetorical, gestures.
That's right. You could say Beethoven writes prose, while Mozart favors poetry. In this respect, I would even say that the stylistic line leads from Haydn to Beethoven on the one hand, and from Mozart to Schubert on the other, in terms of their musical nature. On the other hand, Beethoven ad?mired Mozart deeply: his admiration for Mozart's c-minor Piano Concerto is documented and is ex?pressed in his own Piano Concerto in c minor. But whereas Mozart seldom ventures into extremes of expression, tempo, and dynamics, the young Beethoven already leads us into a new world of heightened emotions. The finale of the first Piano Sonata in f minor, Op. 2, No. 7 already carries the
heading of "Prestissimo," and we find the same designation in the last movement of his previous work, the Piano Trio in c minor Op. 1, No. 3.
Like his string quartets, Beethoven's 32 piano so?natas encompass an entire life's work--they form what you might call a leitmotif in his output.
Absolutely. And we can only marvel at the way this life's work continually fans out into different con?stellations. From the Op. 2 sonatas onwards we find an enormous variety of character--passion side-by-side with lyrical relaxation, concert pieces side-by-side with more capricious compositions. Among the innovations Beethoven introduces are long drawn-out legato phrases, an enlargement in sheer volume of sound, the frequent many-voiced chords, the "associated" voices and notes. Soon the radius of the instrument becomes too narrow for him, so that his purely pianistic style of writing is broadened towards the direction of orchestral colors. Take, for instance, the opening movement of the "Pathetique" Sonata: it has the effect of a piano transcription with orchestral colors. Finally, as a result of the speech-like process of his man?ner of composing, we hear in Beethoven an ur?gency of articulation, emphasised by polyphonic structures: right from the start, the element of declamation comes strongly to the fore.
Would it be possible to find--quite apart from the division into periods--a scheme of classifica?tion for the output of sonatas that could be of interpretative help
I doubt it. Of course we rightly distinguish be?tween the early period from Op. 2 to Op. 28, then the middle phase from Op. 31 to the "Les Adieux" Sonata Op. 81a, and finally--from the somewhat Janus-faced Sonata Op. 90--the late works up to Op. 111. But on the other hand, within these groupings surprising perspectives are always be?ing opened up. Beethoven never thinks in a sche?matic way--even in the way he treats the reca?pitulation in relation to the exposition. When he puts three sonatas together under a single opus number, which would also have corresponded with publishers' demands, he presents enormous contrasts within the triptych. Of course, over and above such differentiations we also find unique high-points--for instance, the "Largo e mesto"
of the Sonata Op. 10, No. 3, the revolutionary in?troduction to the "Pathetique," and a little later the funeral march from the A-flat Sonata Op. 26 which so captivated Chopin, and many other ex?amples. As a result, the performer has to convey the meaning of every note: perhaps that's where the greatest challenge lies.
Your performance of the cycle proceeds chrono?logically. Where do you see the links between the first four sonatas, and also their difficulties
First of all, a "mixed" program would certainly have been possible, as I did, for instance, with Schubert. However, with Beethoven it seems im?portant to me to show the encyclopaedic logic of his development, and that's only possible in a chronological reflection of the creative process. As far as the first three sonatas are concerned, which the somewhat unwilling pupil dedicated to his very sympathetic mentor Joseph Haydn, what's immediately striking from an objective point of view is their unprecedented brilliance. In them we hear the virtuoso presenting himself to the public. Extraordinarily different moods rub shoulders with each other in this triptych, and the performer has to deal with them intellectually, emotionally, and technically. The grand, long, and wonderfully "pastoral" Sonata Op. 7 is already ut?terly individual, and stands alone.
The ascending arpeggio motion at the start of the f-minor Sonata Op. 2, No. 1 already signals a highly self-conscious beginning.
More than that, this sonata presents a drama. The key is apt for dramatic expression--we have only to think of the later "Appassionata," or the String Quartet Op. 95. The ascending climb of the main subject--in the manner of the so-called "Mannheim rocket"--signals iron determination. The technique of developing several motifs out of a single thematic complex echoes Haydn, and it lends the music great concision. The inverted shape of the subsidiary theme introduces a mo?ment of plaintiveness. What's also interesting is the way Beethoven carries out bold changes in register between the voices in the development section and generally varies the motivic and dy?namic hues. In short, this strikes me as "danger?ous" and unruly music.
On the other hand, the slow movement has a more conventional feel, even in relation to the subsequent slow movements.
Yes, though it intentionally forms a moment of repose. But at the same time the groups of thirds that underlay the middle section disrupt the purely pianistic writing: we should be able to hear orchestral sounds in them. The following minuet isn't at all inoffensive in effect, but questioning and secretive, and in the fortissimo unison qua?vers (eighth-notes), even openly menacing. The answer is provided by the "Prestissimo" finale -a sort of perpetuum mobile on the edge of the abyss, whose lyrical middle section makes the re?turn of the wild hunt still more oppressive. Thus this first sonata really forms a highly dramatic up?beat to Beethoven's output of sonatas. Inciden?tally all four movements are written in the home tonality--a comparative rarity in Beethoven and one we find again among the piano sonatas only in Op. 10, No. 3, Op. 26 and Op. 28.
In comparison, the two following works are quite different in mood: the A-Major Sonata lyrical and humorous, the C-Major brilliantly virtuosic.
Here the dramaturgy of the groups of three works--we have only to think of the later trip-tychs of Op. 10 and Op. 31--is already vividly ap?parent. Certainly, the A-Major Sonata Op. 2, No. 2 exudes cheerful wit, and its last two movements have a graceful style that harks back to Haydn and Mozart. But let's not be too hasty: we shouldn't forget the huge contrasts--for instance the hu?morously "dissenting" fortissimo gestures in the opening movement, as well as the contrapuntal, and pianistically very awkward development sec?tion; or the friction between legato and staccato, the sudden pauses. Beethoven manipulates the blurred relationship between expectation and surprise very cannily, and already here the music seldom proceeds in a way that would be in accor?dance with its preceding "plot."
Certainly not in the slow movement of this A-Major Sonata--the first "Largo appassionato."
It's no longer a fempo ordinario, but a strong indi?cation of character. Just how logically Beethoven proceeds is indicated by the fact that element of passion only gradually achieves expression in the
dynamics and the thickening of the texture. And again, the layout isn't pianistic, but orchestral: we have only to think of the fortissimo reprise of the theme in the minor from bar 58 onwards.
The third movement isn't so much conceived as a minuet, but as a scherzo. Against its dance-like witty elegance Beethoven sets the restless "minore" middle section, with its threatening sforzati. The finale encompasses still stronger con?trasts. On the one hand the grazioso rondo theme itself with its written-out improvisatory qual?ity, and on the other the abrupt staccato march-theme of the minor-mode episode: "Beauty and the Beast," you could say! The ending, fading away into silence, is wonderfully understated.
Once again, the C-Major Sonata Op. 2, No. 3 shows a new kind of writing. Is it a nod towards the virtuosity of Beethoven the pianist
Absolutely. I see it very much as a performance-piece, aimed at an audience. You could call it a "concertante sonata." The chords, the broken double-octaves, the broken-chord passages at the start of the development--all this writing is powerfully brilliant. The cadenza in the opening movement, which begins so surprisingly with an atmospheric and romantic wave of A-flat Major, underlines the concerto-like elan. The E-Major slow movement is also very wide-ranging. It is restlessly unfolding confessional music, once more in the richness of its orchestral "expansions," in the mournful song of its middle section, and in the operatic-style recitative interjections just be?fore the end.
The scherzo and finale resume the energetic mood: Beethoven as unrivalled master of the in?strument
Not only that. To me, the outer sections of the extremely witty scherzo are somehow like en?semble music. The trio, with its "rolling" quaver (eighth-note) triplets, certainly represents stormy piano writing, and the nuances of its dynamics must be precisely observed. The "Allegro assai" finale places more emphasis on the character of a piano concerto. By the way, it shouldn't be played too quickly: the semiquavers (16th-notes) from bar eight onwards give the tempo. The figures in thirds moving in opposite directions in the exten?sive lead-in to the chorale theme, which almost
anticipates the chorale from the finale of Brahms's f-minor Sonata, display a new and extremely dif?ficult kind of keyboard technique. The long chains of trills in the closing pages also demand special mention: again Beethoven introduces a new type of layout, and perhaps it's not by chance that trills play a prominent role in other C-Major works-both the "Waldstein" Sonata Op. 53 and the "Arietta" of Op. 111.
Only two years later, that's to say in 1796-7, Beethoven once again composed a work of new dimensions with the E-flat Sonata Op. 1, which is exceeded in length only by the "Hammerklavier" Sonata Op. 106.
It's a piece that lies a whole world further on. What's so extraordinary is the multiplicity not only of its expression, but also of its dramatic concep?tion: just think of the "composed" pauses in the slow movement, or the lyrical moments in the last two movements which anticipate Schubert, the powerful modulations in the first movement's de?velopment section whose driving energy offers us a glimpse of Beethoven as an active pianist, as it were: octaves that have to be played legato, wide?ly spaced chords, polyphonic intensifications, and a symphonic heightening of tension in the "drum rolls" of the coda.
Edwin Fischer associated the timbre of the work with a summer landscape.
That's not altogether wrong, though literary met?aphors can never do justice to pieces like this. Of course in the development section of the opening movement, the point where the joyfully urgent main theme has changed into the strident and tur?bulent minor evokes the atmosphere of a storm. And of course the cantabile scherzo, which inci?dentally for the first time begins without an up?beat, has pastoral features--almost a landler-like, open-air feeling. Again, the basic atmosphere of the rondo--"Poco allegretto e grazioso"--is, so to speak, relaxed in an exalted way. On the other hand, that deeply-felt "Largo, con gran espres-sione," with its question-and-answer dialectic, its oppressive pauses, and the enormous ten?sion of its contrasting registers, could in no way be restricted to an "exterior view," and the same would be true of the eerie, subterranean, menac?ing "minore" section of the third movement. To
put it another way, what Beethoven introduces here renders any unambiguous attribution quite useless.
At least two "events" call for further comment. I'm thinking--in the finale--of the violent middle section, and then of the modulation near the end from the home key of E-flat into E Major.
I don't take that c-minor storm, with its full-blooded chords above a swirl of demisemiqua-vers (32nd-notes) in the bass, completely seri?ously: its function is as a sort of humoristic and morbid contrast to the lyricism of the remainder of the piece. As in the Sonata Op. 2, No. 2, or later in the opening movement of the Sonata Op. 54, the music's space is invaded by an ele?ment of grotesquery--"Beauty and the Beast," or "Dr Jekyll and Mr Hyde." That's true also of the coda, which takes up the same figuration, but resolves it in a gentle and becalmed E-flat Major. As far as the modulatory change of direction into E Major is concerned, for me this is perhaps the most beautiful moment of the Sonata altogether. Haydn's late E-flat Major Sonata could serve as a sort of forerunner, with its slow movement writ?ten in E Major. Beethoven goes still further, and the miracle takes place within a couple of bars, as though behind a veil, with the rondo theme undergoing a transfiguration into something alto?gether ethereal.
Translation by Misha Donat.
Please refer to page 30 in your program book for a biography of Mr. Schiff.
presents
Andras Schiff
Piano
Program
Friday Evening, October 5, 2007 at 8:00 Rackham Auditorium Ann Arbor
Beethoven Piano ?onatas
Concert II
Sonata No. 5 in c minor. Op. 101
Allegro moto e con brio Adagio molto Finale: Prestissimo
Sonata No. 6 in F Major, Op. 102 Allegro Allegretto Presto
Sonata No. 7 in D Major, Op. 103
Presto
Largo e mesto Menuetto: Allegretto Rondo: Allegro
INTERMISSION
Sonata No. 8 in c minor. Op. 13 ("Path6tique") Grave--Allegro moto e con brio Adagio: cantabile Rondo: Allegro
Sixth Performance of the 129th Annual Season
45th Annual Chamber Arts Series
The photographing or sound and video recording of this recital or posses?sion of any device for such recording is prohibited.
Tonight's performance is supported by an anonymous donor.
Media partnership is provided by WGTE 91.3 FM and Observer & Eccentric newspapers.
Special thanks to the U-M School of Music, Theatre & Dance, Steven Whiting, Logan Skelton, U-M Center for European Studies, Alan Gosman, Kevin Korsyn, and Marysia Ostafin for their participation in this residency.
The Steinway piano used in this evening's recital is made possible by Hammell Music, Inc., Livonia, Michigan.
Special thanks to Tom Thompson of Tom Thompson Flowers, Ann Arbor, for his generous contribution of floral art for tonight's recital.
Mr. Schiff appears by arrangement with Kirshbaum Demler & Associates, Inc., New York, NY.
Large print programs are available upon request.
Striving for the Impossible
B
eethoven's Sonatas Opp. 10 and 13: Andras Schiff in conversation with Martin Meyer
Martin Meyer: Beethoven's piano sonatas were composed over a period of 25 years, that's to say from 1795 to 1820, and they reflect an enormous spectrum of creative ideas and solutions to prob?lems. Do any comparable challenges exist for you as a performer
Andras Schiff: I would probably have to say no. When we say that Beethoven's output of sonatas for piano brings with it a wealth of material and forms, of concepts and structures, of visions and not least of moods, it doesn't inevitably imply that all other composers are "easier" to play, but that the challenge of this corpus of pieces as a "work-in-progress" is immense. You could perhaps place it alongside the two parts of Bach's Well-Tem?pered Clavier. However, the genre of the prelude and fugue is, per se, much more closely defined than the sonata movement, so that the types of transformations Beethoven creates in the genre of the sonata aren't possible.
What are the specific features and particular dif?ficulties of the 32 sonatas, not only for the per?former but also for the listener
Well, firstly within the time span you mentioned, there is a tremendous evolution in the composing, whereby the general tendency leads to an ever-greater economy of means. But secondly, each sonata from the f-minor Op. 2, No. 1 onwards, is a masterpiece of individualization and charac?ter. Unlike with Mozart and Schubert, there are no repeated gestures in Beethoven: everything unfolds and is developed in a new aspect. The pianist has to convey this in his interpretation, and at the same time the listener has to be actively involved in Beethoven's innovative processes. For something to be just "nice" or "pleasant" isn't possible with Beethoven.
The agility of the pianist as a thinker, and at the same time as a well-prepared craftsman--do the two have to be brought together under the same roof
That really is one of the greatest difficulties for successful Beethoven performance. Because Beethoven never proceeds schematically (and this of course is a general hallmark of great music), and on top of that because it's precisely the differ?ences, variations, and elaborations, etc., that dis?tinguish the piano sonatas, the performer is con?tinually confronted with a wealth of challenges as regards forms, articulation, and sonority. There is no such thing as a simple "Beethoven sound."
On the other hand, there used to be so-called Beethoven specialists, of whom the most promi?nent was probably Wilhelm Backhaus, just as there were Chopin and Liszt specialists. Are such specializations obsolete today
Probably. Arthur Rubinstein, for example, was a world famous Chopin performer who also played some Beethoven without running the danger of becoming a "Beethoven specialist." As far as Beethoven and Chopin are concerned, they de?mand two very different ways of playing the pi?ano. Although Chopin's music is certainly great, it does not have the philosophical and existential depth of Beethoven. Chopin's music is sonority, it is engraved, and it arises very much out of the piano. For Beethoven the piano is a means of real?izing the impossible--his own musical thoughts. Beethoven encompasses not only pianistic means of expression, but also sonorities conceived in terms of orchestral and chamber music. The dif?ficulty lies in giving voice to each of these types of sonority.
You are the opposite of a specialist yourself, al?though you have been committed to Bach, then Mozart and Schubert.
Specialization is unhealthy. By that I include the tendency always to play the same pieces by a particular composer. That tires and restricts your creative horizons. On the other hand, you should also be aware of your own personal limits. No pia?nist plays everything equally well. And if we take contemporary music into account, a possible if not perhaps realistic repertoire stretches from the Baroque to Stockhausen, Lachenmann and Rihm. To encompass all of this in the "right" way poses enormous problems, not least from the point of view of actual sound.
What kind of sound do Beethoven's piano sonatas demand
As I said, practically every note matters in its spe?cific relationship to the piece and its character. But perhaps Beethoven "suits" contemporary music better than Mozart or Chopin for instance, because for his part he was more a sculptor than a painter--the corners and edges in his music stick out sharply and must be heard to do so. Beethoven's aesthetic governs the sounds accord?ing to his thematic and spiritual ideas, and not the other way round.
If we take the early sonatas, what are their par?ticular challenges for the pianist and the musical interpreter
First of all, we have to take these works absolutely seriously. They are not in any way "preliminary ex?ercises" for the later works. Of course, the collec?tive sonatas display an evolution, but already with Op. 2, No. 1 the highest quality is achieved. On the other hand, the first three sonatas are not par?ticularly economically written; Beethoven enthus?es and exaggerates, repeats while varying, hardly moderates himself at all. As a result, the pianist has to be careful to hold the form and content together. Moreover, the long Sonata Op. 7, with its wonderfully rich sonorities, should never sound boring. Finally, Beethoven's early works require a piano technique that also comprises great virtu?osity. Youth, energy, physical and psychological well-being, the acclaimed improviser--all this can also be seen in the handwriting of these pieces; and the three sonatas of Op. 2, in particular--of course with the exception of the "Hammerkla-vier" Sonata--are for me the most demanding works, not only technically but also from the point of view of memory.
The three sonatas of Op. 10, on the other hand, appear by comparison to be already more ordered, more concentrated, in many ways less "playful."
Without doubt. All the same, Beethoven and his publisher again used the collective form of the triptych, which suggests a certain unity. And whereas the Sonatas Op. 2 are much more inward looking, and composed for Beethoven's own use, the Sonatas Op. 10 already turn outwards, towards connoisseurs and amateurs. Perhaps for that reason they are slightly easier to play. From
the point of view of their overall conception, the composer pitches their moods differently. The c-minor Sonata is highly dramatic and thus still fol?lows in the footsteps of the f-minor work from Op. 2, but I see the F-Major Sonata Op. 10, No. 2 as clearly humorous and comical, while the con?cluding D-Major Sonata is much harder to define. Certainly, it marks not only the high-point of the Op. 10 triptych, but thanks to its quite extraordi?nary slow movement it can claim a special place within Beethoven's sonata output.
The sonata design has also changed. For the first time, with the Sonatas Op. 10, Nos. 1 and 2, Beethoven composes three-movement works.
This results naturally from the concentration of material I described before. Additionally, in the case of the F-Major Sonata there is no real slow movement; the pale, melancholy mood of the "Allegretto" gives it more the character of an in?termezzo.
What would you describe as the special attributes and landmarks of the c-minor Sonata
Drama and turmoil. Its opening theme is a so-called "Mannheim rocket", as in Op. 2, No. 1, but it is sharpened by its dotted rhythm. The tempo of the first movement is "Allegro molto e con brio," and therefore not a tempo ordinario. Beethoven can be seen here as a rebel, a revolutionary, per?haps even slightly as deliberately provocative. In addition to the virtuoso explosiveness, we con?tinually meet with many-voiced chords. The piano writing is thickly scored; the musical phrase con?tinually poses questions, which are intensified by the rhetoric of the text. As further contrasts we could cite the wide range between pianissimo and fortissimo, or the enormous gaps between high and low registers, or the dramatically effective pauses, which by the way must be counted-out exactly in performance. As far as the tonal range of the first movement is concerned, it makes me think much less of the piano, than of an orchestra. In short, with its extreme economy, this is breath?less music, unresolved by any catharsis.
On the other hand, the "Adagio molto" has a completely different atmosphere. A flat major serenity, so to speak, between the assault of the outer movements.
Here the whole structure becomes expanded. The elements of motion are highly differentiated, but precisely notated, down to the minutest or?naments. The Baroque tendencies of this move?ment, which is a sonata form without develop?ment, reminded Edwin Fischer of Bach's Partita in e minor. Outbursts like the one that occurs from bar 17 could actually confirm this. The basic char?acter is essentially lyrical, but even here elements of unrest resonate--for instance in the unusually rich harmonic palette--and the coda, with its syn?copated rhythm, strikes me as very pensive.
In the third movement we meet with storm and stress again, extreme speeding up of tempo and a C-Major ending that hardly corresponds with our notion of "major" at all.
Not at all: it is written as major, but we hear it as minor. The whole movement is secretive and ur?gent, although the E-flat Major subsidiary theme is high-spirited and dance-like. The extremely short development anticipates the first movement of the Symphony No. 5. The various pitches and registers sound orchestral, and the fact that the work disappears mysteriously and rapidly at the end of the coda without any ritardando creates a ghostly conclusion.
By way of contrast, the following sonata is full of F-Major joyfulness. You interpret it as a humorous and capricious piece.
Yes. If it weren't for the pale "Allegretto" placed as an intermezzo, like a dark valley between the peaks of the outer movements, we could speak of unbroken cheerfulness. The key reminds us of course of the "Spring" Sonata for piano and violin, and also of the "Pastoral" Symphony. Mis?chief, wit and something like Great Expectations come to the fore. The theme begins questioningly and with an upbeat, and the following triplet an?swers like an echo of birdsong. This again shows how intelligently Beethoven is able to establish contrasting sonorities. After this rather aphoristic beginning, broad, singing lines develop; neither Haydn nor Mozart shaped their phrases so expan?sively.
But it is particularly here that Beethoven uses the art of surprise.
The sonata is peppered with unexpected changes. We only have to think of the explosive gesture in c minor (bar 41 ff.), or the Baroque "quotation" of invention technique in the development, or of the "false" recapitulation (bar 118 ff.). We only return home 19 bars and a couple of startling modula?tions later! Then the traditional slow movement is replaced by that "Allegretto" whose crotchets (14-notes) rising in unison evince a striking sense of subdued tension. But the fact that the second half is so polyphonic, or that the trio would evoke a yearning chorale in D-flat Major, like a distant song, is something we would hardly have been able to predict from the movement's pale begin?ning. The finale is amazingly witty. It's true that it is in sonata form, but Beethoven incorporates fugal passages, as though in homage to Bach. Interpretatively it's important for the opening to begin rather discreetly and quietly, so that enough energy and intensity are left in reserve for the de?velopment, as well as for the very virtuosic, con-trapuntally-worked recapitulation.
With the third sonata of the Op.10 triptych Beethoven finds yet another form of expression: four movements, of which the "Largo e mesto" towers almost waywardly over the others.
But only almost. Because from the point of view of its thematic proportions and its moods, the work is extremely harmoniously designed. The first movement, very unusually a "presto," is themati-cally open to many directions and metamorpho?ses, and it therefore conveys immense construc?tive momentum. Of course the slow movement forms the climax; such grief and such depth were quite unprecedented. The tone of voice of d mi?nor, which may remind us, for instance, of Mo?zart's Piano Concerto K. 466 or of Don Giovanni, attests to an existential dimension. The breadth of the transformations is enormous: a "still-life," as it were, in the first eight bars, then the aria-like dec?lamation which ventures almost into the operatic, then the dynamic and rhythmic intensification in the second theme, and finally the chorale-like F-Major passage which already throws light on the middle section of the slow movement from Schubert's B-flat Major Sonata. To me, the music at this point carries a sense of release.
But surely not for long: after five bars it's inter?rupted by a fortissimo explosion.
Yes, the movement vibrates in its contrasts. In ad?dition to the introverted brooding and the con?solation, we find outbursts and sighs--a whole range of emotive gestures. Only with the gran?diose coda, rising from the depths of the bass to the plaintiveness of the descant in an almost un?broken chromatic progression, is this contrasting interweaving of moods left behind.
So the following movements must per se have a more gentle effect
Beethoven knows of course that only a gently-toned minuet, offering a careful "return to life," like the one in D Major, can provide the appro?priate transition. For me, such moments as these, where the tension is resolved and something new is prepared, belong among the most beautiful and moving experiences in Beethoven. Admit?tedly, they can only succeed completely if the audience participates attentively, without break?ing the spell. The trio of the minuet brings with it humor, and humor is of course reflected again in the concluding rondo, with its repeated "ques?tioning" phrases and with the clashing disloca?tion of melody and accompaniment in the second episode. What's really impressive is the way that after the big cadenza Beethoven doesn't end the movement with fireworks, but allows it casually to die away quietly in such a genial way.
Barely a year later, that's to say between 1798 and 1799, the composer produced one of the most famous of all his sonatas, the "Grand Sonate Pathetique" Op. 13.
Even today it's not clear as to whether or not the title came from Beethoven. I don't imagine it was his choice, but he didn't object to it, which im?plies a kind of acceptance. There is much that is "pathetic" about it, above all in the first move?ment. The grand, theatrical, "Grave" introduc?tion in dotted-rhythm is again something new. Its model is the French Overture. Haydn, Mozart, and Beethoven were all familiar with this form. What does the introduction express Certainly pa?thos, suffering, agitation--and with a symphonic breadth, in which the theme is shaped in an easily graspable form. This also applies to the "Allegro molto e con brio" that follows, as well as to the other movements.
Do you see this "Grave" purely as an overture for what follows, or as already a theme In itself
For me it is definitely the first main theme. Be?cause unlike in the case of the Sonata Op. 111 the opening recurs several times, varied on each occasion. This is why I follow Rudolf Serkin and Charles Rosen insofar as when I repeat the ex?position I also repeat the "Grave." I think this is what Beethoven had in mind, although in the first edition the repeat applies only to the "Allegro." Unfortunately the autograph score is lost. The dy?namic marking at the beginning of the "Grave" is simply fortepiano, so one should absolutely not play a thundering fortissimo, but instead increase the intensity of the extremely thick, many-voiced piano writing rather carefully. The last three bars with their cadenza-like rhetoric, although they are without a crescendo, prepare the way for the "Allegro" with great tension.
How should the tempi be defined at such transi?tional moments
A certain agogic delay is desirable, but it is more important to find the right proportions between the "Grave" and the "Allegro." The "Allegro" is "di molto e con brio" and absolutely has to be played alia breve. Incidentally, Chopin composed the first movement of his "Funeral March" Sonata Op. 35 in a similar way, and at the parallel point-that's to say between the "Grave" introduction and the "doppio movimento"---it shows definite references to the "Pathetique." The theme of the "Allegro" again spirals upwards in the style of a "Mannheim rocket," but it is filled out with thirds and sixths, which, combined with the fast tempo, poses certain technical demands: heavi?er weights than at the beginning of the Sonata Op. 10, No. 1 have to be lifted. The subsidiary theme begins in e-flat minor, an extremely unusual key for Beethoven, but it very quickly modulates. The way the "Grave" reappears at the beginning of the development is highly significant: its mood is different--beseeching, and very mysterious. The development itself, with its bare octaves and the "drum roll" (bar 167 ff.), increases the "or?chestral" effect. The fact that it begins in the dis?tant key of e minor, with accelerated quotations of the "Grave" theme, epitomizes for me the new and revolutionary aspect of the sonata as a whole.
And finally, the last return of the "Grave," before the coda, is eerie, spreading a kind of frozen still?ness against all expectations.
Beethoven shapes the two following movements in a noticeably more "classical" manner, as though after such unruliness there must be a return to a certain politeness.
Exactly. The outer sections of the "Adagio can-tabile" in A-flat Major are like a song without words; then in the middle section, with its poly?phonic complexities, the timbre is more like cham?ber music, and finally with the sforzati it becomes positively orchestral. The slow movement of Schubert's c-minor Sonata reproduces this section very closely. The rondo is similarly classical and clearly laid out, with its main theme recurring four times. In the episodes Beethoven varies things in the way we would expect from him: partly with contrapuntal elements, as in the second episode, partly with lyrical ideas, as in the dolce motif. Not until the coda, from bar 182, is the connection to the first movement made clear; then it becomes virtuosic again and, with much rhetoric, "pathet?ic." In between the two closing phrases, cascad?ing down from the descant, the "Grave" theme slips in once again, with a very discreet question?ing gesture, which is, however, immediately an?swered with a furious "no."
Translation by Misha Donat.
Andras Schiff was born in Budapest, Hun?gary, in 1953. He began piano lessons at the age of five with Elisabeth Vadsz and continued his musical studies at the Ferenc Liszt Academy with Professor P3I Kadosa, Gydrgy Kurtag, and Ferenc Rados. He also worked with George Malcolm in London. Recitals and special projects take him to all of the international mu?sic capitals and include cycles of the major key?board works of Bach, Haydn, Mozart, Beethoven, Schubert, Schumann, Chopin, and Bart6k. In 2004, he began a series of performances in Eu?rope exploring the 32 Beethoven piano sonatas in chronological order--a project recorded live for ECM New Series, to be released in eight volumes though 2009. The Beethoven Sonata Project in North America begins this season.
The Beethoven Sonata Project in its entirety is slated for New York's Carnegie Hall, Los Ange-les's Disney Hall, San Francisco's Symphony Hall, and Ann Arbor's Hill and Rackham Auditoriums. Individual recitals are slated for Boston, Washing?ton DC, Princeton, and Santa Barbara. Mr. Schiff makes his only North American concert appear?ance this season with the Boston Symphony Or?chestra, under the baton of Bernard Haitink per?forming Bartdk's Piano Concerto No. 3.
In 1999, Mr. Schiff created his own chamber orchestra, the Cappella Andrea Barca, for a seven-year series of the complete Mozart piano concer?tos, taking place at the Mozartwoche of the In?ternationale Stiftung Mozarteum in Salzburg. The group, consisting of international soloists, cham?ber musicians, and close friends, toured North America during the 0506 and 0607 seasons in a series of concerts at Carnegie Hall and Alice Tully Hall to commemorate the 250th anniversary of Mozart's birth. The six concerts included 12 of the Mozart piano concerti, chamber music, and symphonies.
During the next few seasons, the focus of Mr. Schiff's orchestral activities will be conducting programs of Bach, Beethoven, and Mozart from the keyboard. He has annual engagements with the Philharmonia Orchestra of London and the Chamber Orchestra of Europe as conductor and soloist. He is a regular visitor as conductor and so?loist with the Philadelphia Orchestra, Los Angeles Philharmonic, National Symphony Orchestra, Sta-atskapelle Dresden, Budapest Festival Orchestra, and City of Birmingham Symphony Orchestra. He has conducted Bach's Mass in b minor and Haydn's Creation with the London Philharmonia and was conductor and soloist with the Chamber Orchestra of Europe on a critically acclaimed tour of New York, Chicago, and San Francisco.
Since childhood, Mr. Schiff has enjoyed play?ing chamber music and was Artistic Director of Musiktage Mondsee, an internationally praised annual chamber music festival near Salzburg from 1989 until 1998. He is presently joint Artistic Di?rector of Ittinger Pfingstkonzerte, a chamber mu?sic festival he founded in Switzerland with Heinz Holliger in 1995, In 1998, Mr. Schiff started a similar series entitled Ommaggio a Palladio at the Teatro Olimpico in Vicenza. From 2004-2007, he was Artist-in-Residence of Kunstfest Weimar in Germany.
Andras Schiff
Mr. Schiff has established a prolific discogra-phy, including recordings for Teldec (1994-1997), LondonDecca (1981-1994) and, since 1997, ECM New Series. Recordings for ECM include the com?plete solo piano music of Beethoven and Jana1 ek, a solo disc of Schumann piano pieces, and his sec?ond recording of the Bach Goldberg Variations. He has received several international recording awards, including two Grammy Awards for "Best Classical Instrumental Soloist (Without Orches?tra)" for the Bach English Suites and "Best Vocal Recording" for Schubert's Schwanengesang with tenor Peter Schreier. For the 49th annual Grammy Awards, Mr. Schiff was nominated for "Best Clas?sical Album (Without Orchestra)" for the second volume of his Complete Beethoven Sonata record?ings for ECM.
Among other honors, Mr. Schiff was award?ed the Bartbk Prize in 1991 and the Claudio Ar-rau Memorial medal from the Robert Schumann Society in Dusseldorf in 1994. In March 1996, Mr. Schiff received the highest Hungarian distinction, the Kossuth Prize, and in May 1997 he received the Leonie Sonnings Music Prize in Copenhagen. He was awarded the Palladio d'Oro by the city of Vicenza, and the Musikfest-Preis Bremen for "outstanding international artistic work" in 2003. Recently, Mr. Schiff received two awards in rec?ognition of his Beethoven performances: in June 2006, he became an Honorary Member of the Beethoven House in Bonn; and in May 2007, he
was presented with the renowned Italian Prize, the Premio della critica musicale Franco Abbiati in recognition of his Beethoven Piano Sonata Cycle. This fall, Mr. Schiff will be honored by the Royal Academy of Mu?sic with the institution's prestigious Bach Prize, awarded each year to an individual who has made an outstanding contribution to the per?formance andor schol?arly study of the music of J.S.Bach.
In 2007, Mr. Schiff and music publisher G. Henle began a unique
partnership to produce special joint editions of Mozart and Bach. Mr. Schiff is currently editing the complete Mozart Piano Concerti to include his specific fingerings and cadenzas where the original cadenzas are missing. Once the Mozart project is complete, plans are set for Bach's Well-Tempered Clavier to be edited with Mr. Schiff's insights and fingerings.
Mr. Schiff is an Honorary Professor of Mu?sic Schools in Budapest, Detmold, and Munich. In 2001, Mr. Schiff became a British citizen; he re?sides in Florence and London and is married to the violinist Yuuko Shiokawa.
UMS ARCHIVES
These first two concerts of Andras Schiff's complete Beethoven piano sonata cycle mark his third and fourth appearances under UMS auspices. Mr. Schiff made his UMS debut playing Bartbk's Piano Concerto No. 2 with the Budapest Festival Orchestra in 1998 at Hill Auditorium.
with the
University of Michigan
Health System
and the
Charles H. Gershenson
Trust
present
Filarmonica della Scala
under the high patronage of the President of the Italian Republic
Riccardo Chailly
Conductor
Ben Heppner, Tenor
Program
Saturday Evening, October 6, 2007 at 8:00 Hill Auditorium Ann Arbor
Richard Wagner Wagner
Wagner
Lohengrin (excerpt, Prelude, Act III)
Wesendonk-Lieder
Der Engel Stehe still Im Treibhaus Schmerzen Traume
Die Walkiire (excerpt, Act I: Scene iii) Siegmund heiB ich und Siegmund bin ich!
MR. HEPPNER
INTERMISSION
Ottorino Respighi
Respighi
Fountains of Rome
The Fountain of the Valle Giulia at Dawn The Triton Fountain in Early Morning The Trevi Fountain at Midday The Fountain of the Villa Medici at Sunset
Pines of Rome
The Pines of the Villa Borghese The Pines Near a Catacomb The Pines of the Janiculum The Pines of the Appian Way
Seventh Performance of the 129th Annual Season
129th Annual Choral Union Series
The photographing or sound and video recording of this concert or posses?sion of any device for such recording is prohibited.
This performance is sponsored by the University of Michigan Health System.
This performance is supported by the Charles H. Gershenson Trust, Maurice Binkow, Trustee.
Host support is provided by the Maurice and Linda Binkow Philanthropic Fund.
Media partnership for this performance provided by WEMU 89.1 FM and WDET 101.9 FM.
Special thanks to Richard LeSueur and the Ann Arbor District Library for their participation in this residency.
Special thanks to Tom Thompson of Tom Thompson Flowers, Ann Arbor, for his generous contribution of lobby floral art for this evening's concert.
Filarmonica delta Scala's 2007 US Tour, under the patronage of the Ministry of Foreign Affairs of Italy, the Region Lombardy, the Province of Milan and the Mu?nicipality of Milan, and in collaboration with Friends of FAI, has been generously sponsored by UniCredit Group, Gruppo Fondiaria Sai, Telecom Italia and FMR.
Filarmonica della Scala appears by arrangement with Columbia Artists Management, LLC.
Large print programs are available upon request.
Lohengrin (excerpt, Prelude, Act III) Richard Wagner
Born May 22, 1813 in Leipzig, Germany Died February 13, 1883 in Venice, Italy
Few composers have ever been more ardently worshipped than Richard Wagner, and none have been more passionately hated. The controversy around his work and his personality continued long after his death. It seems that the only attitude towards Wagner that is impossible is indifference.
In fact, Wagner's music has such an intense dramatic sweep that a listener simply cannot remain on the sidelines. Wagner was one of the boldest innovators in the history of music; his music conveys the emotions and ideas of his stage characters with extraordinarily suggestive power.
The mood of the Act III Prelude of Lohen?grin is excited and solemn at the same time as the duchy of Brabant is preparing for a most unusual wedding: Elsa, the daughter of the late Grand Duke, is marrying a mysterious hero who arrived in a boat drawn by a swan and who has saved her life but forbidden her to ask him his name.
The fanfares of the brass and the irregular clashes of the cymbal set a tone of overflowing happiness. The more subdued middle section anticipates the famous wedding march that, in the opera, immediately follows this prelude. After a return of the jubilant opening material, the prelude ends softly to provide a link with the rest of the act.
Wesendonk-Lieder
Wagner
DerEngel(1857)
Stehe still! (1858)
Im Treibhaus--Studie zu Tristan und Isolde (1858)
Schmerzen (1857)
Traume--Studie zu Tristan und Isolde (1857)
Soon after completing Lohengrin, Wagner had to flee Germany because of the active role he had played in the revolution of 1848-49. For the next decade or so, he lived in Switzerland. Cut
off from the theatrical activities that had filled his life while he was the Kapellmeister for the King of Saxony (1843-49), Wagner now turned his attention to theoretical work and the elaboration of the largest project of his life, the four-opera cycle The Ring of the Nibelung.
On a personal level, these were far from happy years for Wagner. Having lost his job, he had to rely on the generosity of two wealthy admirers, Julie Ritter and Jessie Laussot. His marriage to Minna Planer was on the rocks and he wasn't sure whether he would ever be able to realize his ambitious theatrical plans. In this precarious situation, the friendship of Otto and Mathilde Wesendonk was a godsend. Otto, a retired silk merchant, supported Wagner financially for years and placed a house adjacent to his own home at the composer's disposal. Mathilde Wesendonk was an aspiring poet who later wrote several dramas and other works. She and Wagner were inevitably attracted to one another. Their love affair was evidently one of the reasons why Wagner temporarily put aside The Ring of the Nibelung and began work on Tristan and Isolde, the music drama in which the famous medieval romance takes on an emotional and philosophical dimension never experienced before. Together, Wagner and Mathilde read the works of Arthur Schopenhauer, the philoso?pher who was a major influence on Tristan; and concurrently with the composition of that opera, Wagner composed five songs to texts written to texts by Mathilde--the only songs he ever wrote in his mature years. Two of the songs, "Im Treibhaus" and "Traume," are explicitly marked as "studies to Tristan and Isolde," where their musical material appears almost note by note.
The relationship between Richard Wagner and Mathilde Wesendonk ended abruptly when Wagner's wife Minna intercepted one of her husband's letters to the poetess. Wagner had to leave "Asyl," as he called his house next to the Wesendonks' and beat a hasty retreat to Venice. Yet the five Wesendonk songs will forever stand as an eloquent testimony to a passionate liaison that inspired Tristan and Isolde, one of the great?est landmarks in the history of Western music.
Wesendonk-Lieder
Fiinf Gedichte fur eine Frauenstimme
(Five Poems for Woman's Voice) (Mathilde Wesendonk)
Der Engel
In der Kindheit friihen Tagen Hort ich oft von Engeln sagen, Die des Himmels hehre Wonne Tauschen mit der Erdensonne,
Dass, wo bang ein Herz in Sorgen Schmachtet vor der welt verborgen, Dass, wo still es will verbluten, Und vergehn in Tranenfluten,
Dass, wo brunstig sein Gebet Einzig urn Erlosung fleht, Da der engel niederschwebt, Und es sanft gen Himmel hebt.
Ja, es stieg auch mir ein Engel nieder, Und auf leuchtendem Gefieder Fuhrt er, feme jedem Schmerz, Meinen Geist nun himmelwarts!
Stehe still!
Sausendes, brausendes Rad der Zeit, Messer du der Ewigkeit; Leuchtende Spharen im weiten All, Die ihr umringt den Weltenball; Urewige schopfung, halte doch ein, Genug des Werdens, lass mich sein!
Halte an dich, zeugende Kraft, Urgedanke, der ewig schafft! Hemmet den Atem, stillet den Drang, Schweigend nur eine Sekunde lang! Schwellende Pulse, fesselt den Schlag; Ende, des Wollens ewger Tag!
Dass in selig sussem Vergessen
Ich mog alle Wonne ermessen!
Wenn Auge in Auge wonnig trinken,
Seele ganz in Seele versinken;
Wesen in Wesen sich wiederfindet,
Und alles Hoffens Ende sich kiindet.
Die Lippe verstummt in staunendem Schweigen,
Keinen Wunsch mehr will das Innre zeugen:
Erkennt der Mensch des Ewgen Spur,
Und lost dein Ratsel, heilge Natur!
The Angel
In early days of childhood, often I heard talk of angels who heaven's glorious bliss exchange for the sun of earth,
so that when, in dread sorrow, a heart yearns, hidden from the world; when it wishes silently to bleed and perish in streams of tears;
when its fervent prayer begs only for deliverance, then down that angel floats and raises it gently to heaven.
And to me an angel has come down, and upon gleaming wings, it bears far from every pain my spirit now heavenwards!
Stand Still!
Whirring, rushing wheel of time,
measure of eternity;
gleaming spheres in the wide universe,
you who surround the globe of earth;
eternal creation, cease,
enough of becoming, let me be!
Cease, generative powers, primal, ever-creating thought! Stop your breath, still your urge in silence for just one second! Surging pulses, fetter your beating; end, eternal day of willing!
That in blessed, sweet oblivion I might measure all my bliss! When eye drinks eye in bliss, soul drowns utterly in soul; being rediscovers itself in being, and the goal of every hope is near; when lips are mute in silent wonder, and the heart no further wish desires-then man perceives eternity's sign, and solves your riddle, holy Nature!
'While this is the original inscription on Wagner's title page, there is a performance history of tenors singing these songs in concert.
Im Treibhaus
Hochgewolbte Blatterkronen, Baldachine von Smaragd, Kinder ihr aus fernen Zonen, Saget mir, warum ihr klagt
Schweigend neiget ihr die Zweige, Malet Zeichen in die Luft, Und der Leiden stumer Zeuge Steiget aufwarts, susser Duft.
Weit in sehnendem Verlangen Breitet ihr die Arme aus, Und umschlinget wahnbefangen Oder Leere nichtgen Graus.
Wohl, ich weiss es, arme Pflanze; Ein Geschicke teilen wir, Ob umstrahit von Licht un Glanze, Unsre Heimat ist nicht hier!
Und wie froh die Sonne scheidet Von des Tages leerem Schein, Hullet der, der wahrhaft leidet, Sich in Schweigens Dunkel ein.
Stille wird's, ein sauselnd Weben Fiillet bang den dunklen Raum: Schwere Tropfen seh ich schweben An der Blatter grijnem Saum.
Schmerzen
Sonne, weinest jeden Abend Dir die schonen Augen rot, Wenn im Meeresspiegel badend Dich erreicht der fruhe Tod!
Doch erstehst in alter Pracht, Glorie der dustren Welt, Du am Morgen neu erwacht, Wie ein stolzer Siegesheld!
Ach, wie sollte ich da klagen, Wie, mein Herz, so schwer dich sehn. Muss die Sonne selbst verzagen, Muss die Sonne untergehn
Und gebieret Tod un Leben, Geben Schmerzen Wonne nur: 0 wie dank ich, dass gegeben Solche Schmerzen mir Natur!
In the Greenhouse
High-vaulted leafy crowns, canopies of emerald, children of distant zones, tell me why you grieve
Silent, you bend your branches, draw signs upon the air, and, as mute witness to your sorrows, a sweet fragrance rises.
With longing and desire, wide you open your arms, and, victim of delusion, embrace desolation's awful void.
Well I know, poor plant;
one fate we share,
though bathed in light and glory,
our homeland is not here!
And as, gladly, the sun parts from the empty gleam of day, so he truly suffers, veils himself in the dark of silence.
Quiet it grows, a whisper, a stir fills the dark room uneasily: heavy drops I see hanging on the leaves' green edge.
Anguish
Sun, each evening you weep your fair eyes red, when, bathing in the sea's mirror, you are overtaken by early death.
Yet, in your old splendor, you rise, glory of the somber world, newly awakened in the morning, a proud, heroic conqueror!
Ah, why should I lament,
and see you, my heart, so oppressed,
if the sun itself must despair,
if the sun must sink
And if death beget only like, and anguish bring only delight: oh, how I give thanks that nature gave me such anguish!
Traume
Sag, welch wunderbare Traume Halten meinen Sinn umfangen, Dass sie nicht wie leere Schaume Sind in odes Nichts vergangen
Traume, die in jeder Stunde, Jedem Tage schbner bluhn, Und mit ihrer Himmelskunde Selig durch Gemute ziehn!
Traume, die wie hehre Strahlen In die Seele sich versenken, Dor ein ewig Bild zu malen: Allvergessen, Eingedenken!
Traume, wie wenn Frijhlingssonne Aus dem Schnee die Bluten kusst, Dass zu nie geahnter Wonne Sie der neue Tag begrCisst,
Dass sie wachsen, dass sie bliihen, Traumend spenden ihren Duft, Sanft and deiner Brust vergluhen, Und dann sinken in die Gruft.
Dreams
Say, what wondrous dreams embrace my senses, that they have not, like bubbles, vanished to a desolate void
Dreams, that with each hour, each day bloom fairer, and with their heavenly tidings pass blissfully through the mind!
Dreams, which like sacred rays plunge into the soul, there to paint an eternal picture: forgetting all, remembering one!
Dreams, as when spring sun kisses the buds from the snow, so that into never-suspected bliss the new day welcomes them,
so that they grow and bloom, dreaming bestow their scent, gently glow and die upon your breast, then sink into the grave.
Die Walkure (excerpt, Act I: Scene iii)
Wagner
Act I of Die Walkure (the second opera in the Ring of the Nibelung), often performed separately, represents a magical awakening: two people fall fatally in love, and then realize that they are broth?er and sister, separated at birth. At the house where Sieglinde lives with Hunding (whom she was forced to marry), there is an ash-tree in which Wotan, the twins' father, had placed a sword that no one has ever been able to remove. Siegmund claims the sword: at this moment he assumes that new name which means "The Protector of Vic?tory," shedding his previous identity as Wehwalt (Woeful).
Just before pulling the sword out of the tree, Siegmund sings the same melody to which the Rhinemaiden Woglinde, in the first scene of Das Rheingold, sang the words "Only one who renounces love will be able to forge a ring out of the gold." This motif has generally been known as
the theme of the "renunciation of love"; and yet, renouncing love is the last thing on Siegmund's mind at this moment. What connects the two cru?cial moments is the fact that both are connected to irrevocable decisions. Just as Alberich set an av?alanche in motion by renouncing love, Siegmund, by winning the sword, starts out on a fateful path that will inevitably lead to his destruction.
After calling Siegmund by his true name, Sieglinde reveals her own identity as his sister. The incestuous lovers run off into the night as the act closes with one of the most famous endings in all opera: a fortissimo dissonance, held out for nine long beats, cut off by a single, short tonic chord that never fails to leave an audience breathless.
Siegmund
Siegmund heiss' ich
und Siegmund bin ich!
Bezeug' es dies Schwert,
das zaglos ich halte!
Walse verhiess mir,
in hochster Not
fand' ich es einst:
ich fass' es nun!
Heiligster Minne
hochste Not,
sehnender Liebe
sehrende Not
brennt mir hell in der Brust,
drangt zu Tat und Tod:
Notung! Notung!--
So nenn' ich dich, Schwert--
Notung! Notung!
NeidlicherStahl!
Zeig' deiner Scharfe
schneidenden Zahn:
heraus aus der Scheide zu mir! --
Siegmund, den Walsung,
siehst du, Weib!
Als Brautgabe
bringt er dies Schwert:
so freit er sich
die seligste Frau;
dem Feindeshaus
entfuhrt er dich so.
Fern von hier
folge mir nun,
fort in des Lenzes
lachendes Haus:
dort schutzt dich Notung, das Schwert,
wenn Siegmund dir liebend erlag!
Siegmund
Siegmund I am called
and Siegmund I am,
let this sword,
which I fearlessly hold, bear witness.
Walse promised me
that in deepest distress
I should one day find it.
Now I grasp it.
Holiest love's
deepest distress,
yearning love's
scorching desire,
burn bright in my breast,
urge me to deeds and death.
"Needy," "Needy,"
I name you, sword.
"Needy," "Needy,"
precious blade,
show your sharpness
and cutting edge:
come from your scabbard to me!
You see Siegmund,
the Walsung, woman!
As wedding gift
he brings this sword;
so he weds
the fairest of women;
he takes you away
from the enemy's house.
Now follow me
far from here,
out into springtime's
smiling house.
For protection you'll have "Needy" the sword,
even if Siegmund expires with love.
Fountains of Rome (1916) Pines of Rome (1924)
Ottorino Respighi
Born July 9, 1879 in Bologna, Italy
Died April 18, 1936 in Rome
If it is at all possible to set a whole city to music, Ottorino Respighi did it in his magnificent trilogy The Fountains of Rome, The Pines of Rome, and Roman Festivals (1928). In colorful and virtuosic orchestral language, Respighi conjured up vivid impressions of memorable places and moments in his favorite city.
The first piece of the triptych, The Foun?tains of Rome, was meant to convey (as Respighi noted in the score) "the sentiments and visions suggested to him by four of Rome's fountains at the hour in which the character of each is most in harmony with the surrounding landscape, or in which their beauty appears most suggestive to the observer."
The Pines of Rome is also in four sections, each depicting pine-trees in different parts of the city--or rather, illustrating the various activities going on around those trees.
Respighi included the following explanatory notes in the two scores:
The Fountains of Rome
The first part of the poem, inspired by the "Fountain of Valle Giulia," depicts a pastoral landscape; droves of cattle pass and disappear in the fresh, damp mists of a Roman dawn.
A sudden, loud, and insistent blast of horn above the trills of the whole orchestra introduces the second part, the "Triton Fountain." It is like a joyous call, summoning troops of naiads and tri-tons (mythological water creatures), who come running up, pursuing each other and mingling in a frenzied dance between the jets of water.
Next there appears a solemn theme, borne by the undulations of the orchestra. It is the "Fountain of Trevi" at midday. The solemn theme, passing from the wood to the brass instruments, assumes a triumphant character. Trumpets peal; across the radiant surface of the water there passes Neptune's chariot, drawn by sea-horses and followed by a train of sirens and tritons. The procession then vanishes, while faint trumpet blasts resound in the distance.
The fourth part, the "Villa Medici Fountain," is announced by a sad theme, which rises above a subdued warbling. It is the nostalgic hour of sunset. The air is full of tolling bells, birds twit?tering, leaves rustling. Then all dies peacefully into the silence of the night.
The Pines of Rome
"The Pines of the Villa Borghese." Children are at play in the pine groves of Villa Borghese; they dance around in circles, they play at soldiers, marching and fighting, they are wrought up by their own cries like swallows at evening, they come and go in swarms. Suddenly the scene changes, and...
"Pines near a Catacomb." We see the shades of the pine-trees fringing the entrance to a catacomb. From the depth rises the sound of mournful psalm-singing, floating through the air like a solemn hymn, and gradually and mys?teriously dispersing.
"The Pines of the Janiculum." A quiver runs through the air: the pine-trees of the Janiculum stand distinctly outlined in the clear light of a full moon. A nightingale is singing. (Respighi used the recorded sound of a real nightingale here.)
"The Pines of the Appian Way." Misty dawn on the Appian Way: solitary pine-trees guarding the magic landscape; the muffled, ceaseless rhythm of unending footsteps. The poet has a fantastic vision of bygone glories: trumpets sound and, in the brilliance of the newly-risen sun, a con?sular army bursts forth towards the Sacred Way, mounting in triumph to the Capitol.
Program notes by Peter Laki.
Riccardo Chailly devotes himself to both concert and operatic repertoire. The native of Milan has conducted the Berlin and Vi?enna Philharmonics, the Gewandhaus Orchestra, the Munich Philharmonic, the London Symphony Orchestra, the New York Philharmonic, the Cleve?land Orchestra, the Philadelphia Orchestra, and the Chicago Symphony Orchestra, and has appeared at the most important opera houses throughout the world: Milan's La Scala (where he made his
debut in 1978), the Vienna State Opera, the Metropolitan Opera in New York, London's Royal Op?era House, Covent Garden, the Bavar?ian State Opera in Munich, and the Zurich Opera. He opened the Salzburg Festival in 1984 and appeared as guest conductor at Salz?burg's Easter Festival and at the Lucerne Festival.
Riccardo Chailly
Maestro Chailly was Principal Guest Conduc?tor of the London Philharmonic Orchestra from 1983 to 1986 and Chief Conductor of the Berlin Ra?dio Symphony Orchestra from 1982 to 1989. From 1986 to 1993 he was Music Director of the Teatro Comunale di Bologna, where he conducted numer?ous opera productions with resounding success.
Since his appointment as Chief Conductor of the Amsterdam Concertgebouw Orchestra (1988 to 2004), he has also devoted himself increasingly to symphonic repertoire. He delights a steadily grow?ing audience not only with his performances of the great standard works but with many 20th-century works as well. He has led the Concertgebouw Or?chestra on tours to the major European festivals (including the Vienna Festival and London Proms) and recently completed the Millennium Tour with concerts in the US, Canada, Japan, and Europe. Tours with his Dutch orchestra have also taken him to South America, China, Korea, and Taiwan.
In 1994 he was awarded the title of Grand Officer of the Republic of Italy, and in 1996 he was made an honorary member of the Royal Academy of Music in London. In November 1998, on the occasion of his 10th anniversary as Chief Conductor of the Concertgebouw Orchestra, he was awarded the title of Knight of the Order of the Dutch Lion by Queen Beatrix of the Nether?lands. In 1998 he also became a Knight of the Grand Cross of the Republic of Italy.
In addition to his position in Amsterdam, in July 1999, Maestro Chailly accepted an appoint?ment as Music Director of the Orchestra Sinfonica di Milano Giuseppe Verdi. Under its new Music Di?rector, this municipal orchestra, founded by citizens of Milan, has become an internationally acclaimed
ensemble which has since recorded 10 CDs for Decca Classics. He left the Orchestra in 2005.
Maestro Chailly has an exclusive contract with Decca and has recorded an extensive reper?toire of symphonic works and operas, over 100 CDs in total, including four recordings with Filar-monica della Scala. He has received many awards for his recordings, including several Edison Prizes and Gramophone Awards, as well as the Diapason d'Or, the Charles Cross Academy Award, Japan's Unga Konotomo Award, the Toblach Komponi-erhauschen (Composition Cottage) Award, and numerous Grammy nominations. The magazines Diapason and Gramophone recently named him "Artist of the Year."
Maestro Chailly's first artistic encounter with the Gewandhaus Orchestra took place at the Sal?zburg Festival in 1986. He took up his position in the dual capacity of Music Director of the Ge?wandhaus Orchestra and General Music Director of the Leipzig Opera in September 2005.
Riccardo Chailly has conducted the Filarmon-ica della Scala in 1991, 1993, 1995, 1996, 1997, 1998, and in 2006.
Ben Heppner is internationally recognized as one of the finest dramatic tenors before the public today. He excels in the most chal?lenging roles, from Wagner's Tristan and Lohen?grin to Verdi's Otello and Berlioz's Aeneas. He is acclaimed in music capitals around the world for his beautiful voice, intelligent musicianship, and dramatic sense.
Mr. Heppner retums to the Metropolitan Opera at the beginning of the current season to sing Idomeneo, which was his debut role with the company in 1991. Later this season he can be heard at the Met in Andrea Chenier. Mr. Hep?pner makes 25 concert appearances throughout Europe and North America this season, beginning with his recital at Carnegie Hall. In Europe he sings Act III of Siegfried with the Halle Orchestra in Manchester, England, and he tours with the Rot?terdam Philharmonic throughout Germany to sing arias from Die Walkure and Siegfried. His other European appearances include concerts in Paris, Madrid, Bilbao, Dresden, and Mannheim. In Janu?ary he sings recitals in his native British Columbia, Canada, followed by two concert performances of Tristan und Isolde with the Montreal Sym?phony. Mr. Heppner concludes his season with
performances of Lo?hengrin at the Paris Opera and Vienna State Opera.
In August 1998 Mr. Heppner sang his first perfor?mances of Tristan und Isolde in a new production for Seattle Opera. He subsequently sang this heroic role at the Metropolitan
Ben Heppner
Opera, Lyric Opera of Chicago, Berlin State Op?era, Salzburg Easter Festival, Maggio Musicale Fiorentino, and in a new Peter Sellars production for Paris Opera. He has been associated with the Wagner repertoire since 1988, when he won the first Birgit Nilsson prize, and the following year, when he sang Lohengrin with the Royal Swedish Opera and at the Bolshoi Theatre.
Many of Mr. Heppner's portrayals have been revealed in new productions at the Metropolitan Opera, which include Robert Wilson's production of Lohengrin, Walther von Stolzing in Die Meisters-ingervon Nurnberg, Florestan in Fidelio, Aeneas in Les Troyens, Gherman in The Queen of Spades, and the Prince in Rusalka. He has also been heard at the Met in Ofeo, his first performances of Par?sifal, and as Laca in Jenufa. He has sung these and other roles at Covent Garden, Vienna State Opera, La Scala, Bavarian State Opera, San Francisco Op?era, and Lyric Opera of Chicago.
Mr. Heppner joined the Boston Symphony Orchestra as soloist in Mahler's Symphony No. 8 for James Levine's first concerts as the Orchestra's Music Director. His orchestral repertoire also in?cludes Das Lied von der Erde, Schoenberg's Gurre-lieder, Kodaiy's Psalmus Hungahcus, Britten's War Requiem, and Elgar's The Dream of Gerontius. He has performed these and other works with the Berlin Philharmonic, Vienna Philharmonic, the Met Orchestra, Chicago Symphony, London Sym?phony Orchestra, Toronto Symphony, Philadelphia Orchestra, and Orchestre de la Suisse Romande. Conductors he has worked with include Sir Georg Solti, Claudio Abbado, Daniel Barenboim, Lorin Maazel, Seiji Ozawa, Valery Gergiev, Esa-Pekka Salonen, and Mstislav Rostropovich.
Ben Heppner can be heard on RCA Red Seal on solo recordings including My Secret Heart, Dedication, Ben Heppner sings German Romantic
Opera, and Great Tenor Arias. His complete opera recordings include Lohengrin, Turandot, and Fide-lio for RCA Red Seal, Die Meistersinger for both Decca and EMI, Rusalka for Decca, Herodiade and Oberon for EMI, Der fliegende Hollander for Sony, Die Frau ohne Schatten for Teldec, and Ari?adne auf Naxos for Deutsche Grammophon. He recently became an exclusive artist for Deutsche Grammophon; his current release is a recording of arias from Wagner's Die Walkure and Siegfried. Deutsche Grammophon also inaugurated their new series of live-recorded Metropolitan Op?era performances on DVD with Mr. Heppner as Tristan and as Florestan in Fidelio.
Mr. Heppner studied music at the Univer?sity of British Columbia. He first gained national attention in 1979 as the winner of the CBC Tal?ent Festival. In December 1998 CBC television's Something Special featured Ben Heppner in an hour-long portrait of the artist. He is a 1988 win?ner of the Metropolitan Opera auditions and he received Grammy Awards in 1998 for his record?ing of Die Meistersinger on LondonDecca records and in 2001 for his recording of Les Troyens with the London Symphony Orchestra on LSOLive. Mr. Heppner is an Officer of the Order of Canada.
FHarmonica della Scala (La Scala Philhar?monic) was founded in 1982 by Claudio Ab?bado. In its first seasons, many of the great conductors appeared alongside Maestro Abbado and have been with the orchestra during all its history: Georges Pretre, Lorin Maazel, Wolfgang Sawallisch, and Carlo Maria Giulini, who directed the orchestra in its first tours abroad.
Riccardo Muti was Principal Conductor from 1987 to 2005 and contributed to the Philharmon?ic's international success. In 2006 the Philhar?monic started a new cooperation with Riccardo Charily, Myung-Whun Chung, and Daniele Gatti.
Under the baton of Riccardo Muti, La Scala Philharmonic performed at the Wiener Festwo-chen in 1996, 1999, and 2002; at the Salzburg and Luzern Festivals; and in Paris, Barcelona, Lis?bon, Madrid, Moscow, St. Petersburg, Munich, Prague, Warsaw, Budapest, and Tokyo. In 2004 the Philharmonic travelled to Vilnius, Salonika, Sofia, Zagreb, and Athens, and then to the Far East. In 2006 the Philharmonic played under the baton of Daniele Gatti in Istanbul, Belgrade, and Budapest; with Myung-Whun Chung in Varsavia,
Moscow, and Berlin; and in the UK and Ireland with Riccardo Chailly.
Important conductors have greatly contrib?uted to the Philharmonic's activity, including Leon?ard Bernstein, Giuseppe Sinopoli, Valery Gergiev, Myung-Whun Chung, Zubin Mehta, Seiji Ozawa, Gennadij Rozdestvenskij, Yuri Temirkanov, Ricca?rdo Chailly, Semyon Bychkov, Franz Welser-Most, Peter Eotvos, James Conlon, and Daniel Harding. Soloists who have played with the Philharmonic are Maurizio Pollini, Anne-Sophie Mutter, Mstislav Rostropovich, Gidon Kremer, Vadim Repin, Yo-Yo Ma, Yuri Bashmet, Schlomo Mintz, Gil Shaham, Alexander Toradze, Mario Brunello, and Salvatore Accardo. Some of the world's most recognized and acclaimed singers have worked together with the Philharmonic, including Lucia Valentini Ter-rani, Edita Gruberova, Christa Ludwig, Frederica von Stade, Waltraud Meier, Bryn Terfel, Violeta Urmana, and Marjana Lipov5ek.
La Scala Philharmonic supports new music and presents commissioned premieres each sea?son. The Philharmonic records for Sony, Decca,
and EMI. Of particular importance are the record?ings of Beethoven's symphonies with Carlo Maria Giulini, Rossini's Cantate with Riccardo Chailly, and the complete Beethoven symphonies con?ducted by Riccardo Muti at La Scala in 1998.
La Scala Philharmonic's activity is sponsorec by UniCredit Group, a major institutional partner of the orchestra.
UMS ARCHIVES
Tonight's concert marks the United States debut of the Filarmonica della Scala. Maestro Chailly has regularly appeared in front of UMS audiences with the Royal Concertgebouw Orchestra of Amsterdam starting with his first UMS concert in 1995. Tonight's concert marks Mr. Heppner's UMS debut.
Filarmonica della Scala
First Violin
Francesco DeAngelis,
Concertmaster Daniele Pascoletti, Concertmaster Dino Sossai Shelagh Bums Rodolfo Cibin Alessandro Ferrari Alois Hubner Fulvio Liviabella Andrea Pecolo Gianluca Scandola Gianluca Turconi Agnese Ferraro Antonio Bassi Francesco Tagliavini Francesca Monego Francesco Borali Enrico Piccini Enkeleida Sheshaj
Second Violin
Giorgio Di Crosta Giulio Rovighi Damiano Cottalasso Stefano Dallera Goran Marianovic Roberto Nigro Rosanna Ottonellt Gabnele Porfidio Evgenia Staneva Clara Marzorati Monica Tasinato Matteo Trotta Andrea Pellegrini Valerio D'Ercole Estela Sheshi Carlotta Conrado
Viola
Danilo Rossi Heidi Dalvai Marco Giubileo Emanuele Rossi Mihai Sas Hiroshi Terakura Zoran Vuckovic Federica Mazzanti Filippo Milani Matteo Amadasi Thomas Cavuoto Caterina Caminati Matilde Scarponi
Cello
Sandro Laffranchini Alfredo Persichilli Jakob Ludwig Martina Lopez Alice Cappagli Gabriele Garofano Simone Groppo Clare Ibbott Marcello Sirotti Massimiliano Tisserant Livia Rotondi
Bass
Giuseppe Ettorre Alessandro Serra Roberto Benatti Claudto Cappella Attilio Corradini Omar Lonati Emanuele Pedrani Claudio Pinferetti Gaetano Siragusa
Flute
Davide Formisano Marco Zoni Romano Pucci GiovanniPaciello
Piccolo
Maunzio Simeoli
Oboe
Francesco Di Rosa Alberto Negroni Gaetano Galli Augusto Mianiti
English Horn Renato Duca
Clarinet Mauro Ferrando Fabrizio Meloni Denis Zanchetta Christian Chiodi Latini
Bass Clarinet
Stefano Cardo
Bassoon
Gabriele Screpis Valentino Zucchiatti Nicola Meneghetti Maurizio Orsini Marco Ghibaudo
Horn
Luca Benucci Natalino Rictiardo Roberto Miele Stefano Alessandri
Claudio Martini Stefano Curct Angelo Bonaccorso
Trumpet
Francesco Tamiati Roberto Rossi Gianni Dallaturca Mauro Edantippe Sandro Malatesta
Trombone
Torsten Edvar Vittorio Zannirato Riccardo Bernasconi Renato Filisetti Giuseppe Grandi Sergio Danini
Tuba Brian Earl Rino Ghiretti
Timpani
Jonathan Scully Christopher Ridley
Percussion
Gianni Arfacchia Gabnele Bianchi Giuseppe Cacciola Francesco Lenti
Harp
Margherita Bassani Elena Piva
Piano & Celesta
Ada Mauri Lorenzo Bonoldi Andrea Benelli lader Costa
'Principal
President
Cesare Rimini
Artistic Director
Ernesto Schiavi
Media Relations
Paolo Besana
Administrative Staff
Production Manager Maura Giorgetti
Assistant Production
Manager Alessandra Radice
Librarian Carlo Tabarelli
Stage and Transport
Manager Gino Salvi
UMSExperience
UMS EDUCATION PROGRAMS
.vww.ums.orgeducation
JMS's Education and Audience Development rogram deepens the relationship between iudiences and art and raises awareness of the mpact the multi-disciplinary performing arts nd education can have by enhancing the quality of life of our community. The program :reates and presents the highest quality arts education experiences to a broad spectrum of community constituencies, proceeding in he spirit of partnership and collaboration. Details about all educational events and resi?dency activities are posted one month before he performance date. Join the UMS Email Club to have updated event information sent directly to you. For immediate event info, please email umsed@umich.edu, or call the numbers listed below.
ADULT & COMMUNITY ENGAGEMENT
Please call 734.647.6712 or email umsed@umich.edu for more information.
The UMS Adult and Community Engagement Program serves many different audiences through a variety of educational events. With over 100 unique regional, local, and university-based part?nerships, UMS has launched initiatives for the irea's Arab-American, African, MexicanLatino, and African-American audiences. Among the initiatives is the creation of the NETWORK, a orogram that celebrates world-class artistry by
today's leading African and African-American performers. UMS has earned national acclaim for its work with diverse cultural groups, thanks to its proactive stance on partnering with and responding to individual communities. Though based in Ann Arbor, UMS Audience Development programs reach the entire south?eastern Michigan region.
Public Programs
UMS hosts a wide variety of educational events to inform the public about arts and culture. These events include
PREPs Pre-performance lectures
Meet the Artists Post-performance Q&A with the artists
Artist Interviews Public dialogues with performing artists
Master Classes Interactive workshops
PanelsRound Tables In-depth adult edu?cation 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 educational activities scheduled in the 0708 season. These programs provide opportu?nities for students and members of the University community to further appreciate the artists on the UMS series.
UlVlS
The NETWORK: UMS African American Arts Advocacy Committee
Celebrate. Socialize. Connect. 734.615.0122 I www.ums.orgnetwork
The NETWORK was launched during the 0405 season to create an opportunity for African-
mericans and the broader community to cele?brate the world-class artistry of today's leading
frican and African-American performers and reative artists. NETWORK members connect, ocialize, and unite with the African-American ommunity through attendance at UMS events
md free preor post-concert receptions. -JETWORK members receive ticket discounts for selected UMS events; membership is free.
0708 NETWORK PERFORMANCES
Shen Wei Dance Arts: Second Visit to the Empress
Dianne Reeves
Handel's Messiah
Youssou N'Dour and The Super Etoile ? Jazz at Lincoln Center Orchestra: Love Songs of Duke Ellington
Celebration of the Keyboard
Ahmad Jamal
SFJAZZ Collective: A Tribute to Wayne Shorter
Urban Bush WomenCompagnie Jant-Bi: Les ecailles de la memoires (The scales of memory)
Bobby McFerrin, Chick Corea and Jack Dejohnette
JMS YOUTH, TEEN, AND FAMILY EDUCATION
?lease call 734.615.0122 or email imsyouth@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.
UMS Youth
0708 Youth Performance Series
These world-class daytime performances serve pre-K through high school students. The 0708 season features special youth presentations of Shen Wei Dance Arts, Pamina Devi: A Cambodian Magic Flute, Sphinx Competition Honors Concert, Chicago Classical Oriental Ensemble, Wu Man and the Chinese Shawm Band, SFJAZZ Collective, and Urban Bush WomenCompagnie Jant-Bi. Tickets range from $3-6 depending on the performance and each school receives free curriculum materials.
Teacher Workshop Series
UMS is part of the Kennedy Center Partners in Education Program, offering world-class Kennedy Center workshop leaders, as well as workshops designed by local arts experts, to our community. Both focus on teaching educa?tors techniques for incorporating the arts into classroom instruction.
K-12 Arts Curriculum Materials
UMS creates teacher curriculum packets, CDs, and DVDs for all of the schools participating in UMS's Youth Education Program. UMS curricular materials are available online at no charge to all educators. All materials are designed to connect the curriculum via the Michigan State Benchmarks and Standards.
Teacher Appreciation Month!
March 2008 has been designated UMS Teacher Appreciation Month. All teachers will be able to purchase tickets for 50 off at the venue on the night of the performance (subject to availability). Limit of two tickets per teacher, per event. Teachers must present their official school I.D. when purchasing tickets. Check out the UMS website at www.ums.org for March events!
chool FundraisersGroup Sales
Raise money for your school and support the irts. UMS offers a wide range of fundraising opportunities and discount programs for schools. : is one of the easiest and most rewarding ,vays to raise money for schools. For informa?tion contact umsgroupsales@umich.edu or 734.763.3100.
reacher Advisory Committee
rhis group of regional educators, school
administrators, and K-12 arts education advo-
:ates advises and assists UMS in determining
-12 programming, policy, and professional
development.
JMS is in partnership with the Ann Arbor Public Schools and the .Vashtenaw Intermediate School District as part of the Kennedy -enter: Partners in Education Program. UMS also participates in :he Ann Arbor Public Schools' "Partners in Excellence" program.
JMS Teen Programs
Teen Tickets
reens can attend UMS performances at signifi?cant discounts. Tickets are available to teens for $10 the day of the performance (or on the -riday before weekend events) at the Michigan -eague Ticket Office and $15 beginning 90 ninutes before the performance at the venue. One ticket per student ID, subject to availability.
Sreakin' Curfew
n a special collaboration with the Neutral lone, Ann Arbor's teen center, UMS presents rhis yearly performance highlighting the area's oest teen performers. Details about this per-:ormance will be announced in Spring 2008.
IMS Family Programs
JMS is committed to programming that is appropriate and exciting for families. Please visit :he family programs section of ums.org for a list if family-friendly performance opportunities.
rhe 0708 family series is sponsored by TOYOTA
Family Days
Area community organizations, libraries, arts centers, museums, and performance groups collaborate on this yearly festival designed for all families. Details of Ann Arbor Family Days will be announced later this year.
Classical Kids Club
Parents can introduce their children to world-renowned classical music artists through the Classical Kids Club. Designed to nurture and cre?ate the next generation of musicians and music lovers, the Classical Kids Club allows students in grades 1-8 to purchase tickets to all classical music concerts at a significantly discounted rate. Parents can purchase up to two children's tickets for $10 each with the purchase of a $20 adult ticket beginning two weeks before the concert. Seating is subject to availability. UMS reserves a limited number of Classical Kids Club tickets to each eligible performance--even those that sell out! For information, call 734.764.2538 or sign up for the UMS Email Club and check the box for Classical Kids Club.
Education Program Supporters
Reflects gifts received during the 0607 fiscal year
4gjCZgMMh) Ford Motor Company Fund -?Ml and Community Services
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 Foun?dationAlan and Swanna Saltiel
CFI Group
Chamber Music America
Doris Duke Charitable Foundation
DTE Energy Foundation
The Esperance Family Foundation
JazzNet Endowment
Masco Corporation Foundation
Michigan Economic Development Corporation
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 Tisch Investment Advisory UMS Advisory Committee University of Michigan Credit
Union University of Michigan Health
System 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 STUDENT PROGRAMS
ww.ums.orgstudents
IMS offers five programs designed to fit stu-lents' lifestyles and save students money. Each year, 15,000 students attend UMS events and collectively save $300,000 on tickets through these programs. UMS offers students additional ways to get involved in UMS, with internship and workstudy programs, as well as a UMS student advisory committee.
Half-Price Student Ticket Sales
t the beginning of each semester, UMS offers half-price tickets to college students. limited number of tickets are available for ach event in select seating areas. Simply visit 7vww.ums.orgstudents, log in using your U-M jnique name and Kerberos password, and fill out your form. Orders will be processed in the irder they are received. You will pay for and pick up your tickets at a later date at the Michigan League Ticket Office.
Winter Semester: Begins Sunday, January 6, 2008 at 8 pm and -'nds Tuesday, January 8 at 8 pm.
Sponsored by UMcKSS
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 $15 beginning 90 minutes before the event. Rush Ticket availabil?ity and seating are subject to Ticket Office dis?cretion. Tickets must be purchased in person 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 system for lush 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 perform?ance. The UMS Student Card is available for $50 for 5 performances or $100 for 10 per?formances. 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 $15, you get great seats to a UMS event (at least a 50 savings) and a free pizza dinner before the concert, along with a brief talk by a seasoned expert about the performance. Tickets go on sale approxi?mately two weeks before the concert.
0708 Arts & Eats Events:
Shen Wei Dance Arts, Sat. 929
Hubbard Street Dance Chicago, Fri. 1026
Caetano Veloso, Fri. 119
Messiah, Sun. 122
Yuja Wang, Sun. 120
Christian Tetzlaff, Thurs. 214
San Francisco Symphony, Fri. 314
Bobby McFerrin, Chick Corea, Jack Dejohnette, Sat. 419
Sponsored by UMSKSS With support from the U-M Alumni Association
Arts Adventure Series
UMS, the U-M School of Music, Theatre & Dance, and Arts at Michigan have teamed up to offer the Arts Adventure Series, a package of three events each semester for just $35. To order the 0708 Arts Adventure Series, visit www.arts.umich.edu to view the performance offerings and complete the order form by October 9.
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.
iternships and College Work-Study
Internships with UMS provide experience in aerforming arts administration, marketing, ticket sales, programming, production, and arts education. Semesterand year-long unpaid internships are available in many of UMS's departments. For more information, please call 734.615.1444.
Students working for UMS as part of the College Work-Study program gain valuable experience in all facets of arts management including concert promotion and marketing, ticket sales, fundraising, arts education, arts programming, and production. If you are a University of Michigan student who receives work-study financial aid and are interested in working at UMS, please call 734.615.1444.
Student Advisory Committee
As an independent council drawing on the diverse membership of the University of Michigan community, the UMS Student Advisory Committee works to increase student interest and involvement in the various pro?grams offered by UMS by fostering increased communication between UMS and the student community, promoting awareness and accessi?bility of student programs, and promoting the student value of live performance. For more information or to participate on the Committee, please call 734.615.6590.
PRELUDE DINNERS
Join us for camaraderie, fine cuisine, and musical insights at the Prelude Dinners before these performances. For reservations and information, please call 734.764.848g
Fri, Sept 28,5:30 pm, Alumni Center Shen Wei Dance Arts Speaker: Kenneth G. Lieberthal
Sat, Oct 6,5:30 pm, Rackham Building Filarmonica della Scala
Speaker: Martin Katz
Fri, Oct 12,5:30 pm, Hill Auditorium Krystian Zitnertnan
Speaker: Logan Skelton
Thurs, Oct 25,5:30 pm, Power Center Hubbard Street Dance Chicago
Speaker: Jim Vincent
Sun, Nov 4, 2007,5 pm, Rackham Building St. Petersburg Philharmonic
Speaker: Beth Genne
Sat, Nov 10,5:3O pm, Rackham Building Yo-Yo Ma and Kathryn Stott
Speaker: Anthony Elliott
Wed, Jan 16, 5:30 pm, Hill Auditorium Jazz at Lincoln Center Orchestra
Speaker: Ellen Rowe
Sat, Feb 2,5:30 pm, Rackham Building A Celebration of the Keyboard
Speaker: Arthur Greene
Sat, Febr 9,5:30 pm, Rackham Building Guamerijohannes String Quartets
Speaker: William Bolcom
Thurs, Feb 14,5:30 pm, Rackham Building Christian Tetzlaff
Speaker: Stephen Shipps
Fri, March 14,5;3O pm, Rackham Building San Francisco Symphony
Speaker: Steven Whiting
Fri, March 21,5:30 pm, Rackham Building Bach's St. Matthew Passion
Speaker: Anne Parsons
Wed, April 2,5:3o pm, Rackham Building
Lang Lang
Speaker: Kenneth C. Fischer
DELICIOUS
EXPERIENCES
Join us for dinner.. .or wine and hors d'oeuvres.. .or a fabulous tailgate lunch, or any of these wonderful and delicious events! Take the opportunity to meet others or join friends in convivial homes, restaurants and other venues with gracious hosts. All proceeds support UMS educational programs. Call 734.764.8489 for information
Go Blue! Tailgate
Saturday, September 22,2007
Hosts: Maya Savarino Penny Si Ken Fischer
A Far East Feast
Thursday, September 27,2007, 7 PM Hosts: Mignonette and Dick Cheng and Nancy and Wendel Heers
Football Fan Fare
Saturday, October 20,2007, 7 PM Hosts: Alicia Torres and Frank Legacki
A Festive Halloween Celebration
Sunday, October 28, 2007, 5 PM Hosts: Allison and Greg Poggi
Let's Do It
Friday, November 16,2007,7 PM
Hosts.Mike Monahan and Mary Campbell
Mostly Mozart
Saturday, January 19, 2008,7 PM Hosts: Karen and Karl Gotting
A Song to Remember: Chopin at the Kempf House
Friday, February 22, 2008, 7 PM Hosts: Ewa and Rafal Sobotowski
A Fall Harvest Adventure--S.A.
Friday, March 7,2008,7 PM
Hosts: Katherine and Damian Farrell
All That Jazz
Saturday, March is, 2008, 7 PM
Hosts: Kathleen Nolan and Doug Kelbaugh
Cinco de Mayo
Saturday, May 3,2008, 7 PM Hosts: Jean and Arnold Kluge
If These Walls Could Talk
Saturday, May 17,2008,6-8 PM Hosts: Sue and Jim Kern
Rhythms of the Night
Friday, May 30, 2008, 6-9 PM Host: Newcombe Clark
UMSSupport
There are many ways to support the efforts of UMS, all of which are critical to the success of our season. We would like to welcome you to the UMS family and involve you more closely in our exciting programming and activities. This can happen through corporate sponsorships, business advertising, individual donations, or through volunteering. Your financial investment andor gift of time to UMS allows us to continue connecting artists and audiences, now and into the future.
CORPORATE 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 734.764.6833 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.
INDIVIDUAL DONATIONS
We could not present our season without the invaluable financial support of individual donors. Ticket revenue only covers half of the cost of our performances and educational events. UMS donors help make up the differ?ence. If you would like to make a gift, please fill out and mail the form on page P40 or call 734.647.1175.
UMS VOLUNTEERS
JMS Advisory Committee
The UMS Advisory Committee is an organiza?tion of over 70 volunteers who contribute approximately 7,000 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 events listed below. In addition, Advisory Committee members and friends provide assis?tance in ushering at UMS youth performances and assist in various other capacities through?out the season. Meetings are held every two months and membership tenure is three years. Please call 734.647.8009 to request more information.
Delicious Experiences
These special events are hosted by 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 vay to meet new people!
Ford Honors Program and Gala May 10, 2008
This year's program will honor renowned flutist James Galway as he receives the UMS Distinguished Artist award. Following the program and award presentation, the UMS Advisory Committee will host a gala dinner to benefit UMS Education programs. Please call 734.647.8009 for more information.
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. This year's event was held on September 14. Look for informa?tion at www.ums.org about On the Road in :he 0809 season.
UMS Ushers
Without the dedicated service of LJMS's Usher Corps, our events would not run as smoothly as they do. Ushers serve the essential functions of assisting patrons with seating, distributing pro?gram books, and providing that personal touch which sets UMS events apart from others.
The UMS Usher Corps is comprised of over 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 perform?ances in a specific venue or sign up to substi?tute for various performances throughout the concert season.
If you would like information about becoming a UMS volunteer usher, contact our Assistant Ticketing Manager, Front of House, Suzanne Davidson, at 734.615.9398 or e-mail fohums@umich.edu.
ANNUAL FUND SUPPORT July 1, 2006-August 1, 2007
Thank you to those who make UMS programs and presentations possible. The cost of presenting world-class performances and education programs exceeds the revenue UMS receives from ticket sales. The difference is made up through the generous support of individuals, corporations, foundations, 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, 2006 and August 1, 2007. Due to space constraints, we can only list those who donated $250 or more. Every effort has been made to ensure the accuracy of this list. Please call 734.647.1175 with any errors or omissions. Listing of donors to endowment funds begins on page P46.
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 University of Michigan Health System
SOLOIST
$50,000-$99,999
DTE Energy
DTE Energy Foundation
Esperance Family Foundation
Northwest Airlines
The Power Foundation
MAESTRO
$20,000-$49,999
Anonymous
Borders Group
Cairn Foundation
Brian and Mary Campbell
CFI Group, Inc.
Charles H. Gershenson Trust
Detroit Auto Dealers Association Charitable
Foundation Fund
Maxine and Stuart Frankel Foundation Kaydon Corporation KeyBank Robert and Pearson Macek
Masco Corporation
National Dance Project of the New England
Foundation for the Arts National Endowment for the Arts Gilbert Omenn and Martha Darling Larry and Beverly Price ProQuest
Dennis and Ellie Serras 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
AMGEN Foundation, Inc.
The Ann Arbor News
Arts at Michigan
Arts PresentersMetLife Foundation Award for Arts
Access in Underserved Communities Bank of Ann Arbor
Linda and Maurice Binkow Philanthropic Fund Carl and Isabelle Brauer Fund Chamber Music America Charter One Bank Concord Music GlaxoSmithKline Foundation David and Phyllis Hereig LaSalle Bank Charlotte McGeoch Mrs. Robert E. Meredith Donald L. Morelock
THE MOSAIC FOUNDATION (of R. & P. Heydon) NEA Jazz Masters on Tour
Jane and Edward Schulak
Barbara Furin Sloat
TIAA-CREF
University of Michigan Credit Union
Universal Classics Group
Marina and Bob Whitman
CONCERTMASTER
$7,500-$9,999
Anonymous
Paulett Banks
Edward Surovell RealtorsEd and
Natalie Surovell Carl and Charlene Herstein Miller Canfield Paddock and Stone P.L.C. M. Haskell and Jan Barney Newman Performing Arts Fund A. Douglas and Sharon S. Rothwell James and Nancy Stanley
PRODUCER
$5,000-$7,499
Mrs. Bonnie Ackley
Herb and Carol Amster
Ann Arbor Automotive
Janet and Arnold Aronoff
Emily Bandera and Richard Shackson
Blue Nile Restaurant
Mr. and Mrs. Thomas P. Capo
Comerica Bank
Al and Kendra Dodds
Jim and Patsy Donahey
Leo and Kathy Legatski
Ken and Penny Fischer
llene H. Forsyth
Sue and Carl Gingles
Paul and Anne Glendon
Tom and Katherine Goldberg
Linda and Richard Greene
David W. and Kathryn Moore Heleniak
Debbie and Norman Herbert
Honigman Miller Schwartz and Cohn UP
Mohamad and Hayat Issa
Issa Foundations David and Sally Kennedy Jill Latta and David Bach Richard and Carolyn Lineback Mainstreet Ventures, Inc. Sally and Bill Martin
Susan McClanahan and Bill Zimmerman Merrill Lynch National City
Tom, Meghan, Mary and TJ. O'Keefe Pepper Hamilton LLP Philip and Kathy Power Red Hawk Bar S GrillZanzibar Restaurant Herbert and Ernestine Ruben Don and Judy Dow Rumelhart Alan and Swanna Saltiel Sesi Lincoln Mercury Volvo Mazda Craig and Susan Sincock Nancy and Brooks Sitterley Tom and Debby McMullen
Tisch Investment Advisory
United Bank and Trust
Whole Foods Market
Marion T. Wirick and James N. Morgan
Gerald B. and Mary Kate Zelenock
LEADER
$3,500-$4,999
Jerry and Gloria Abrams Bernard and Raquel Agranoff Raymond and Janet Bernreuter Suzanne A. and Frederick J. Beutler Joan Akers Binkow Edward and Mary Cady Mary Sue and Kenneth Coleman Mr. and Mrs. George W. Ford Sara and Michael Frank General Motors Powertrain-
Willow Run Plant Susan and Richard Gutow Dr. H. David and Dolores Humes Keki and Alice Irani Martin Neuliep and Patricia Pancioli Noir Homes
Virginia and Gordon Nordby Mrs. Charles Overberger (Betty) Eleanor and Peter Pollack Rosebud Solutions Lois A. Theis Dody Viola Max Wicha and Sheila Crowley
PRINCIPAL
$2,500-$3,499
Jim and Barbara Adams
Susan and Alan Aldworth
Anonymous
Bob and Martha Ause
Essel and Menakka Bailey
Robert and Wanda Bartlett
Charles and Linda Borgsdorf
Elizabeth Brien and Bruce Conybeare
Jeannine and Robert Buchanan
Barbara and Al Cain
Jean and Ken Casey
Dave and Pat Clyde
Anne and Howard Cooper
Beverley and Gerson Geltner
General Motors Corporation
William and Ruth Gilkey
Dr. Sid Gilman and Dr. Carol Barbour
John and Helen Griffith
Janet Woods Hoobler
Herbert Katz
Shirley Y. and Thomas E. Kauper
Gloria and Bob Kerry
Samuel and Marilyn Krimm
Amy Sheon and Marvin Krislov
Donald J. and Carolyn Dana Lewis
Jeff Mason and Janet Netz
Ernest and Adele McCarus
William C. Parkinson
Richard and Lauren Prager
Jim and Bonnie Reece
John and Dot Reed
Duane and Katie Renken
Barbara A. Anderson and John H. Romani
Corliss and Dr. J.C. Rosenberg
Prudence and Amnon Rosenthal
Dr. Nathaniel H. Rowe
John J. H. Schwarz, MD
Muaiad and Aida Shihadeh
Loretta Skewes
TCF Bank
Jim Toy
Don and Carol Van Curler
Don and Toni Walker
Elise Weisbach
Ronald and Eileen Weiser
Robert 0. and Darragh H. Weisman
Roy and JoAn Wetzel
Keith and Karlene Yohn
PATRON
$1,000-$2,499
Anastasios Alexiou
Robert and Katherine Aldrich
Michael and Suzan Alexander
Dr. and Mrs. David G. Anderson
Anonymous
Jonathan Ayers and Teresa Gallagher
Lesli and Christopher Ballard
Walter and Mary Ballinger
Bradford and Lydia Bates
Beacon Investment Company
Astrid B. Beck and David Noel Freedman
Frederick W. Becker
Rachel Bendit and Mark Bernstein
Kathy Benton and Robert Brown
James K. and Lynda W. Berg
Jim Bergman and Penny 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. Ralph and Mrs. Mary W. Bozell
Jacquelyn A. Brewer
Dale E. and Nancy M. Briggs
Barbara Everitt Bryant
Robert and Victoria Buckler
Lawrence and Valerie Bullen
Charles and Joan Burleigh
Letitia J. Byrd
Amy and Jim Byrne
Betty Byrne
Jean W. Campbell
Patricia and Michael Campbell
Bruce and Jean Carlson
Carolyn M. Carty and Thomas H. Haug
Janet and Bill Cassebaum
Anne Chase
Pat and George Chatas
James S. Chen
Leon S. Cohan
Hubert and Ellen Cohen
Lois and Avern Cohn
Cynthia and Jeffrey Cotton
William J. and Ellen A. Conlin
Phelps and Jean Connell
Jim and Connie Cook
Jane Wilson Coon and A. Rees Midgley
Kathleen Crispell and Tom Porter
Judy and Bill Crookes
Patricia Garcia and Dennis A. Dahlmann
Julia Donovan Darlow and John O'Meara
Susan T, Darrow
Charles W. and Kathleen P. Davenport
Hal and Ann Davis
Sally and Larry DiCarlo
Andrzej and Cynthia Dlugosz
Jack and Alice Dobson
Molly Dobson
Heather and Stuart Dombey
John Dryden and Diana Raimt
Aaron Dworkin and Afa Sadykhly
Jack and Betty Edman
Joan and Emil Engel
David and Jo-Anna Featherman
Dede and Oscar Feldman
Yi-Tsi M. and Albert Feuerwerker
Susan A. Fisher
Susan Fisher and John Waidley
Robben Fleming
Esther Floyd
James W. and Phyllis Ford
Forrest Family Fund
Dan and Jill Francis
Leon and Marcia Friedman
Enid H. Galler
Prof. David M. Gates
Thomas and Barbara Gelehrter
Karl and Karen Gotting
Cozette T. Grabb
Elizabeth Needham Graham
Walter Z. Graves
Bob Green
Leslie and Mary Ellen Guinn
Helen C. Hall
Jeanne Harrison and Paul Hysen
Sivana Heller
Paul Herstein
Diane S. Hoff
Carolyn B. Houston
Robert M. and Joan F. Howe
John and Patricia Huntington
Eileen and Saul Hymans
Perry Irish
Jean Jacobson
Rebecca Jahn
Wallie and Janet Jeffries
Timothy and Jo Wiese Johnson
Robert L. and Beatrice H. Kahn
Robert and Jen Kelch
David and Gretchen Kennard
Diane Kirkpatrick
Philip and Kathryn Klintworth
Carolyn and Jim Knake
Charles and Linda Koopmann
Dr. Howard Hu and
Ms. Rani Kotha Bud and Justine Kulka Ted and Wendy Lawrence Meivin A. Lester MD Carolyn and Paul Lichter Jean E. Long
John and Cheryl MacKrell Cathy and Edwin Marcus Ann W. Martin and Russ Larson Marilyn Mason Natalie Matovinovic Mary and Chandler Matthews Judythe and Roger Maugh Carole J. Mayer Raven McCrory W. Joseph McCune and
Georgiana M. Sanders Griff and Pat McDonald Mercantile Bank of Michigan Merrill Lynch
Henry D. Messer and Carl A. House Paul Morel
Alan and Sheila Morgan Melinda and Bob Morris Cyril Moscow Nustep, Inc. Mafylen S. Oberman Marysia Ostafin and George Smillie Mohammad and
J. Elizabeth Othman Donna Parmelee and
William Notting Bertram and Elaine Pitt Peter and Carol Polverini Richard and Mary Price Produce Station Mrs. Gardner C. Quarton Donald Regan and
Elizabeth Axel son Maria and Rusty Restuccia Kenneth J. Robinson Nancy and Doug Roosa Rosalie Edwards
Vibrant Ann Arbor Fund Doris E. Rowan Craig and Jan Ruff
Norma and Dick Sarns Maya Savanno Schakolad Chocolate Factory Erik and Carol Serr Janet and Michael Shatusky Loretta M. Skewes Frances U. and Scott K. Simonds Dr. Bernard Stvak and Dr. Loretta Polish
Jim Skupski and Dianne Widzinski Dr. Rodney Smith Susan M. Smith and Robert H. Gray Kate and Philip Soper Michael B Staebler Lloyd and Ted St. Antoine Victor and Marlene Stoeffler Dr. and Mrs. Stanley Strasius David and Karen Stutz Charlotte B. Sundelson Judy and Lewis Tann Target
Mrs. Robert M. Teeter Brad and Karen Thompson Louise Townley
Jack and Marilyn van der Velde Bruce and Betsy Wagner Florence S. Wagner Robert D. and Liina M. Wallin Harvey and Robin Wax W. Scott Westerman, Jr. Dr. and Mrs. Max V. Wisgerhof II Charles Witke and Aileen Gatten Jeanne and Paul Yhouse Edwin H. and Signe Young Maria Zampierolk) and Brian Partin
BENEFACTOR
$500-$999
3Point Machine, Inc.
Wadad Abed
Roger Albin and Nili Tannenbaum
Christine W. Atvey
Catherine M. Andrea
Anonymous
Dr. and Mrs. Rudi Ansbacher
Harlene and Henry Appelman
Ralph Lydic and Helen Baghdoyan
Mary and At Bailey
Robert L. Baird
Laurence R. and Barbara K. Baker
Reg and Pat Baker
Nan Barbas and Jonathan Sugar
David and Monika Barera
Norman E. Barnett
Frank and Lindsay Tyas Bateman
Harry Benford
Linda and Ronald Benson
L. S. Berlin
Naren K. and Nishta 6 Bhatia
Seth Bonder
Bob and Sharon Bordeau
Catherine Brandon MD
David and Dr. Sharon Brooks
Donald R. and June G. Brown
Morton B. and Raya Brown
Dr. Frances E. Bull
H. D. Cameron
Susan and Oliver Cameron
Margot Campos
Carlisle Wortman Associates, Inc.
Jack and Wendy Carman
John and Patricia Carver
Drs. Andrew Caughey and
Shelly Neitzel Tsun and Siu Ying Chang John and Camilla Chiapuris Dr. Kyung and Young Cho Janice A. Clark Brian and Cheryl Clarkson Tris and Edna Coffin Jeanne Raisler and Jonathan Cohn Wayne and Melinda Colquitt Arnold and Susan Coran
Joan S. Crawford
Peter C. and Lindy M. Cubba
John G. and Mary R. Curtis
Roderick and Mary Ann Daane
Robert and Joyce Damschroder
Norma and Peter Davis
Ellwood and Michele Derr
Linda Dintenfass and Ken Wisinski
Cynthia M. Dodd
Robert J. and Kathleen Dolan
Dallas C. Dort
Gavin Eadie and Barbara Murphy
James Eng and Patricia Randle
Stefan and Ruth Fajans
Etly and Harvey Falit
Irene Fast
Margaret and John Faulkner
Sidney and Jean Fine
Carol Finerman
Clare M. Fingerle
Herschel and Adrienne Fink
C. Peter and Beverty A. Fischer
John and Karen Fischer
Ray and Patricia Fitzgerald
Howard and Margaret Fox
Jason I. Fox
Ann Friedman
William Fulton
Tom Gasloli
Beverly Gershowitz
Ronald Gibala and Janice Grichor
Paul and Suzanne Gikas
Zita and Wayne Gillis
Amy and Glenn Gottfried
Dr. John and Renee M. Greden
Anna and Robert Greenstone
Ingrid and Sam Gregg
Arthur W. Gulick. MD
Don P. Haefner and
Cynthia J. Stewart Tom Hammond
Martin D. and Connie D. Harris Susan Harris Alfred and Therese Hero Herb and Dee Hildebrandt Peter Hinman and Elizabeth Young Sun-Chien and Betty Hsiao Ralph and Del Hulett Ann D. Hungerman Thomas and Kathryn Huntzicker Eugene and Margaret Ingram INVIA Medical Imaging Solutions Stuart and Maureen Isaac Mark S. and Madolyn Kaminski Christopher Kendall and
Susan Schilperoort Rhea K. Kish Paul and Dana Kissner Hermine Roby Klingler Regan Knapp and John Scudder Michael J. Kondziolka and Mathias-
Philippe Florent Badin Dr. and Mrs. Melvyn Korobkin Rebecca and Adam Kozma Barbara and Ronald Kramer Dr. and Mrs. Gerald Krause Jane Laird
Marilyn and Dale Larson John K. Lawrence and
Jeanine A. De Lay Mary Rabaut LeFauve Richard LeSueur Myron and Bobbie Levine Ken and Jane Lieberthal Marilyn and Martin Lindenauer E. Daniel and Kay M. Long Frances Lyman Brigitte and Paul Maassen Pam MacKintosh Nancy and Philip Margolis Susan E. Martin and Randy Walker Olivia Maynard and Olof Karlstrom Margaret E McCarthy Margaret and Harris McClamroch Dr. Paul W. McCracken Joanna McNamara and Metvin Guyer
James M. Miller and
Rebecca H. Lehto Myrna and Newell Miller Bert and Kathy Moberg Jeanne and Lester Monts Frieda H. Morgenstern Lewis and Kara Morgenstern Elizabeth and Robert Oneal Mark and Susan Orringer Constance and David Osier Mane L. Panchuk Zoe and Joe Pearson Jean and Jack Peirce Margaret and Jack Petersen Elaine Piasecki Evelyn Pickard Juliet S. Pierson Wallace and Barbara Prince Anthony L. Reffells and
Elaine A. Bennett RE. Reichert Marc and Stacy Renouf Retirement Income Solutions Timothy and Teresa Rhoades Richner & Richner Jeffrey and Huda Karaman Rosen Richard and Edie Rosenfeld Margaret and Haskell Rothstein Miriam Sandweiss Diane and Joseph Savin Tom Wieder and Susan Schooner Ann and Thomas J. Schriber Drs. David E. and
Monica S. Schteingart Julie and Mike Shea Howard and Aliza Shevrin George and Gladys Shirley Sandy and Dick Simon Carl P. Simon and Bobbi Low Elaine and Robert Sims Don and Sue Sinta Irma J. Sklenar Andrea and William Smith David and Renate Smith Mrs. Gretchen Sopcak Joseph H. Spiegel Andrea and Gus Stager Mr. and Mrs. Gary R. Stahle James and Naomi Starr Lois and Jack Stegeman Virginia and Eric Stein Eric and Ines Storhok Cynthia Straub Ellen and Jeoffrey Stross Brian and Lee Talbot Roger Albin and Nili Tannenbaum Paul and Jane Thielking Fr. Lewis W. Towler Jeff and Lisa Tulin-Silver Dr. Sheryl S. Ulin and
Dr. Lynn T. Schachinger Steven and Christina Vantrease Shirley Verrett
Drs. Bill Lee and Wendy Wahl Elizabeth and David Walker Enid Wasserman Carol Weber
Angela Welch and Lyndon Welch Iris and Fred Whitehouse Leslie C.Whitfield Sally M. Whiting Reverend Francis E. Williams Robert J. and Anne Marie Willis Lawrence and Mary Wise James and Gail Woods Dr. and Mrs. Clyde Wu Mayer and Joan Zald
ASSOCIATES
$250-$499
Dor it Adler
Thomas and Joann Adler Family Foundation Helen and David Aminoff Anonymous
Bert and Pat Armstrong
Jack and Jill Arnold
Frank and Nancy Ascione
Penny and Arthur Ashe
AT&T Foundation
Drs. John and Lillian Back
Marian K. Bailey
Bruce Baker and Genie Wolfson
Daniel and Barbara Balbach
John and Ginny Bareham
Frank and Gail Beaver
Prof, and Mrs. Erling Blondal
Bengtsson
Rodney and Joan Bentz Dr. Rosemary R. Berardi Sandra L. and Stanley Bies llene and William Birge Beverly J. Bole
Amanda and Stephen Borgsdorf Victoria C. Botek and
William M Edwards Susan Bozell Dr. Robert M. Bradley and Dr.
Charlotte M. Mistretta William R. Brashear Joel Bregman and Elaine Pomeranz Alexander and Constance Bridges Pamela Brown Trudy and Jonathan Bulkley Tony and Jane Burton Heather Byrne Nathan and Laura Caplan 8rent and Valerie Carey Thomas and Colleen Carey James and Mary Lou Carras Dennis J. Carter Margaret and William Caveney I. Wehrley and Patricia Chapman Charles Reinhart Company Realtors Charles Stewart Molt Foundation !ohn and Christine Chatas jnda Chatters and
Robert Joseph Taylor Andy and Dawn Chien v.vang and Soon Cho Reginald and Beverly Ciokajlo Theodore and Jean Conn Edward and Anne Comeau Minor J. Coon Cliff and Kathy Cox Malcolm and Juanita Cox Lloyd and Lois Crabtree Clifford and Laura Craig Merle and Mary Ann Crawford Mary C. Crichton Connie D'Amato Timothy and Robin Damschroder Sunil and Merial Das Art and Lyn Powrie Davidge Ed and Elite Davidson Alice and Ken Davis John and Jean Debbink Nicholas and Elena Delbanco Elizabeth Dexter Judy and Steve Dobson Elizabeth A. Doman Michael and Elizabeth Drake Mary P. DuBois Elizabeth Duell Bill and Marg Dunifon Peter and Grace Duren Swati Dutta Jane E. Dutton Eva and Wolf Duvernoy Bradley Dyer Dr. Alan S. Eiser Mary Ann Faeth Mark and Karen Falahee Or and Mrs. S. M. Farhat -hil and Phyllis Fellin amesand Flora Ferrara X James F. Filgas -ivid Fink and Marina Mata t. Lydia Fischer
Jessica Fogel and Lawrence Werner Paula L Bockenstedt and
David A. Fox Hyman H. Frank Jerrold A. and Nancy M. Frost Philip and Renee Frost Carol Gaghardi and Dave Flesher Barbara and James Garavaglia Allan and Harriet Gelfond Beth Genne and Allan Gibbard Deborah and Henry Gerst Elmer G. Gilbert and
Lois M. Verbrugge J. Martin Gillespie and Tara Gillespie Beverly Jeanne Giltrow Joyce L. Ginsberg David and Maureen Ginsburg Irwin Goldstein and Martha Mayo Eszter Gombosi Mitchell and Barbara Goodkin Enid M. Gosling and
Wendy Comstock
Mr. and Mrs. Charles and Janet Goss James W. and Maria J. Gousseff Michael Gowing
Mr. and Mrs. Christopher L. Graham Martha and Larry Gray Jeffrey B. Green Daphne and Raymond Grew Mark and Susan Griffin Werner H. Grilk Bob and Jane Grover Robin and Stephen Gruber Anna Grzymala-Busse and
Joshua Berke Ken and Margaret Guire H&R Block Foundation George and Mary Haddad M. Peter and Anne Hagiwara Walt and Charlene Hancock Naomi Gottlieb Harrison and
Theodore Harrison DDS Tricia and Steve Hayes Anne Heacock J. Lawrence and
Jacqueline Stearns Henkel Keith and Marcelle Henley Kathy and Rudi Hentschel James and Ann Marie Hitchcock Mary Ann and Don Hitt Ronald and Ann Holz Robert and Barbara Hooberman Linda Samuelson and Joel Howell Mabelle Hsueh Harry and Ruth Huff Heather Hurlburt and Darius Sivin Robert B. Ingling John H. and Joan L. Jackson Beverly P Jahn Dr. David and Tina Jahn Mark and Linda Johnson Mary and Kent Johnson Paul and Olga Johnson Jack and Sharon Kalbfleisch Mr. and Mrs. Irving Kao Arthur A. Kaselemas MD Penny Kennedy Roland and Jeanette Kibler Don and Mary Kiel Fred and Sara King Richard and Patricia King James and Jane Kister Dr. David E. and
Heidi Castleman Klein Steve and Shira Klein Anne F. Kloack
Joseph and Maritynn Kokoszka Alan and Sandra Kortesoja Barbara and Michael Kratchman Doris and Don Kraushaar Gary and Barbara Krenz Charles and Mary Krieger Bert and Geraldme Kruse Donald John Lachowicz
Kathy and Timothy Laing Neal and Anne Laurance Laurie and Robert LaZebnik David Lebenbom John and Theresa Lee Sue Leong
Melvyn and Joan Levitsky Jacqueline H. Lewis Don and Erica Lindow Michael and Debra Lisull Michael Charles Litt Dr. Daniel Little and
Dr. Bernadette Lintz Rod and Robin Little Dr. and Mrs. Lennart H. Lofstrom Julie M. Loftin Naomi E. Lohr Stephanie and Richard Lord Charles P. and Judy B. Lucas Martin and Jane Maehr Melvin and Jean Mams Manpower, Inc. of Southeastern
Michigan
Ken and Lynn Marico W. Harry Marsden Laurie McCauley and Jessy Grizzle Peggy McCracken and
Doug Anderson Liam T. McDonald James A. Mclntosh James H. Mclntosh and
Elaine K Gazda Bill and Ginny McKeachie McNaughton & Gunn, Inc. Frances McSparran Nancy A. and Robert E. Meader Gerlmda S. Melchiori PhD Warren and Hilda Merchant Sara Meredith and James Chavey Liz and Art Messiter John and Fei Fei Metzler Don and Lee Meyer Shirley and Bill Meyers Joetta Mial Leo and Sally Miedler Kitty and Bill Moeller Olga Moir Jean Marie Moran and
Stefan V. Chmielewski Patricia and Michael Morgan Mark and Lesley Mozola Roy and Susan Muir Thomas and Hedi Mulford Terence and Patricia Murphy Lisa Murray and Mike Gatti Drs. Louis and Julie Jaffee Nagel Gerry and Joanne Navarre Frederick C. Neidhardt Gayl and Kay Ness Eugene W. Nissen Laura Nitzberg Arthur S. Nusbaum John and Gwen Nystuen Mrs. Elizabeth Ong Kathleen I. Operhall David and Andrea Page William C. Panzer Karen Park and John Beranek Frank and Arlene Pasley Shirley and Ara Paul Donald and Evonne Plantinga Susan Pollans and Alan Levy Bill and Diana Pratt Ann Preuss
Elisabeth and Michael Psarouthakis Maxwell and Marjorie Reade Stephen and Agnes Reading Michael J. Redmond Mamie Reid and Family Alice Rhodes Betty Richart Constance Rinehart Riverbend Condominium Jack and Aviva Robinson
Jonathan and Anala Rodgers
Dr Susan M. Rose
Jean P. Rowan
Bob and Susan Rowe
Rosemarie Rowney
Carol D. Rugg and
Richard K. Montmorency Michael and Kimm Sarosi Stephen J. and Kim Rosner Saxe Jochen and Helga Schacht Frank J. Schauerte David and Marcia Schmidt Leonard Segel Harriet Selin Robert D. Shannon Matthew Shapiro and Susan Garetz David and Elvera Shappirio Jean and Thomas Shope Patricia Shure Edward and Kathy Silver Dr. Terry M. Silver Gene and Alida Silverman Scon and Joan Singer Nancy and Brooks Sitterfey, MD Tim and Marie Slottow Greg and Meg Smith Robert W. Smith Ralph and Anita Sosin Mr. and Mrs. Lawrence Sperling Jim Spevak Jeff Spindler Judy and Paul Spradlin David and Ann Staiger Rick and Lia Stevens James L. Stoddard Ellen M. Strand and
Dennis C. Regan Barbara and Donald Sugerman Sam and Eva Taylor Steve and Diane Telian Mark and Patricia Tessler Textron
Mary H. Thieme Edwin J. Thomas Nigel and Jane Thompson Claire and Jeremiah Turcotte Alvan and Katharine Uhle Susan B. Ullrich Dr. Samuel C. and Evelyn Ursu Hugo and Karla Vandersypen Mary Vandewiele
Andrea and Douglas Van Houweling Michael Van Tassel Dr. and Mrs. Edward P Van Wesep Drs. Harue and Tsuguyasu Wada Jack Wagoner Virginia Wait
Thomas and Mary Wakefield Charles R. and Barbara H. Wallgren Shaomeng Wang and Ju-Yun Li Jo Ann Ward John M. Weber Deborah Webster and
George Miller Mr. and Mrs. Larry Webster Jack and Jerry Weidenbach Lisa and Steve Weiss John. Carol and Ian Welsch Mary Ann Whipple Kathenne E. White Nancy Wiernik I. W. and Beth Winsten Charlotte A. Wolfe Brian Woodcock Pris and Stan Woollams Phyllis B. Wright Bryant Wu
John and Mary Yablonky MaryGrace and Tom York Gail and David Zuk
ANNUAL ENDOWMENT SUPPORT
July 1, 2006-August 1, 2007
The University Musical Society is grateful to those who made endowment fund gifts, which will generate income for UMS in perpetuity and benefit UMS audiences in the future. These gifts were matched by challenge grants from the Wallace Foundation and the Doris Duke Charitable Foundation.
$50,000 or more
Anonymous
Estate of Douglas Crary
Doris Duke Charitable Foundation
Estate of Dr. Eva L. Mueller
$20,000-549,999
Anonymous
Bernard and Raquel Agranoff
Mr. and Mrs. Robert R. Gamble
David and Phyllis Herzig
Verne and Judy Istock
Sesi Investment
Herbert Sloan
$10,000-$19,999
Kathy Benton and Robert Brown
Robert and Pearson Macek
Estate of Melanie McCray
THE MOSAIC FOUNDATION (of R. & P.
Heydon)
James and Nancy Stanley Mary Vanden Belt
$5,000-$9,999
Herb and Carol Amster
Joan Akers Binkow
CFI Group, Inc.
Richard and Carolyn Lineback
Susan B. Ullrich
Mrs. Robert E. Meredith
Marina and Bob Whitman
Ann and Clayton Wilhite
$1,000-$4,999
Michael Allemang and Janis Bobrin
Anonymous
Essel and Menakka Bailey
Charles and Linda Borgsdorf
Jean W. Campbell
Barbara Mattison Carr
Jean and Ken Casey
Jane Wilson Coon and A. Rees Midgley
Patricia Garcia and Dennis Dahlmann
Macdonald and Carolin Dick
Molly Dobson
Jack and Betty Edman
Charles and Julia Eisendrath
Dede and Oscar Feldman
James and Chris Froehlich
Dr. Sid Gilman and Dr. Carol Barbour
Paul and Anne Glendon
Susan and Richard Gutow
David W. and Kathryn Moore Heleniak
Debbie and Norman Herbert
Carl and Charlene Herstein
Gloria and Bob Kerry
Jill Latta and David Bach
Lawrence and Rebecca Lohr
Nancy and Philip Margolis
Natalie Matovinovic
W. Joseph McCune and
Georgiana M. Sanders Melinda and Bob Morris Elizabeth and Robert Oneal Mark and Susan Orringer Mrs. Charles Overberger (Betty) Steve and Tina Pollock Jeffrey and Huda Karaman Rosen Corliss and Dr. J.C. Rosenberg Prudence and Amnon Rosenthal Nancy W. Rugani Frances U. and Scott K. Simonds Mac and Rosanne Whitehouse Jeanne and Paul Yhouse Jay and Mary Kate Zelenock
S100-S999
Jerry and Gloria Abrams
Mrs. Bonnie Ackley
Bernard and Raquel Agranoff
Barbara A. Anderson and John H. Romani
Lynne A. Aspnes
John U. Bacon
Daniel and Barbara Balbach
Gary Beckman and Karla Taylor
Jack Billi and Sheryl Hirsch
David and Martha Bloom
Mimi and Ron Bogdasarian
Paul Boylan
Carl A. Brauer, Jr.
Robert and Victoria Buckler
John and Janis Burkhardt
Letitia J. Byrd
Carolyn M. Carty and Thomas H. Haug
Jack Cederquist and Meg Kennedy Shaw
Dr. Kyung and Young Cho
Donald and Astrid Cleveland
Katharine Cosovich
George and Connie Cress
Mary C. Crichton
Neeta Delaney and Ken Stevens
Nicholas and Elena Delbanco
Macdonald and Carolin Dick
Judy and Steve Dobson
Hal and Ann Doster
Michele Eickholt and Lee Green
Charles N. and Julie G. Ellis
Stefan and Ruth Fajans
Gerald B. and Catherine L. Fischer
Jeanne and Norman Fischer
Esther Floyd
Lucia and Doug Freeth
Marilyn L. Friedman
Bart and Cheryl Frueh
Tavi Fulkerson
Joyce and Steve Gerber
Jack and Kathleen Glezen
Tom and Katherine Goldberg
Bob Green
Lewis R. and Mary A. Green
Linda and Richard Greene
Walt and Charlene Hancock
Carol I. Harrison
Alice and Clifford Hart
Joyce and John Henderson
J. Lawrence and Jacqueline Stearns Henkel
Bob and Barbara Hensinger
Ann D. Hungerman
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Perry and Denise Kantner
John B. Kennard
Nancy Keppelman and Michael Smerza
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550,000 or more
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Mueller
S20,000-S49,999
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Gamble
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Kathy Benton and Robert
Brown
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Smerza
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77ie future success of the University Musical Society is secured in part by income from UMS's endowment. UMS extends its deepest apprecia?tion to the many donors who have established andor con?tributed to 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
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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
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Contributions have been received in honor andor mem?ory of the following individuals:
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Connecting
d Performing
Joseph W. Becker
Gary Beckman
Bellanina Day Spa
Kathy Benton and Robert Brown
Yehonatan Berick
Lynda Berg
Berry Goldsmiths
The Betty Brigade
Nishta Bhatia
Maurice and Linda Binkow
Jerry Blackstone
Bloomfield Gourmet Shoppe
Blue Nile
Boychoir of Ann Arbor
Enoch 8rater
Beth BruceThe Carlisle Collection
Bob Buckler
Jim Bumstein
Patty ButzkeOrbit Hair Design
Cafe Zola
Cake Nouveau
Lou and Janet Callaway
Camp Michigania
Mary CampbellEveryday Wines
Nathan Caplan
Casey's Tavern
Cass Technical High School
Cesar Chavez High School
Mignonette Cheng
Cherry Republic
The Chippewa Club
Mark Clague
Deb Clancy
Coach Me Fit
Cole Street Salon & Spa
The Common Grill
Community High School
Community High School Dance
Program Complete Chiropractic and
Bodywork Therapy Howard CooperHoward Cooper
Import Center Liz Copeiand
James Cofbett and Mary Dempsey Curves Habte Dad Gary Decker Judith DeWoskin Sally and Larry DiCarlo Andrew S. DixonPersonal Computer
Advisor
Heather Dombey Downtown Home & Garden DTE Energy
Duggan Place Bed and Breakfast Aaron Dworktn The Earle Restaurant Eastern Michigan University Dance
Department Eastern Michigan University
Department of Theater Education Gillian Eaton
MEMBER
ORGANIZATIONS
UMS is proud to be 3 member of the following organizations:
Ann Arbor Area Convention &
Visitors Bureau
Ann Arbor Chamber of Commerce Arts Alliance of the Ann Arbor Area ArtServe Michigan Association of Performing Arts
Presenters
Chamber Music America international Society for the
Performing Arts Main Street Area Association Michigan Association of Community
Arts Agencies
National Center for Nonprofit Boards State Street Association Think Local First
Shen Wei Dance Arts Eve
Free and open to the public
Chinese Opera LectureDemonstration: Behind Second Visit to the Empress
Saturday, September 29, 2:00-4:00 pm, Britton Recital Hall, Earl V. Moore Building, School of Music, 1100 Baits Drive, North Campus
With David Rolston, U-M Professor of Chinese Language and Literature; Joseph Lam, U-M Professor of Music and Director of the Stearns Collection of Musical Instruments; and Shen Wei, choreographer.
Generations of Beijing opera actors and musicians developed an artistic system of words, music, dance, and visuals to economically and dramatically present the world of traditional China on what was practically a bare stage. What is that world and what are its sonic and visual expressions How are they transformed and presented in Shen Wei's creative Second Visit to the Empress!
To address these and other questions (including some that might occur to the audience as the symposium) in this lecturedemonstration, the two lecturers will provide concise explanations illustrated by audio-visual examples and through interviewing artistic director Shen Wei.
A collaboration with the U-M Center for Chinese Studies and the U-M School of Music, Theatre & Dance.
Dragon Boat Festival
Sunday, September 30, 10:00 am-5:00 pm, Gallup Park, 2970 Fuller Road
The first-ever university-sponsored Chinese dragon boat race comes to Ann Arbor as part of a campus-community festival to launch the ChinaNow LSA Theme Year--a series of ground-breaking lectures, exhibitions, symposia, films, and performances building up to the 2008 Olympics.
Dragon boat races (the second most popular water sport in the world) are the heartbeat of the festival, a centuries-old tradition in China. Teams of 20 paddlers per boat comprised from U-M departments, student organiza?tions, and the community will race to drummers' beats in heats throughout the day. Activities on the banks of the river include a drum and gong proces?sion (U-M Percussion Ensemble), lion dancing (Asian Martial Arts Studio), per?formances by high energy percussion group Groove, opera-style face painting, kite making, yo-yo spinning (Ann Arbor Chinese Center of Michigan), food, and more. The festival is a green event to bring about greater awareness of natural resources, particularly water.
For more information, contact the U-M Center for Chinese Studies at 734.764.6308 or visit the LSA China Theme Year website at www.lsa.umich.educhinanow.
A collaboration with the U-M Center for Chinese Studies. Part of the ChinaNow LSA Theme Year series of outreach events.
presents
Michigan Chamber Players
Faculty Artists of the University of Michigan School of Music, Theatre & Dance
(Catherine Collier, Piano Anthony Elliott, Cello Andrew Jennings, Violin David Requiro, Cello Yizhak Schotten, Viola Stephen Shipps, Violin Amy Porter, Flute
Program Sunday Afternoon, September 16, 2007 at 4:00 Rackham Auditorium, Ann Arbor
Wolfgang Amadeus Mozart Quartet in D Major, K. 285 Allegro Adagio Rondeau
Ms. Porter, Mr. Jennings, Mr. Schotten, Mr. Elliott
Zoltan Kodaly Duo for Violin and Cello Allegro serioso, non troppo Adagio Maestoso e largamente, ma non troppo-Presto
Mr. Shipps, Mr. Elliott
INTERMISSION
Gabriel Faure Piano Quartet No. 2 in g minor. Op. 45 Allegro molto moderato Allegro molto Adagio non troppo Allegro molto
Mr. Jennings, Mr. Schotten, Mr. Requiro, Ms. Col

First Performance of the 129th Annual Season
The photographing or sound and video recording of this concert or possession of any device for such recording is prohibited.
Thanks to all of the U-M School of Music Faculty Artists for their ongo?ing commitment of time and energy to this special UMS performance.
Professor Katherine Collier has had a distin?guished and versatile career as a soloist, chamber music artist, and accompanist. After her early training in Texas, she studied piano with Cecile Genhart and accompanying with Brooks Smith. She was awarded unanimously the Performer's Certificate at Eastman. Ms. Collier was the First Prizewinner of the National Young Artist's Competition and the Cliburn Scholarship Competition, and was the recipient of a Rockefeller Award. She won a Kemper Educational Grant to study at the Royal College of Music in London. Ms. Collier has been soloist with orchestras in Cincinnati, Dallas, Eastman-Rochester, and Houston, and is an active collaborator with many renowned musicians including Joshua Bell, Hilary Hahn, Ani Kavafian, Cho-Liang Lin, Andres Cardenes, Erling Bengtsson, David Shifrin, and members of the Tokyo, Emerson, Cleveland, Orion, Vermeer, Miami, Shanghai, and Ying Quartets. She has performed around the world and appeared at recital halls in Europe including Wigmore Hall and the Purcell Room (Southbank) in London, the Concertgebouw, the Brahms-Saal, and the Konzertsaal der Staatlichen Hochschule fur Musik. She has presented concerts at Merkin Hall, the Phillips Collection, the Cleveland Museum of Art, the Dame Myra Hess Series in Chicago, and the Y Music Society in Pittsburgh. She performs at the Aspen Music Festival, Interlochen, Meadowmount, and Skaneateles. As an accompanist, Ms. Collier worked in the studios of Dorothy Delay at Aspen and Nathan Milstein and the BBC in London. Ms. Collier tours extensively with her husband, violist Yizhak Schotten. They are founders and music directors of the Maui Classical Music Festival in Hawaii and music directors of the Strings in the Mountains Festival in Steamboat Springs. Ms. Collier appears with her husband on four CDs on Crystal Records and has recorded with other artists on the Pandora, Pearl, Crystal, and Centaur lapels. Ms. Collier previously taught at the universities of Washington, Northern Kentucky, and Wyoming.
Anthony Elliott enjoys a multi-faceted career as a conductor, cellist, and teacher. He has conducted for symphony, opera, and bal?let, including sharing podium duties with Christoph Eschenbach at the Texas Music Festival and with Leonard Slatkin at the KentBlossom Music Festival. Recent perform?ances include an acclaimed concert with the Sphinx Chamber Orchestra in Carnegie Hall, described by the New York Times as "first rate in every way." He has conducted the Scott Joplin Chamber Orchestra, the Sphinx Symphony Orchestra, the CAMMAC Orchestra, Vancouver Chamber Players, the Prince George's Philharmonic, the Plymouth Symphony, the All-Northwest Orchestra, and numerous All-State orchestras, appearing in Holland, Germany, and Austria, and at the Marrowstone and Guelph Spring Festivals. The first Grand Prize winner of the Emmanuel Feuermann Memorial International Cello Solo Competition, Anthony Elliott has appeared as a soloist with the New York Philharmonic, the Minnesota Orchestra, the Detroit Symphony, the Vancouver Symphony, and the CBC Toronto Orchestra. A number of his CD recordings are available at www.cdbaby.com and his recent recording of the complete Beethoven Sonatas and Variations is available from Block M Records via the iTunes Store. His recent performance of Dmitri Shostakovich's Cello Concerto No. 1 with the Ashland Symphony Orchestra was hailed as "sterling" by the Ashland Times. He appears regularly at major festivals including Sitka Summer Music Festival, Aspen Music Festival, Seattle Chamber Music Festival, Texas Music Festival, Musicorda, New York's Bargemusic Series, Chamber Music International of Dallas, Houston's DaCamera Series, the Victoria International Festival, and the Gateways Festival. Cello students of Anthony Elliott hold prominent positions in major sym?phony orchestras including the Cleveland Orchestra, the Chicago Symphony, the Los Angeles Philharmonic, the Detroit Symphony, the Houston Symphony, the Milwaukee Symphony, the Vancouver Symphony, as well as the Chiara, Pacifica, Anderson, Jupiter,
Degas, and DaPonte String Quartets. Many have won important competitions and awards, including the Avery Fisher Career Grant. He has given master classes at the Cleveland Institute of Music, Eastman School of Music, the Shepherd School of Music at Rice University, Indiana University, Oberlin Conservatory, Peabody Conservatory, Meadowmount School, and Interlochen Arts Academy. Anthony Elliott is a member of the faculty at the University of Michigan School of Music and the Aspen Music School.
Naumburg Award-winning violinist Andrew Jennings has achieved international acclaim as both a performer and teacher. As a soloist and chamber musician he has appeared in vir?tually every state and province in the US and Canada as well as most of the major cities of Europe. He can be heard on recordings for RCA, Nonesuch, Vox, Turnabout, CRI, Danacord, Crystal, and MMO and these recordings have twice received Grammy recognition. Television appearances both here and abroad have received numerous awards including an Emmy. His chamber music career has included a 16-year tenure with the acclaimed Concord String Quartet as well as with the Gabrielli Trio and his current mem?bership in the Concord Trio. As a leading exponent of new music he has given nearly 300 premiere performances as well as acclaimed surveys of the complete chamber and duo works of Bach, Beethoven, Schubert, Ives, Brahms, Rochberg, and Bart6k. His pri?mary teachers were Pamela Gearhart, Alexander Schneider, and Ivan Galamian; his chamber music studies were with the Juilliard and Budapest String Quartets. Mr. Jennings's teaching credentials include long-term appointments as artist-in-residence at Dartmouth College, Western Michigan University, SUNY Purchase & Pittsburgh, and the University of Akron. His students have won important international competitions and hold positions in orchestras, string quar?tets, and universities throughout this country and abroad. He currently holds simultaneous appointments as Professor of violin and
chamber music at the University of Michigan in Ann Arbor and at the Oberlin College Conservatory. He has been a member of the artist faculty of the Tanglewood Music Center for the past 19 years where he holds the Richard Burgin Master Teacher Chair.
Amy Porter was awarded the 2006 Henry Russel Award from the University of Michigan for distinguished scholarship and conspicuous ability as a teacher. This is only the third time since 1926 that this award has been given to a Professor in the School of Music, Theatre & Dance and the first time ever awarded to a performing artist. A native of Wilmington, Delaware, Ms. Porter is a graduate of The Juilliard School in New York where she received a full scholarship for her degrees as well as fellowships to Tanglewood and The Mozarteum Academy in Salzburg, Austria. After Juilliard, she held the position of Associate Principal Flute in the Atlanta Symphony Orchestra for eight years before becoming Professor of Flute at the University of Michigan School of Music, Theatre & Dance in Ann Arbor. She is the founder and Past President of the non-profit Southeast Michigan Flute Association. She is founder of the popular workshop, "Amy Porter's Anatomy of Sound" held annually in Ann Arbor with Professor of Theatre (Movement) Jerald Schwiebert and internationally renowned guests. Ms. Porter first rose to international attention winning the Kobe International Flute Competition in Japan, which led to invitations to perform through?out the world. She performs recitals in the major concert halls of Taipei, Osaka, and Tokyo with pianist Christopher Harding. She performs as concerto soloist with orchestras and performs solo recitals in major cities of the US. Award-winning University of Michigan composer Michael Daugherty is writing Ms. Porter a concerto for flute and orchestra entitled The Trail of Tears Concerto, to be premiered in November 2009 with the Omaha Symphony. In the spring of 2009, composer Joel Puckett will be writing a con?certo for flute and symphony band dedicated
to Ms. Porter and commissioned by the University of Michigan Symphony Band. Ms. Porter has recorded on the CBS Masterworks, Boston Records, Equilibrium, and ACA Digital labels. Recent CD releases include Passacaglia, Music or Solo Flute by Roszi, Dohn&nyi, Hindemith and Karg-Elert and the premiere recording of William Bolcom's Lyric Concerto for Flute and Orchestra. In 2006, Ms. Porter released her first DVD, Karg-Elert 30 Caprices: A Study Guide with Amy Porter and published her arrangement of Six Songs for Flute and Piano by Benjamin Godard. Ms. Porter has won numerous international com?petitions, including ParisVille d'Avray International Flute Competition in France, combined with the Alphonse Leduc Prize for outstanding musicianship; The Third Kobe International Flute Competition in Kobe, Japan and the Special Prize for the best per?formance of the commissioned work required at the competition; National Flute Association Competition in the United States; Artists International; and Ima Hogg competitions. In 2005 she returned to Kobe, Japan to serve as the American jury member at the Sixth Kobe International Flute Competition. Ms. Porter is highly sought-after for teaching and master-classes. She has given masterclasses in Sweden, France, Japan, and Taiwan as well in major cities throughout the US.
Having captured First Prize in the Irving M. Klein International and Washington International String Competitions last year, David Requiro is emerging as one of America's most promising young cellists. He recently was named a top prizewinner at the first Gaspar Cassado International Violoncello Competition in Hachioji, Japan as well as win?ning the prize for best performances of the works by Gaspar Cassado. This season Mr. Requiro appeared as soloist with the Pine Bluff and Peninsula Symphonies and has upcoming engagements with the Santa Cruz Symphony. He has completed the first half of the cycle of the Complete Works of Beethoven for Cello and Piano at the Phillips Collection in Washington, DC, with future
cycles scheduled in Ann Arbor and in Cleveland. As a member of the Kashii String Quartet, Mr. Requiro has served on the facul?ty at the Innsbrook Music Festival and Institute. The Kashii String Quartet recently finished a recording project with guitarist David Tanenbaum featuring Aaron J. Kernis's quintet 700 Greatest Dance Hits. Mr. Requiro has had the opportunity to work with mem?bers of the Emerson, TakScs, Borromeo, Brentano, Orion, St. Lawrence, and Juilliard String Quartets as well as with violinist Isaac Stern in the 2001 "Stern Encounters" master?class series. He has collaborated with artists including Atar Arad, Gil Sharon, and the Cavani String Quartet, and performed with the Alexander String Quartet in a benefit con?cert for the Crowden School. A former mem?ber of the New York Strings Seminar, Mr. Requiro has performed at the Aspen Music Festival, Emerson String Quartet Seminar, Music@Menlo, Perlman Chamber Music Program, and Giverny Chamber Music Festival. Mr. Requiro is currently pursuing his MM at the University of Michigan after hav?ing received his BM at the Cleveland Institute of Music where he studied with Richard Aaron. His instrument has been graciously loaned to him from the collection of Ray A. Carlsen of Bellevue, Washington.
Professor Yizhak Schotten was brought to the US by the renowned violist William Primrose, with whom he studied at Indiana University and the University of Southern California. Other studies were with Lillian Fuchs at the Manhattan School of Music. His solo appearances with orchestras have includ?ed performances with conductors Seiji Ozawa and Arthur Fiedler. He has concertized in Israel, Japan, Taiwan, Malaysia, Holland, Austria, Mexico, England, Canada, and throughout the US at New York's Town Hall, Carnegie Hall, and Merkin Hall; Boston's Jordan Hall; the Phillips Collection in Washington, D.C.; the Dame Myra Hess Series in Chicago; and the Cleveland Museum of Art. He has appeared at Bargemusic, the Library of Congress, at Symphony Hall in
Boston, and the Concertgebouw. Mr. Schotten also had numerous broadcasts on National Public Radio. Formerly a member of the Boston Symphony Orchestra, he has been principal violist of the Cincinnati and Houston symphony orchestras. Mr. Schotten's has served on the faculties and performed at the Aspen Music Festival, Banff, Meadowmount, Interlochen, Tanglewood, Chamber Music Northwest, Montreal Skaneateles, and the Juneau Festivals; and has performed abroad at the Taipei Philharmonic Festival, the Festival Internacional de Musica Clasica, the Festival de Musique de Chambre de Montreal, and the Amsterdam Kamermuzik Festival. He serves as Music Director of the Maui Classical Music Festival in Hawaii, Strings in the Mountains Festival in Steamboat Springs, Colorado, and SpringFest in Ann Arbor. Mr. Schotten was the Artistic Director of the XIV International Viola Congress and has been a featured artist at six other international Congresses. He has recorded for Crystal Records, C.R.I., and Pearl Records. He has taught at Rice University and the University of Washington and was on the American Federation of Musician's Congress of Strings faculty. Mr. Schotten is very active teaching masterclasses throughout the US and abroad.
Professor Stephen Shipps studied with Josef Gingold at Indiana University. He also studied with Ivan Galamian and Sally Thomas at the Meadowmount School and with Franco Gulli at the Academia Chigiana in Siena, Italy. He is a former member of the Meadowmount Trio and the Amadeus Trio and has appeared as soloist with the symphony orchestras of Indianapolis, Dallas, Omaha, Seattle, and Ann Arbor, as well as with the Piedmont Chamber Orchestra and the Madiera Bach Festival. He has been a member of the Cleveland Orchestra; Associate Concertmaster of the Dallas Symphony, and Concertmaster of the Dallas Opera; Concertmaster and Associate Conductor of the Omaha Symphony and the Nebraska Sinfonia; and guest Concertmaster for the Seattle and Toledo symphony orches?tras. Mr. Shipps has recorded for American
Gramophone, Bay Cities, NPR, RIAS Berlin, Hessiche Rundfunk of Frankfurt, MelodiyaRussian Disc, and Moscow Radio. His work on the Mannheim Steamroller Christmas albums has yielded a dozen gold and two platinum records. He has adjudicat?ed major national and international competi?tions for three decades and serves on the International Advisory Panel for the International Violin Competition of Indianapolis and Board of Directors of the Sphinx Competition. He is former Director of the American String Teachers Association National Solo Competition. Prior to joining the U-M faculty, he served on the faculties of Indiana University, the North Carolina School of the Arts, and the Banff Centre in Canada.
UMS
and
Donald L. Morelock
present
Louis Lortie
Piano
Program
Felix Mendelssohn Robert Schumann Edvard Grieg
Franz Liszt
Richard Wagner, arr. Liszt
Friday Evening, October 12, 2007 at 8:00 Hill Auditorium Ann Arbor
Variations serieuses in d minor, Op. 54 Papillons, Op. 2
Sonata in e minor. Op. 7
Allegro moderato Andante molto Alia menuetto Finale: Molto allegro'
INTERMISSION
Annees de pelerinage, premiere annee: Suisse (excerpt) Vallee d'Obermann
Overture to Tannhauser
Eighth Performance of the 129th Annual Season
129th Annual Choral Union Series
The photographing or sound and video recording of this recital or possession of any device for such recording is prohibited.
Tonight's performance is supported by Donald L. Morelock.
Special thanks to Logan Skelton, Associate Professor and Chair of Piano. University of Michigan School of Music. Theatre & Dance, for speaking at tonight's Prelude Dinner.
Media partnership is provided by WGTE 91.3 FM, Observer 8 Eccentric newspapers, and WRCJ 90.9 FM.
The Steinway piano used in this evening's recital is made possible by William and Mary Palmer and by Hammell Music, Inc., Livonia, Michigan.
Special thanks to Tom Thompson of Tom Thompson Flowers, Ann Arbor, for his generous contribution of floral art for tonight's recital.
Mr. Lortie's recordings are available on the Chandos and DeccaLondon Labels. Mr. Lortie appears by arrangement with Seldy Cramer Artists.
Large print programs are available upon request.
Canadian pianist Louis Lortie has been praised for the fresh perspective and individuality he brings to a deliberately broad spectrum of the keyboard canon. He studied in Montreal with Yvonne Hubert (a pupil of French pianist, Alfred Cortot), in Vienna with the Beethoven specialist, Dieter Weber, and subsequently with Schnabel disci?ple Leon Fleisher.
Mr. Lortie has performed the complete works of Ravel in London and Montreal for the BBC and CBC, and is also known for his interpretation of Chopin. Following a recital of Chopin's complete eludes in London's Queen Elizabeth Hall, the Financial Times wrote: "Better Chopin playing than this is not to be heard, not anywhere." Mr. Lortie has also performed a series devoted to the key?board, chamber, and vocal music of Brahms and Schumann for CBC. More recently, he has championed works by such contemporary composers as Kurtag (a BachKurtag program at Columbia University), Carter, and Ades.
Also celebrated for his interpretation of works by Beethoven, Mr. Lortie has performed the complete Beethoven sonatas in London's Wigmore Hall, Toronto's Ford Center, Berlin Philharmonie, and the Sala Grande del Conservatorio Giuseppe Verdi in Milan. With the Montreal Symphony, he performed and conducted all five Beethoven piano concertos. In the Beethoven Plus Festival, he performed Beethoven's 32 sonatas for piano; ten sonatas for violin and piano; five sonatas for cello and piano; and six trios for piano, violin, and cello with violinist James Ehnes and cellist Jan Vogler.
Recently, Mr. Lortie has performed exten?sively with Maestro Masur in Paris and in January 2006 with the New York Philharmonic. Over four seasons, Mr. Lortie played and conducted the 27 Mozart piano concertos with the Montreal Symphony, cul?minating in 2006, the 250th anniversary of Mozart's birth. Recent notable concerts include performances at the London Proms, at the Lincoln Center with Osmo Vanska, a return recital in Carnegie Hall, International Piano Series at the Queen Elizabeth Hall, Halle Orchestra with Mark Elder, and performances with Charles Dutoit and the New York Philharmonic.
Louis Lortie
Mr. Lortie has forthcoming engagements with the San Francisco Symphony, National Symphony, LA Philharmonic, and Cleveland Orchestra. His European highlights include Salle Pleyel Paris and a subsequent UK Tour with the Orchestre National du FranceMasur, Rotterdam PhilharmonicElder, London PhilharmonicMasur, BBC NOWFischer, BBC PhilharmonicNoseda, City of Birmingham SymphonyJaap Van Zweden, Netherlands Radio PhilharmonicLazarev, MDR Leipzig SymphonyVarga, Royal Scottish National Deneve, Northern SinfoniaHickox, Bilbao SymphonyMena, and he will playconduct the Het Brabants Orchestra.
In recital, Mr. Lortie has recently per?formed at the Berlin Konzerthaus (with Michaela Schuster and Helene Mercier), Aldeburgh Festival, Orford Summer Festival, Moritzburg Festival, Valldemossa Chopin Festival. He will undertake a complete Beethoven sonatas cycle in Seville in January 2008.
Mr. Lortie has made over 30 recordings on the Chandos label, ranging from Mozart to Stravinsky. His recording of Beethoven's Eroica Variations won the Edison Award, and his disc of Schumann's Bunte Blatter and other works by Schumann and Brahms was named one of the best CDs of the year by BBC Music Magazine. He has recorded Ravel's complete works for piano and has almost completed the 32 Beethoven sonatas. His recording of the complete Chopin etudes, Op. 10 and 25,
has been cited by BBC Music Magazine's spe?cial Piano Issue as one of "50 Recordings by Superlative Pianists." Mr. Lortie's most recent CD release is the final recording in his three-CD series of Liszt's complete works for piano and orchestra with the Residentie Orchestra of The Hague. It was immediately named "Editor's Choice" by Gramophone. In addi?tion to the current Liszt recordings, other recent releases include To the Distant Beloved. with works by Beethoven, Schumann and Liszt, and Franck's Symphonic Variations with the BBC Symphony.
Born in Montreal, Mr. Lortie made his debut with the Montreal Symphony at the age of 13 and the Toronto Symphony three years later, which as a result, engaged him for an historic tour of the People's Republic of China and Japan. In 1984, he won First Prize in the Busoni Competition and was a prize?winner at the Leeds Competition. In 1992 he was named Officer of the Order of Canada,
UMS ARCHIVES
Tonight's concert marks Louis Lortie's third UMS appearance. He made his UMS debut as soloist with the Lahti Symphony in January 2005. Mr. Lortie's last appearance with UMS was in recital, February 2006, when he played the complete etudes of Frederic Chopin.
and received both the Order of Quebec and an honorary doctorate from Laval University. As his schedule permits, he teaches at Italy's renowned piano institute at Imola. Mr. Lortie has lived in Berlin since 1997 but also has a home in Canada.

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