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UMS Concert Program, Wednesday Oct. 24 To Nov. 04: University Musical Society: Fall 2007 - Wednesday Oct. 24 To Nov. 04 --

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University Musical Society
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Season: FALL 2007
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 17 General Information P19 UMS Tickets
UMSAnnals P21 UMS History 22 UMS Venues and Burton Memorial Tower
UMSExperience 27 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.

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
Mary Sue Coleman
President, University of Michigan
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 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 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.
Carl W. Herstein
Chair, UMS Board of Directors
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 _
"Honigman is proud to support non-profit organizations in the communities where our partners and employees live and work. We are thrilled to support the University Musical Society and commend UMS for its extraordinary programming, com?missioning of new work, and educational outreach programs."
Mohamad Issa
Director, Issa Foundation
"The Issa Foundation is sponsored by the Issa family, which has been established in Ann Arbor for the last 30 years, and is involved in local property management as well as area pub?lic schools. The Issa Foundation is devoted to the sharing and acceptance of culture in an effort to change stereotypes and promote peace. UMS has done an outstanding job bringing diversity into the music and talent of its performers."
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, Canfield, Paddock and Stone, P.l.C. "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 'At United Bank & Trust, we believe the arts play an impor?tant 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!"
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
Anonymous DTE Energy Foundation Esperance Family Foundation The Power Foundation
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
Chamber Music America
Arts Midwest Performing Arts
Fund Issa Foundations
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
Carl W. Herstein,
Chair James C. Stanley,
Wee Chair Kathleen Benton,
Secretary Michael C. Allemang,
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, Board Fellow
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 S. Amster Gail Davis Barnes Richard S. Berger Maurice S. Binkow Lee C. Bollinger Janice Stevens Botsford Paul C. Boylan Carl A. Brauer William M. Broucek Barbara Everitt Bryant Letitia J. Byrd Kathleen G. Charla Leon S. Cohan Jill A. Corr Peter B. Corr Ronald M. Cresswell Robert F. DiRomualdo James J. Duderstadt David Featherman Robben W. Fleming
David J. Flowers George V. Fornero Beverley B. Geltner William S. 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
Andrea Smith, Chair Phyllis Herzig, Wee Chair Alice Hart, Secretary Betty Byrne, Treasurer Meg Kennedy Shaw, Past Chair
Randa Ajlouny MariAnn Apley Lone 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 Sarns Jamie Saville
Penny Schreiber Bey 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
Kenneth C. Fischer, President John B. Kennard, Jr., Director of
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
Susan McClanahan, Director Lisa Michiko Murray, Manager of
Foundation and Government
Grants M. Joanne Navarre, Manager of
Annual Giving Marnie 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
EducationAudience Development
Ben Johnson, Director Bree Juarez, Education and
Audience Development Manager Omari Rush, Education Manager Mary Roeder, Residency
MarketingPublic Relations
Sara Billmann, Director
Erika Nelson, Marketing Associate
Douglas C. Witney, Director Emily Avers, Production Operations
Director Jeffrey Beyersdorf, Technical Manager
Michael J. Kondziolka, Director Mark Jacobson, Programming
Manager Claire C. Rice, Associate
Programming Manager Carlos Palomares, Artist Services
Ticket Services
Nicole Paoletti, Manager Sally A. Cushing, Ticket Office
Associate Jennifer Graf, Assistant Ticket
Services Manager Suzanne Davidson, Assistant
Manager, Front-of-House Stephanie Zangrilli, Ticket Office
Kaarina Quinnell, Group Sales
Coordinator Sara Sanders, Assistant Front-of-
House CoordinatorTicket Office
Karen Jenks, Ticket Office Assistant Dennis J. Carter, Bruce Oshaben,
Brian Roddy, Head Ushers
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
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 Fillion Delores Flagg Joey Fukuchi Jeff Gaynor Joyce Gerber Jennifer Ginther Bard Grabbe Chrystal Griffin
Nan Griffith Joan Grissing Linda Hyaduck Linda Jones Jeff Kass
Deborah Kirktand 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
Barrier-Free Entrances
For persons with disabilities, all venues have barrier-free entrances. Wheelchair locations vary by venue; visit www.ums.orgtickets or call 734.764.2538 for details. Ushers are available for assistance.
Listening Systems
For hearing-impaired persons, Hill Auditorium, Power Center, and Rackham Auditorium are equipped with assistive listening devices. Earphones may be obtained upon arrival. Please ask an usher for assistance.
Lost and Found
For items lost at Hill Auditorium, Lydia Mendelssohn Theatre, Power Center, or Rackham Auditorium please call University Productions at 734.763.5213. For the Michigan Theater, call 734.668.8397. For St. Francis of Assisi, call 734.821.2111.
Please allow plenty of time for parking as the campus area may be congested. Parking is available in the Church Street, Maynard Street, Thayer Street, Fletcher Street, and Fourth Avenue structures for a minimal fee. Limited street parking is also available. Please allow enough time to park before the performance begins. UMS 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 Union series. Cars may be dropped off in front of Hill Auditorium beginning one hour before
each performance. There is a $20 fee for this service. UMS 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
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.
Latecomers will be asked to wait in the lobby jntil seated by ushers. Most lobbies have been outfitted with monitors andor speakers so that latecomers will not miss the performance.
The late-seating break is determined by the artist and will generally occur during a suitable repertory break in the program (e.g., after the first entire piece, not after individual movements of classical works). There may be occasions where latecomers are not seated until intermis?sion, as determined by the artist. UMS makes every effort to alert patrons in advance when we know that there will be no late seating.
UMS tries to work with the artists to allow a flexible late-seating policy for family perform?ances.
Group Tickets
Treat 10 or more friends, co-workers, and family members to an unforgettable performance of live music, dance, or theater. Whether you have a group of students, a business gathering, a college reunion, or just you and a group of friends, the UMS Group Sales Office can help you plan the perfect outing. You can make it formal or casual, a special celebration, or just friends enjoying each other's company. The many advantages to booking as a group include:
Reserving tickets before tickets go on sale to the general public
Discounts of 15-25 for most performances
Accessibility accommodations
No-risk reservations that are fully refundable up to 14 days before the performance
1-3 complimentary tickets for the group organizer (depending on size of group). Complimentary tickets are not offered for performances with no group discount.
For more information, please contact 734.763.3100 or e-mail umsgroupsalesO
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.
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
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
(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.
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-ng series of world-class artists, who represent the diverse spectrum of today's vigorous and exciting live performing arts world. Over its 128 ears, strong leadership coupled with a devoted :ommunity has placed UMS in a league of ntemationally recognized performing arts pre?senters. Today, the UMS seasonal program is a 'eflection of a thoughtful respect for this rich and varied history, balanced by a commitment to dynamic and creative visions of where the oerforming arts will take us in this new millen?nium. Every day UMS seeks to cultivate, nurture, and stimulate public interest and participation n every facet of the live arts.
UMS grew from a group of local university and townspeople who gathered together for [he study of Handel's Messiah. Led by Professor Henry Simmons Frieze and conducted by Drofessor Calvin Cady, the group assumed the name The Choral Union. Their first perform?ance of Handel's Messiah was in December of 1879 and this glorious oratorio has since been performed by the UMS Choral Union annually. As a great number of Choral Union mem?bers also belonged to the University, the Jniversity 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.
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, introduc?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 both film and live stage events, with a full-size stage, dressing rooms, an orchestra pit, and the Barton Theater Organ. At its opening, the theater was acclaimed as the best of its kind in the country. Since 1979, the theater has been operated by the not-for-profit Michigan Theater Foundation. With broad community support, the Foundation has raised over $8 million to restore and improve the Michigan Theater. The beautiful interior of the theater was restored in 1986.
In the fall of 1999, the Michigan Theater opened a new 200-seat screening room addi?tion, which also included expanded restroom facilities for the historic theater. The gracious facade and entry vestibule was restored in 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 Auditorium was too massive and technically limited for most productions, and the Lydia Mendelssohn Theatre was too small. The Power Center was built to supply this missing link in design and seating capacity.
In 1963, Eugene and Sadye Power, togeths 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-tioned. The Powers were immediately interested, realizing that state and federal governments were unlikely to provide financial support for the construction of a new theater.
Opening in 1971 with the world premiere of The Grass Harp (based on the novel by Truman Capote), the Power Center achieved he 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 rapestry by Roy Lichtenstein and Volutes (Arabesque) by Pablo Picasso.
The Power Center seats approximately ,400 people.
Arbor Springs Water Company is generously providing i omplimentary water to UMS artists backstage at the i'ower Center throughout the 0708 season.
tackham Auditorium
I ifty years ago, chamber music concerts in Ann Arbor were a relative rarity, presented in an assortment of venues including University Hall (the precursor to Hill Auditorium), Hill Auditorium, 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 irchitectural 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.
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
Wednesday, October 24 through Sunday, November 4, 2007
Spiritual Sounds of Central Asia: 5
Nomads, Mystics, and Troubadours
Wednesday, October 24, 8:00 pm Michigan Theater
Hubbard Street Dance Chicago
Thursday, October 25, 8:00 pm 11
Friday, October 26, 8:00 pm 17
Saturday, October 27, 8:00 pm 23
Power Center
Russian Patriarchate Choir of Moscow 35
Tuesday, October 30, 8:00 pm St. Francis of Assisi Catholic Church
St. Petersburg Philharmonic Orchestra 41
Sunday, November 4, 7:00 pm Hill Auditorium
Fall 2007
16 Sun Michigan Chamber Players
(complimentary admission) 28-30 Fri-Sun Shen Wei Dance Arts:
Second Visit to the Empress
3 WedAndras Schiff: Beethoven Concert 1
5 Fri Andras Schiff: Beethoven Concert 2
6 Sat Orchestra Filarmonica della Scala
12 FriLouis Lortie, piano
13 SatDianne Reeves featuring
Romero Lubambo 19 Fri Cudamani: Odalan Bali 20-21 Sat-Sun Pamina Devi:
A Cambodian Magic Flute 24 Wed Spiritual Sounds of Central Asia 25-27 Thu-SatHubbard Street Dance Chicago 30 TueRussian Patriarchate Choir
4 Sun St. Petersburg Philharmonic 8 Thu Madeleine Peyroux
8 Thu Zehetmair String Quartet
9 Fri Caetano Veloso
10 Sat Yo-Yo Ma, cello Kathryn Stott, piano 18 Sun Los Angeles Guitar Quartet
1-2 Sat-Sun Handel's Messiah 6 Thu The Tallis Scholars
8 Sat Youssou N'Dour and The Super Etoile
9 Sun Leo Kottke and the
Turtle Island String Quartet
Winter 2000
4 Fri Emerson String Quartet
16 WedJazz at Lincoln Center Orchestra
with Wynton Marsalis: Love Songs of
Duke Ellington 20 Sun Yuja Wang, piano 27 Sun Moiseyev Dance Company
1 FriAssad Brothers' Brazilian Guitar Summit
2 Sat-A Celebration of the Keyboard
8 FriChicago 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 Jama!
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 FriBach's St. Matthew Passion 28-29 Fri-SatUrban Bush Women and
Compagnie Jant-Bi: Les ecailles de la memoire (The scales of memory)
2 WedLang Lang, piano
4 Fri Brad Mehldau Trio
5 Sat Choir of King's College, Cambridge
10 Thu-eighth blackbird 12 Saf-Lila Downs
18 FriMehr and Sher Ali:
Qawwali Music of Pakistan
19 SatBobby McFerrin, Chick Corea, and
Jack DeJohnette
20 Sun Andras Schiff: Beethoven Concert 3
22 Tue Andres Schiff: Beethoven Concert 4
10 5af-Ford Honors Program: Sir James Galway
UMS Educational Events
through Tuesday, October 30, 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 or contact the UMS education department at 734.647.6712 or
Hubbard Street Dance Chicago
Artist Interview: Hubbard Street Dance Chicago Choreographers
Saturday, October 27, 2-3:30 pm, Palmer Com?mons, Forum Hall, 3rd Floor, 100 Washtenaw Av?enue (building behind the Power Center)
Choreographers from Hubbard Street Dance Chi?cago talk about the art of dance and their cho?reographic process. Featuring Jim Vincent, artistic director; Lucas Crandall, artistic associate; Alejan?dro Cerrudo and Brian Enos, principal dancers.
A collaboration with the U-M Department of Dance.
eighth blackbird
Artist Interview: eighth blackbird
Friday, October 26, 6:30-7:30 pm, Britton Recital Hall, TWO Baits Drive, School of Music, Theatres Dance, North Campus
Evan Chambers, U-M Chair and Associate Profes?sor of Composition, interviews members of the provocative, engaging, and highly innovative en?semble, eighth blackbird. Based in Chicago, the ensemble is widely lauded for its performance style--often playing from memory with virtuosic and theatrical flair--and its efforts to make new music accessible to wide audiences.
A collaboration with the U-M School of Mu?sic, Theatre & Dance.
Russian Patriarchate Choir
Lecture: Russian Orthodoxy: Music and Tradition
Tuesday, October 30, 6:30-7:30 pm, Parish Activity Center, St. Francis of Assisi Church, 2250 East Stadium Blvd. (between Packard and Washtenaw)
Led by Father Gregory Joyce, rector of St. Vladimir Orthodox Church and Anatoly Grindenko, direc?tor of the Russian Patriarchate Choir.
Music is essential to the life of the Russian Orthodox Church. Father Gregory Joyce will pro?vide a liturgical context for the music to be per?formed by the Russian Patriarchate Choir and will also discuss the historic reconciliation that took place earlier this year between the Russian Or?thodox Church in Russia and the Russia Orthodox Church Outside of Russia (ROCOR). In a manner of speaking, this event marked the final chapter of the Russian Revolution, begun in 1917. Russian Patriarchate choir director Anatoly Grindenko will speak briefly about the choir and upcoming per?formance.
A collaboration with St. Vladimir Orthodox Church and St. Francis of Assisi Church.
Spiritual Sounds of Central Asia
Nomads, Mystics, and Troubadours
The Badakhshan Ensemble (Tajikistan) Aqnazar Alovatov, Vocals Soheba Davlatshoeva, Vocals and Dance Jonboz Dushanbiev, Ghijak Shodi Mabatqulov, Daf Olucha Mualibshoev, Vocals Mukhtor Muborakqadomov, Setar Ghulomsho Safarov, Pamiri Rubab, Badakhshani Rubab, Pamirl Tanbur, Vocals
Bardic Divas (Kazakhstan)
Ulzhan Baibussynova, Vocals and Dombra (Kazakhstan)
Ardak Issataeva, Vocals and Dombra (Kazakhstan)
Alim and Fargana Qasimov (Azerbaijan), Vocals and Daf accompanied by
Rafael Asgarov, Balaban Rauf Islamov, Kamancha AN Asgar Mammadov, Tar Natiq Shirinov, Naghara
Wednesday Evening, October 24, 2007 at 8:00 Michigan Theater Ann Arbor
Tonight's program runs approximately 90 minutes and is performed with brief pauses between each musical section.
14th Performance of the 129th Annual Season
Global Series: Asia
The photographing or sound and video recording of this concert or posses?sion of any device for such recording is prohibited.
Special thanks to Marysia Ostafin and the U-M Center for Russian and Eastern European Studies for their participation in this residency.
This tour is sponsored by the Aga Khan Trust for Culture--Music Initiative and World Music Institute.
Spiritual Sounds of Central Asia appears by arrangement with World Music Institute, New York, NY.
Large print programs are available upon request.
Spiritual Sounds of Central Asia: Mystics, Nomads and Troubadours brings together three groups of performers who represent the strikingly diverse musical heritage of a re?gion that has long been a wellspring of art, cul?ture, and spirituality. Among the traditional arts of Central Asia, music occupies a unique place, for it has been at once a means of expressing social identity, preserving spiritual practices and beliefs, cultivating the performance of poetry, and transmitting history, philosophy, and eth?ics. This venerable social tradition of music was severely ruptured during the 20th century, when society and culture in Central Asia were forcibly reshaped under the influence of Soviet mod?ernization. Following the break-up of the So?viet Union, patronage for music and other arts languished as the new nations of Central Asia strug?gled to achieve social and economic stability. Yet much of the region's rich musical legacy survived, albeit in forms that were altered or incomplete. Today, this legacy is being actively recovered and revitalized. The artists presented in this evening have all played prominent roles in stimulating the resurgence and further development of musical traditions in their own communities. These contin?ually evolving traditions are firmly rooted in local musical practices, yet none of them is "pure." On the contrary, they constitute a cumulative history of orally transmitted invention and innovation to which this evening's performers have contributed their own musical discoveries. As this concert pro?gram compellingly demonstrates, such discoveries come to life through diverse musical styles, forms, and genres, but share a common aim: to speak to the soul, and make it stir.
The Badakhshan Ensemble
Falak-i Badakhshani
Text and Music. Unattributed Vocal Solo: Soheba Davlatshoeva This powerful a cappella performance illustrates the drawn-out, forcefully delivered, intricately or?namented melodic style typical of the falak genre.
Falak-e Suzi
7exf: Rubai (anonymous); Ghazal (Rumi
1207-1273); Ghazal (Hafiz 1325-1389) Music: Unattributed Vocal Solo: Aqnazar Alovatov Ghijak player Jonboz Dushanbiev describes thi piece as an example of falak-e suzi: a falak oi spiritual suffering. The text is a composite of three poems: the first a folk rubai (quatrain) whose au?thor is unknown; the second, a ghazal attributed to Rumi; and the third, a ghazal of Hafiz (a poem composed according to a metrical scheme of long and short syllables whose form consists of rhymec couplets that share a refrain). The Rumi text de scribes an experience of mystical ecstasy in whicr. the poet loses awareness of his own being. The juxtaposition of the straightforwardly secular anc nationalistic rubai with the mystical language o' the ghazals exemplifies the diverse social force1 that shape contemporary expressive culture in Badakhshan.
Maddoh (Praise)
Text: Hafiz, Rumi, Nasir Khusraw, anonymous Music: Traditional, arr. Aqnazar Alovatov Vocal Solo: Aqnazar Alovatov This maddoh is an abridged version of wha would typically be a much longer performance The maddoh begins with a ghazal sung softly ir free rhythm to the spare accompaniment of a Pamiri rubab. This introduction sets a contempla tive mood and draws listeners into the text. Fol lowing is a ghazal attributed to Hafiz, also set ir. free rhythm and accompanied only by rubab. The following ghazal is attributed to Nasir Khusraw the great Persian pir, or saint of the Badakhshan Ismailis. The solo rubab is joined by a seconc rubab and a setar, creating a thicker texture in ths instrumental accompaniment.
The fourth ghazal is by Ghiyasi (d. 1767 oi 1768), a Badakhshani poet whose verse is still popular among local performers and listeners. The beginning of the fifth ghazal, attributed to Rumi, accelerates in tempo. The sixth poem is a rubai attributed to Hafiz, sung in the melodic style of a falak, in free rhythm. It is typical for a falak tc be sung in the middle of a maddoh. The conclud ing ghazal is by Nasir Khusraw.
Text: Unattributed
Music: Nawrozshah Kulbanhusainov ("Sabzak") Unattributed ("Masti Khumoram Boshi," "Jonum, Ikhtiyor Dori, Yori Man")
This medley consists of four songs in contrasting meters that build toward a climax at the end. The third and fourth songs, "Jonum, Ikhtiyor Dori" and "Yori Man" are call-and-response duets consisting of a romantic dialogue between a man and a wom?an. "Such songs were traditionally performed at weddings," Soheba Davlatshoeva recounts. "One of the women would dress up in a man's costume and sing the man's lines, or a man dressed up as a woman would sing the woman's lines."
Zohid-i Khilvatnishm (Reclusive Ascetic) fexf: Hafiz and Ayombek Music Traditional
This popular folk song set to a text of Hafiz is sung throughout Badakhshan in styles ranging from traditional to contemporary pop. Vocalist Aqnazar Alovatov prefers the performance style he heard from older singers, and reproduces here. Towards the end, the Ensemble segues into a fast-paced dance song, "Gul-i Bodom Doram" (My Sweet Almond Blossom).
Bardic Divas
Songs marked by an asterisk are sung by Ulzhan Baibussynova. Songs without an asterisk are performed by Ardak Issataeva.
Bastau (Introduction) Music and Text: Zhienbai Zhyrau (1864-1929) "Bastau" is from the repertory of Kazakh bards, called zhyrau. Zhyraus have traditionally been men; Ulzhan Baibussynova is one of a small num?ber of Kazakh women to publicly perform the zhyrau's repertory of both short and long epic poems. Every zhyrau has a bastau, or introduc?tory poem, that is sung before the performance of longer poems to summon inspiration and build a rapport with listeners.
Sandugash (Morning Song Bird)
Text and Music Yestai (19th century)
A lyrical song about unrequited love, set in the
Kazakh countryside.
Oren Zhierek (The Best Racehorse) Music and Text: Zhienbai-Zhyrau This short song draws analogies between horses and humans to instruct listeners on the nature of good and evil, right and wrong. Performer Ulzhan Baibussynova says of the poem, "In traditional Ka?zakh culture, people liked to listen to this type of didactic verse because it helped them deal with their own inner questions. Such songs show the strong connection of music to moral philosophy and popular religion in Central Asia."
Aq Qum (White Sand) Text and Music. Unattributed This poignant melody, sung in a refined bel canto style and accompanied by a dombra that is both strummed and plucked, exemplifies the Kazakh lyrical song (anshilik). This lyrical song genre reached its fullest development among the his?torically nomadic Kazakhs in the late-19th and early-20th centuries. Its performers were itinerant bards--typically men--who were highly respect?ed and honored guests in any Kazakh settlement. Female performers were not unknown, however, and during the Soviet period became increasingly common. These days it is more typical to hear lyri?cal songs performed by women than men.
Zhonyp Aldy (Carved, polished)
Text and Music. Birzhan-sal Qozhagululy
Birzhan-sal was one of the best-known figures of 19th-century Kazakh music. Sal is an honorific title bestowed on bardic singer-songwriters who were not only masters of their art but chivalrous and charismatic celebrities analogous perhaps, to the troubadours of medieval Europe. An explana?tion of the title "Zhonyp Aldy" unfolds in the text, and conveys the idea that as unique, completely sculptured works of art, lyrical songs must be carefully carved, or polished.
Soile Tilim Zhosylyp (Speak Profoundly) Text and Music: Omar (19th century) In this song by a well-known 19th-century Kazakh bard, the composer speaks about the power of oral poetry to move his listeners.
Enjoo Marjan (My Jewel) Text and Music. Aset Naimanbaev (1867-1923) "Enjoo Marjan" is a composition by another well-known singer-songwriter from the golden age of lyrical song.
Talim (Didactic Song) Text: Turmagambet (1882-1939) Music. Zhienbai Zhyrau
When the Kazakh epic singer Zhienbai-zhyrau taught this piece to his son, Rustembek, from whom Ulzhan Baibussynova learned it, he called it naqpa-naq: to sing precisely and loudly, a perfor?mance style exemplified in Ulzhan's rendition of Turmagambet's lyrics.
Alim and Fargana Qasimov
Chargah or Bayat-i Shiraz (selection made by
the performers prior to tonight's concert) Text: Seyyid Azim Shirvani (1835-1888) ["Chargah"] Muhammad FCizuli (d. 1556) ["Bayat-i Shiraz"] Music: Traditional, arr. Alim Qasimov "Chargah" and "Bayat-i Shiraz" comprise two of the seven principal suite forms of Azerbaijani clas?sical music. Each suite consists of a conventional sequence of pieces that take listeners on a jour?ney through varied musical and emotional terrain. Throughout each suite, high dramatic tension contrasts with moments of repose and detente. Lively, dance-like intermezzos (reng) link the longer vocal pieces in which both singers and instrumentalists seamlessly fuse memorized and extemporized sections of music. Throughout the suite, melodies modulate through different to?nalities or modes, and at the end of this modal journey, the melody finally retums to the initial pitch, bringing the suite to a close.
Description of Musical Instruments
fiaafaan-Cylindrical wooden oboe played with a large double reed
Daf-Frame drum of different sizes that is the prin?cipal percussion instrument of Badakhshan, and is also incorporated in music from Azerbaijan and Iran
Dombra-A name for various types of pear-shaped, long-necked lutes typically strung with two gut or silk strings
Dufar-Designates different kinds of two-stringed, long-necked fretted lutes among Uzbeks, Tajiks, Turkmen, Qaraqalpaks, Uyghurs, and other groups
Ghijak (also ghirjek)-Spke fiddle strung with two, three, or four metal strings; in Badakhshan, a tin can is often used for the resonating chamber.
Kamancia-Spherical spike fiddle with a cylindrical neck fitted with four steel strings
Aagara-Cylindrical, double-sided frame drum played with hands rather than sticks
Pamiri rubab-Unfretted, long-necked lute with skin-covered resonating chamber strung with six gut or nylon strings
Pamiri fanfeur-Long-necked, partially fretted lute with animal skin covering lower part of resonatinc chamber, utilizing three melody strings and fou or six sympathetic strings
Sefar-Long-necked, fretted lute with wood-cov?ered deck, utilizing three steel melody strings, anc a variable number of sympathetic strings that pro?vide a drone background to the melody strings
Far-Double-chested, skin-faced plucked lute usec in urban music from the Caucasus and Iran; in Azerbaijan, the tar is widely considered the na?tional instrument.
The Badakhshan Ensemble takes its name from the mountainous region that comprise; the sparsely populated eastern half of Tajiki stan and northeast of Afghanistan. There, nestlec in a series of riverine valleys that descend from the Pamir Mountains to the Panj River, the boundar line between Tajikistan and Afghanistan, are score: of small settlements whose inhabitants have cul?tivated a vibrant tradition of devotional song, dance, and contemplative instrumental music. The ensemble was the brainchild of Soheba Dav-latshoeva (b. 1970), a vivacious singer and dancer, who grew up in a Pamiri village and learned local music and dance from a young age. Soheba filled out the group with some of Badakhshan's finest young musicians, as well as the charismatic ghijaL (spike fiddle) player Jonboz Dushanbiev, a genera tion older than Soheba and her peers.
The Badakhshan Ensemble's repertoire en compasses a variety of musical styles and genres with each corresponding to one of the distinc social roles that the ensemble fills in its own com munity. The most typical of these roles is to pro
vide music for weddings. Another is to perform devotional songs at community events and cel?ebrations. These include weekly prayer meetings, all-night gatherings following the death of a com?munity member, and festivities linked to Nawruz (traditional New Year) and Ramadan. Many--if not most Badakhshanis--are Shia Ismaili Muslims, and the Ismaili spiritual and devotional tradition has had a strong and abiding influence on Pamiri expres?sive culture. Ismaili communities have existed in the Pamir Mountains for close to a millennium. Ismaili religious thought emphasizes a balance between the exterior, literal meaning of sacred scriptures and religious commandments (zahir) and their esoteric or inner meaning (batin) which illuminates eternal spiritual truths (haqa'iq). Such a vision of Islam, common to other esoteric traditions (such as Sufism) finds expression in broader cultural forms that are often located in the vernacular and draw on local musical genres and styles.
Among the Badakhshani Ismailis, spiritual concerts featuring sung poetry, austerely accompa?nied on stringed instruments and frame drum (daf), serve as one route toward spirituality and the illumi?nation of spiritual truths. This performance genre is referred to as maddoh (praise; also transliterated as maddah, madah, or madh). The Badakhshan Ensem?ble's Aqnazar Alovatov is one today's most in-de-mand maddoh singers. Another performance genre central to the ensemble's repertoire is falak--sober, lament-like songs that many Badakhshanis believe to possess healing qualities, and whose texts typi?cally address philosophical themes. The ensemble's repertory includes a rich variety of instrumental mu?sic sometimes accompanied by dance. Badakhshani dance focuses on graceful movements of the arms and hands that are believed to symbolize the flight of birds--an atavistic reference to Badakhshan's animistic, pre-lslamic past.
Kazakh musicians Ulzhan Baibussynova and Ardak Issataeva represent a larger group of soloists and small ensembles that performs together as Bardic Divas. Collectively, these ex?ceptional performers illuminate the diverse tradi?tions of Central Asian bards: lyrical song, storytell?ing, the performance of epic and didactic poetry, and instrumental music with a strong narrative dimension. Some of these traditions are specific to female performers and have typically been performed within a social milieu restricted to
women. Others represent idioms that were once overwhelmingly the province of men. The Kazakh and Qaraqalpak music in tonight's program exem?plifies this latter type.
The appropriation of male-dominated musical traditions by female musicians was spurred by the social policies of the Soviet era. Yet even before the establishment of Soviet power, maverick women challenged gender taboos in musical performance. Kazakh folklore has preserved the details of a fa?mous singing contest (aitys) that took place around 1870 between Birzhan-sal, a renowned male bard, and a talented young female bard named Sara Tastanbekova. Birzhan-sal won the contest, but in taking on the famous singer and composer, Sara gained her own honored place in Kazakh mu?sic history. Her courageous example encouraged younger generations of Kazakh women to perform lyrical songs; among these musical descendants is Ardak Issataeva, whose warm and willowy alto voice is featured tonight.
Ulzhan Baibussynova's evocative renditions of Kazakh poetry represent another example of a traditionally male bardic genre, called zhyrau-lik. Performers of zhyraulik, called zhyrau, sing in a raspy, guttural vocal timbre often considered to have magical powers, and accompany themselves on the dombra, a two-stringed, long-necked lute.
A Mm Qasimov is Azerbaijan's most be?loved singer, a virtuoso who was awarded the prestigious IMCUNESCO Music Prize in 1999 and later participated in Yo-Yo Ma's Silk Road Project. Qasimov (b. 1957) and his daughter Fargana (b. 1979) exemplify the explosive artis?tic energy that results when a powerful musical model ignites the spark of young talent.
Fargana Qasimov's talent gravitated natu?rally toward the music she heard from her father: Azerbaijani classical music, known as mugham, and the repertoire of popular bardic songs sung by ashiqs, singer-songwriters who might be consid?ered modern-day troubadours. Mugham may be performed in a purely instrumental form, but the performance medium most favored among Azer-baijanis is the voice. Vocalists typically perform the lead role in a trio that also includes tar and kaman-cha as well as a frame drum (daf) played by the vocalist. This trio style of performance provided the starting point for Alim Qasimov's innovative treatment of mugham.
Tonight's concert marks the UMS debuts of The Badakhshan Ensemble, Bardic Divas, and Alim and Fargana Qasimov.
The Aga Khan Music Initiative in Central Asia
(AKMICA) was created by His Highness the Aga Khan in 2000 to support the efforts of Central Asian musicians and communities to sustain, fur?ther develop, and pass on musical traditions that are a vital part of their cultural heritage. For fur?ther information on the Aga Khan Music Initiative, please visit
World Music Institute (WMI) is a not-for-profit organization dedicated to the presentation and documentation of traditional and contemporary music and dance from around the world. Since its founding in 1985, WMI has built one of the most comprehensive concert series of music and dance in the US. Recognized as the US's premiere present?er of traditional world music and dance, WMI has presented more than 1,100 ensembles and soloists from over 100 countries and ethnic minorities. In addition to its concert series in New York, WMI or?ganizes several national tours each year, produces recordings, and maintains an extensive catalog of more than 4,000 recordings, videos, and books of
traditional music. For further information, please
Tour Credits
Spiritual Sounds of Central Asia is co-produced by World Music Institute (WMI) and the Aga Khan Music Initiative in Central Asia (AKMICA), a program of the Aga Khan Trust for Culture.
AKMICA Production Team
Fairouz R. Nishanova, Director
Theodore Levin, Senior Project Consultant
Alexander Djumaev, Regional Coordinator, Central Asia
Sabine ChatelZamzama Productions:
Artist Management for AKMICA Saodat Ismailova and Carlos Casas: Documentary Films Multimedia Productions: Mondomix
WMI Production Team
Isabel Softer, Director of Programming
Sophie Goudard, Tour Manager
Tour Crew
Patrice Thomas, Production Stage Manager
E. John Pendleton, Company Manager
Antoine Cannella, Technical Director
Romain Frydman, Sound Engineer
David Kobernuss, Audio Technician
Saodat Ismailova, Video Effects
William Sumits, Artist Liaison
Theodore Levin, Program Notes
Theodore Levin, Anna Senarslan, William Sumits, Supertitle Texts
Cindy Byram, Promotion and Publicity
Pfizer Global Research
and Development
Hubbard Street Dance Chicago
Artistic Director, Jim Vincent Executive Director, Jason D. Palmquist Founder, Lou Conte
Company Shannon Alvis Alejandro Cerrudo Prince Credell Philip Colucci Meredith Dincolo Autumn Eckman
Brian Enos Kellie Epperheimer Sarah Cullen Fuller Laura Halm Terence Marling Jamy Meek
Pablo Piantino Yarden Ronen Penny Saunders Jessica Tong Robyn Mineko Williams
indicates HSDC Apprentice
Center Apprentices, Jason Hortin, Tiffany Vann
Associate Artistic Director, Lucas Crandall
Choreography by Alejandro Cerrudo
Choreography by Brian Enos
Thursday Evening, October 25, 2007, at 8:00 Power Center Ann Arbor
Extremely Close
Choreography by Twyla Tharp
Choreography by Jim Vincent
Baker's Dozen
15th Performance of the 129th Annual Season
17th Annual Dance Series
The photographing or sound and video recording of this performance or possession of any device for such recording is prohibited.
Hubbard Street Dance Chicago's performances are sponsored by Pfizer Global Research and Development: Ann Arbor Laboratories. Special thanks to David Canter, Senior Vice President of Pfizer, for his continued and generous support of the University Musical Society.
Special thanks to Jim Vincent, Artistic Director, Hubbard Street Dance Chicago, for speaking at tonight's Prelude Dinner.
Media partnership is provided by Michigan Radio, Between the Lines, Metro Times, and Ann Arbor's 107one.
Hubbard Street Dance Chicago gratefully acknowledges the generous support of the National Endowment for the Arts, the Illinois Arts Council, a state agency, and the City of Chicago Department of Cultural Affairs.
Large print programs are available upon request.
Extremely Close
Choreography by Alejandro Cerrudo Costume Design by Janice Pytel Lighting Design by Tanja Ruhl Music by Philip GlassDustin O'Halloran
Jessica Tong Robyn Mineko Williams Sarah Cullen Fuller Laura Halm
Jamy Meek Terence Marling Pablo Piantino Yarden Ronen
Inspired by the poignant and intimate piano solos by Philip Glass and Dustin O'Halloran, as well as the skill of his fellow HSDC artists, Hubbard Street dancer Alejandro Cerrudo--a highly acclaimed choreographer of "work[s] of great delicacy, invention, subtlety, and charm"--created this piece for eight dancers. Extremely Close marks his second world premiere for HSDC.
Extremely Close was commissioned by The Joyce Theater. Music by Phillip Glass and Dustin O'Halloran. From the Phillip Glass album glass cage: "Metamorphosis Two"; from the Phillip Glass album Glassworks: "Opening"; from the Dustin O'Halloran album Piano Solos: "Fine" courtesy of Splinter Records; from the soundtrack to Marie Antoinette: "Opus 17." Music by Phillip Glass used by arrangement with Dunvagen Music.
B-Sides (12" Mix)
Choreography by Brian Enos Costume Design by Alec Donovan Music by Hybrid Lighting Design by Nic Phillips
Prince Credell Philip Colucci
Shannon Alvis Penny Saunders Kellie Epperheimer
B-Sides was inspired by Hybrid's lush cinematic soundscapes and the culture surrounding under?ground dance music. The piece constantly moves and changes, rarely settling into any one shape.
8-Sides was commissioned by the Performing Artists Series of Kutztown University and the Hancher Auditorium of the University of Iowa and is supported in part by John and Caroline Ballantine. Created for and premiered by Hubbard Street Dance Chicago at the Harris Theater for Music and Dance in Millennium Park, Chicago, IL, October 3, 2007. Music by Hybrid. From the album Morning Sci-fi: "Marrakech"; from the album Choose Noise: "I Choose Noise"; from the album Wide Angle: "Altitude (Re?prise)"; from the album Y4K9: "The Drop (Man on Fire Edit)"; from the EP Y4K009EPI: "In Good We Trust (Soundtrack Edit)"; from an MP3 exclusive release: "Marrakech (Soundtrack Edit); courtesy of Distinctive Records.
Baker's Dozen
Hubbard Street Dance Chicago is proud to present the revival of an important work from the company's past, Twyla Tharp's Baker's Dozen, in celebration of our 30th Anniversary season.
Choreography by Twyla Tharp
Original Costume Design by Santo Loquasto
Lighting Originally by Jennifer Tipton
Lighting Recreated by Scott Kepley
Music Composed by Willie "The Lion" Smith
Piano Performed by Dick Hyman
Meredith Dincolo Terence Marling Sarah Cullen Fuller Brian Enos Jessica Tong Jamy Meek Shannon Alvis Pablo Piantino Kellie Epperheimer Yarden Ronen Robyn Mineko Williams Philip Colucci
This Twyla Tharp classic features 12 dancers in romantically inclined couplings, wittily eccentric partnerings and finely calibrated unison work, set to "Echo of Spring" by Willie "The Lion" Smith. This satiny smooth dance aims to conjure a world of living social graces and personal rapport, mixing nostalgic and contemporary emotions all together.
Baker's Dozen is funded by the Andrew W. Mellon Foundation. Staged by Ron De Jesus. First performed by Twyla Tharp Dance in February, 1979 at the Brooklyn Academy of Music in Brooklyn, New York. First performed by Hubbard Street Dance Chicago at the Theater Heilbronn, Heilbronn, Germany, November 22, 1990. Solo performances by Dick Hyman, pianist, of the pieces composed by Willie "The Lion" Smith: Echo of Spring, Tango a la Caprice, Concentrating, Relaxin', and a medley containing portions of Passionate, Morning Air, and Fingerbuster, which together constitute the score of the dance originally recorded for Twyla Tharp Dance Foundation in 1978 under the title Baker's Dozen.
Choreography by Jim Vincent Music by Karl Jenkins Costume Design by Mara Blumenfeld Lighting Design by Ryan J. O'Gara
Movement I
The Ensemble
Movement II
Penny Saunders Pablo Piantino Sarah Cullen Fuller Terence Marling
Movement III
The Ensemble
Set to a modern-meets-Baroque score by Karl Jenkins, Artistic Director Jim Vincent's work paral?lels 16th-century Italian architect Andrea Palladio's three basic design principles: dramatic exterior motifs; economical materials; harmony and balance. The design and concept of both dance and stage unite for an inspiring and thrilling full-company finale.
Palladio is sponsored by Meg and Tim Caltahan, Karen and Peter Lennon and Timothy R. Schwertfeger and Gail Waller. Created for and premiered by Hubbard Street Dance Chicago at the Harris Theater for Music and Dance in Millennium Park, Chicago, IL, April 18, 2007. Music by Karl Jenkins, from the album Diamond Music: "Palladio"; copyright 1996 Sony Music Entertainment Also by arrangement with Hendon Music, Inc., a Boosey & Hawkes company, publisher and copyright owner.
Please refer to page 26 in your program book for complete company biographies and staff credits.
Pfizer Global Research
and Development
Hubbard Street Dance Chicago
Artistic Director, Jim Vincent Executive Director, Jason D. Palmquist Founder, Lou Conte
Company Shannon Alvis Alejandro Cerrudo Prince Credell Philip Colucci Meredith Dincolo Autumn Eckman
Brian Enos Kellie Epperheimer Sarah Cullen Fuller Laura Halm Terence Marling Jamy Meek
Pablo Piantino Yarden Ronen Penny Saunders Jessica Tong Robyn Mineko Williams
indicates HSDC Apprentice
Center Apprentices, Jason Hortin, Tiffany Vann Associate Artistic Director, Lucas Crandall
Choreography by Alejandro Cerrudo
Choreography by Twyla Tharp
Friday Evening, October 26, 2007, at 8:00 Power Center Ann Arbor
Extremely Close
Baker's Dozen
Choreography by Ohad Naharin
Choreography by Nacho Duato
16th Performance of the 129th Annual Season
17th Annual Dance Series
The photographing or sound and video recording of this performance or possession of any device for such recording is prohibited.
Hubbard Street Dance Chicago's performances are 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.
The 0708 Family Series is sponsored by Toyota.
Media partnership is provided by Michigan Radio, fiefween the Lines, Metro Times, and Ann Arbor's 107one.
Hubbard Street Dance Chicago gratefully acknowledges the generous support of the National Endowment for the Arts, the Illinois Arts Council, a state agency, and the City of Chicago Department of Cultural Affairs.
Large print programs are available upon request.
Extremely Close
Please refer to page 13 for program information on Extremely Close.
Baker's Dozen
Please refer to page 14 for program information on Baker's Dozen.
Choreography by Ohad Naharin Costume Design by Mari Kajiwara Lighting Design by Ohad Naharin Music by Traditional Music
Sarah Cullen Fuller Terence Marling
This duet depicts the intimate dialogue between a man and a woman. Naharin's partnering mingles vulnerability with conflict, articulating a touching, true-to-life exchange.
HSDC's original production of Passomezzo was underwritten by a gift from the Elizabeth F. Cheney Foundation. Originally com?missioned by the Nederlands Dans Theater II for the Serious Fun! Festival in 1989. Mari Kajiwara, assistant to the choreographer. First performed by Hubbard Street Dance Chicago at the Cadillac Palace Theatre, Chicago, IL, April 17, 2001. Music by Unknown, from the album The Beggar's Opera: "Greensleeves"; arranged by Jeremy Barlow; performed by the Broadside Band (Harmonia Mundi HMC90107).
Choreography by Nacho Duato
Music by Hassan Hakmoun, Adam Rudolph, Juan Arteche, Xavier Paxadino,
Abou-Khalil, Velez, Kusur and Sarkissian Lighting Design by Nicholas Fischtel Costume Design by Modesto Lomba Set Design by Nacho Duato Organization by Mediaart Producciones SL (Spain)
Penny Saunders Terence Marling Shannon Alvis Jamy Meek
Robyn Mineko Williams Brian Enos Laura Halm Philip Colucci Sarah Cullen Fuller Pablo Piantino Kellie Epperheimer Yarden Ronen Jessica Tong Alejandro Cerrudo Autumn Eckman Prince Credell
The celebrated Spanish choreographer Nacho Duato created this world premiere expressly for HSDC. Set to evocative Spanish and North African sounds, Gnawa captivates with its percussive power and sensual grace, combining the spirituality and organic rhythms from the Mediterranean.
Karen and Peter Lennon are the Exclusive Underwriters of Gnawa. Created for and premiered by Hubbard Street Dance Chicago at the Harris Theater for Music and Dance in Millennium Park, Chicago, IL, March 30, 2005. Music by Hassan Hakmoun and Adam Rudolph: from the album Hassan Hakmoun and Adam Rudolph: Gift of the Gnawa, "Ma Bud Allah"; from the album Finis Africae "Carauri," written by Juan Arteche; published by Ediciones Cubicas (Spain); from the album Nafas "Window," written by Abou-Khalil, Velez, Kusur, and Sarkissian; published by ECM RecordsVerlag Musik GmbH (Germany).
C Nacho Duato, all rights reserved
Please refer to page 26 in your program book for complete company biographies and staff credits.
Pfizer Global Research
and Development
Hubbard Street Dance Chicago
Artistic Director, Jim Vincent Executive Director, Jason D. Palmquist Founder, Lou Conte
Company Shannon Alvis Alejandro Cerrudo Prince Credell Philip Colucci Meredith Dincolo Autumn Eckman
Brian Enos Kellie Epperheimer Sarah Cullen Fuller Laura Halm Terence Marling Jamy Meek
Pablo Piantino Yarden Ronen Penny Saunders Jessica Tong Robyn Mineko Williams
indicates HSDC Apprentice
Center Apprentices, Jason Hortin, Tiffany Vann Associate Artistic Director, Lucas Crandall
Program Saturday Evening, October 27, 2007, at 8:00 Power Center Ann Arbor
Choreography by Alejandro Cerrudo Extremely Close
Choreography by Brian Enos B-Sides (12" Mix)

Choreography by Ohad Naharin
Choreography by Jim Vincent
17th Performance of the 129th Annual Season
17th Annual Dance Series
The photographing or sound and video recording of this performance or possession of any device for such recording is prohibited.
Hubbard Street Dance Chicago's performances are 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.
Tonight's performance is sponsored by the University of Michigan Health System. Special thanks to Dr. Robert Kelch, Executive Vice President for Medical Affairs, for his generous support of the University Musical Society.
Media partnership is provided by Michigan Radio, Between the Lines, Metro Times, and Ann Arbor's 107one.
Hubbard Street Dance Chicago gratefully acknowledges the generous support of the National Endowment for the Arts, the Illinois Arts Council, a state agency, and the City of Chicago Department of Cultural Affairs.
Large print programs are available upon request.
Extremely Close
Please refer to page 13 for program information on Extremely Close.
B-Sides (12" Mix)
Please refer to page 13 for program information on B-Sides (12" Mix).
Please refer to page 19 for program information on Passomezzo.
Please refer to page 15 for program information on Palladio.
Hubbard Street Dance Chicago (HSDC), under the dynamic leadership of Artistic Director Jim Vincent, is celebrating 30 years as one of the most renowned dance institu?tions in the world, performing annually for more than 100,000 people. Critically-acclaimed for its exuberant, athletic, and innovative repertoire, the company features dancers who display unparal?leled versatility and virtuosity in performances that inspire, challenge, and engage audiences worldwide. Continually expanding its diverse rep?ertoire with work by leading national and inter?national choreographers, the company also con?tributes to the art form's evolution by developing new choreographic talent and collaborating with artists in music, visual art, and theatre. The com?pany performs works unmatched in artistic excel?lence by world-renowned choreographers such as Jiri Kylia"n, Nacho Duato, Ohad Naharin, William Forsythe, Susan Marshall, Christopher Bruce, and Daniel Ezralow. Talent is also nurtured within the walls of the Hubbard Street Dance Center, serv?ing as an incubator for established and emerging choreographers--including some who have made HSDC their home. Acclaimed dancemakers Dua?to, Jorma Elo, Lar Lubovitch, Toru Shimazaki, and Marguerite Donlon have created works especially for the company. HSDC dancers Alejandro Cerru-do and Brian Enos have both seen their works-in-progress for HSDC's annual choreographic work?shop evolve into critically acclaimed pieces for the company, while Associate Artistic Director Lucas Crandall has created two works in the company's repertoire. HSDC performed the latest piece by Artistic Director Jim Vincent, his third for the com?pany, to much critical praise in April 2007.
Under Mr. Vincent's direction, HSDC has thrived from unique partnerships with musical art?ists and organizations--an important part of his vision. Coming from a tradition of performing to live music with Nederlands Dans Theater (where he danced and choreographed for 12 years), Mr. Vincent set this as a company goal from the mo?ment he joined HSDC. In January 2004, HSDC joined forces with the Chicago Symphony Or?chestra (CSO) for an engagement conducted by Pinchas Zukerman. The success of this debut col?laboration has resulted in an ongoing relationship, including annual engagements with the CSO, which has created far-reaching artistic and insti?tutional opportunities. Other recent and unique orchestral collaborations have included perfor-
mances in Canada with the prestigious National Arts Centre Orchestra Ottawa and at the Holly?wood Bowl with the Los Angeles Philharmonic. Mr. Vincent also has begun working on projects involving live music spanning a broad spectrum of musical styles and genres, such as contemporary chamber music and jazz.
HSDC performs in downtown Chicago and the metropolitan area and also tours throughout the year. The company has appeared nationally and internationally at celebrated dance venues including the American Dance Festival, DanceAs-pen, the Holland Dance Festival, Jacob's Pillow Dance Festival, Joyce Theater, Kennedy Center, Ravinia Festival, Wolf Trap Festival, Spoleto Fes?tival of Two Worlds (Italy), Spoleto Festival USA (Charleston, SC), Casals Festival (San Juan, Puerto Rico), England's Sadler's Wells Theatre and The Brighton Festival, the Galway Arts Festival (Ire?land) and the Sintra Festival (Portugal). In fall 2007, HSDC will make its debut in Russia at the Moscow International Contemporary Dance Fes?tival DANCEINVERSION. The company has also been presented by some of the most cutting-edge dance programs at prestigious universities around the country, including the Hancher Auditorium at the University of Iowa, the University Musical Society at the University of Michigan, and the CalPerformance Series at the University of Califor?nia Berkeley. As Chicago's leading contemporary dance company, Hubbard Street Dance Chicago serves as an emblem of the city's international cultural profile. One of the only American dance companies to operate year-round, HSDC contin?ues to produce bold and passionate performances for Chicago, national and international audiences, always changing and evolving while maintaining the highest artistic standards.
HSDC was founded in 1977 by dancer and choreographer Lou Conte. For the next 23 years, Mr. Conte served as Artistic Director until his retire?ment from HSDC in 2000. Originally the company's sole choreographer, he developed relationships with emerging and world-renowned choreogra?phers as the company began to grow, adding bod?ies of work by a variety of artists, including Lynne Taylor-Corbett, Margo Sappington, Daniel Ezralow, and Twyla Tharp. These relationships transformed HSDC into the internationally-acclaimed repertory company it is today. Mr. Conte further expanded the company's repertoire to include European cho?reographers Jiri Kylin and Nacho Duato.
In March 1998, Hubbard Street Dance Chi?cago merged with the Lou Conte Dance Studio (LCDS), Mr. Conte's original studio and the pre?decessor to HSDC founded in 1974, and relocated to a permanent facility in Chicago's West Loop neighborhood. This facility, renamed the Hub?bard Street Dance Center in fall 2006, houses five dance studios equipped with state-of-the-art floors and audio systems, including two stage-sized spaces; production shops for building and maintaining sets and costumes; storage space for the company's advanced sound and lighting sys?tem; a sound-mixing studio; and administrative offices and meeting rooms. One of the most com?prehensive dance centers in the US, the Hubbard Street Dance Center, which unveiled a new facade designed by award-winning architects Krueck & Sexton in fall 2006, is the home of Hubbard Street Dance Chicago's main company, Hubbard Street 2, LCDS, and HSDC's Education and Community Programs, serving as one institution dedicated to performance, dance training and community edu?cation.
As bold in the classroom as on the stage, Hubbard Street Dance offers a broad range of programs for students and educators that enrich the learning process. HSDC's Education and Com?munity Programs, under the direction of Kath-ryn Humphreys, bring students into the world of dance by actively engaging them in perception, research, reflection, and discussion, assisting them in strengthening basic proficiencies to develop an?alytical and abstract thinking, interpretation, and problem-solving skills. HSDC's partnerships with schools provide teaching artists and educators the opportunity to plan, teach, and learn together to create exciting and meaningful integrated curricu?lum, which challenges students and takes learning to new levels.
This week's performances by Hub?bard Street Dance Chicago mark the company's ninth, 10th, and 11th appearances by the company under UMS auspices.
Jim Vincent (Artistic Director) joined HSDC in August 2000 following an extensive career as a dancer, teacher, ballet master, and cho?reographer. Mr. Vincent's distinguished career as a professional dancer includes a 12-year tenure with Jiri Kylian's Nederlands Dans Theater, guest appearances and touring with Lar Lubovitch and two years with Nacho Duato's Compania Nacional de Danza in Spain. As a dancer, he worked with many choreographers, including Kylian, Duato, Lubovitch, Glen Tetley, William Forsythe, Mats Ek, Hans van Manen, Christopher Bruce, and Ohad Naharin. Mr. Vincent served as ballet master and rehearsal director for Nederlands Dans Theater II and Opera National de Lyon and was also the Assistant Artistic Director to Nacho Duato with Companfa Nacional de Danza. Mr. Vincent cho?reographed a number of works for Nederlands Dans Theater I and II and Switzerland's Stadt The?ater Bern. In 2002, he choreographed counter part for HSDC, which has since been performed with the Chicago Symphony Orchestra and the National Arts Centre Orchestra (Ottawa, Canada), conducted by Maestro Pinchas Zukerman, as well as with the Los Angeles Philharmonic, conducted by Sir Andrew Davis. In 2005, composer David Lang's Cheating, Lying, Stealing inspired Mr. Vin?cent to create Uniformity, which premiered at the Joyce Theater (NYC), and in spring 2007, HSDC premiered his newest work, Palladio, to Karl Jen?kins' music at the Harris Theater for Music and Dance (Chicago).
Glenn Edgerton (Associate Artistic Director) joined HSDC in August 2007, bringing 29 years of professional experience and an international reputation. Mr. Edgerton began his career at The Joffrey Ballet where, mentored by Robert Joffrey, he spent 11 years with the company, performing leading roles in its repertoire including works by Gerald Arpino, among many others. In 1988, Edg?erton joined the acclaimed Nederlands Dans The?ater 1 where he danced for five years. Upon retir?ing from performing in 1994, he was appointed Artistic Director of NDT 1, leading the company for a decade, performing the works of NDT's own Jiri Kylian, William Forsythe, Ohad Naharin, Nacho Duato, Jorma Elo, Mats Ek, Paul Lightfoot, Hans Van Manen, and many more of the world's most distinguished choreographers. Edgerton returned to the US in 2005, teaching at UCLA and Loyola Marymount University, as well as conducting sum-
mer intensives at the San Francisco Conservatory of Dance and guest teaching for many prestigious dance companies, such as The Joffrey Ballet, As?pen Santa Fe Ballet, and American Ballet Theatre. Since April 2006, he has been director of the Col-burn Dance institute at the Colburn School of Per?forming Arts in Los Angeles, a position he retains concurrent with his position at HSDC.
Jason D. Palmquist {Executive Director) joined HSDC in May 2007, after serving the arts com?munity in Washington DC for nearly 15 years. Mr. Palmquist began his career at the John F. Kennedy Center for the Performing Arts, completing his tenure there as Vice President of Dance Adminis?tration. At the Kennedy Center, he oversaw mul?tiple world-premiere engagements of commis?sioned works in dance, the formation and growth of the Suzanne Farrell Ballet and the inception in 1997 of the Millennium Stage--an award-win?ning, free daily performance series that to date has served more than 3 million patrons. Deeply enriching the Kennedy Center's artistic program?ming, he successfully presented engagements with many of the world's most important dance companies including the Royal Ballet, Alvin Ailey
American Dance Theatre, the Kirov Ballet, Paul Taylor Dance Company, American Ballet Theatre, and New York City Ballet. Mr. Palmquist also man?aged the Kennedy Center's television initiatives, including the creation of the Mark Twain Prize for American Humor and a prime-time special on NBC memorializing the first anniversary of the September 11 attacks. In 2004, he accepted the position of Executive Director of the Washington Ballet. Under his leadership, the company pre?sented full performance seasons annually at the Kennedy Center and the Warner Theater, as well as nurtured its world-renowned school and exten?sive education and outreach programs. Raised in Iowa, Mr. Palmquist is a graduate of the University of Northern Iowa.
Lucas Crandall (Associate Artistic Director) was born in Madison, Wisconsin. After receiving sev?eral scholarships in the US and an apprenticeship with the Milwaukee Ballet, Mr. Crandall went to Europe in 1980 to perform with the Ballet du Grand Theatre in Geneva, Switzerland. In 1985, he joined Nederlands Dans Theater where he first worked with Jim Vincent, HSDC's current artistic director. In 1987, Mr. Crandall returned to the
Ballet du Grand Theatre, working with many cho?reographers including Ohad Naharin, Jiri Kylian, Mats Ek, and Christopher Bruce. In 1996, he be?came the Ballet du Grand Theatre's rehearsal di?rector, assisting and rehearsing numerous works. Since Mr. Crandall's arrival at HSDC in August !000, he has continued to assist choreographers, lotably Marguerite Donlon. He has also been on faculty with the Lou Conte Dance Studio, as well as ballet and repertory instructor for masterclass-es and residencies throughout the US. A chore?ographer since 1982, he has created pieces that lave been performed in a variety of countries. In Viarch 2005, his work Gimme received its HSDC Chicago premiere at the Harris Theater for Music and Dance. In July 2005 and 2006, Mr. Crandall participated in the Northwest Professional Dance Project with Sarah Slipper and Steve Gonzales.
Kristen Brogdon (Artistic Administrator) joined Hubbard Street Dance Chicago as Artistic Ad?ministrator in July 2007, after nine years at the John F. Kennedy Center for the Performing Arts in Washington DC, where she first worked with HSDC Executive Director Jason Palmquist. During her tenure at the Kennedy Center, Ms. Brogdon was responsible for programming the facility's un?paralleled ballet and contemporary dance season. She managed The Suzanne Farreli Ballet from its inception in September 2001 and was instrumen?tal in the creation and growth of the Metro D.C. Dance Awards. Ms. Brogdon also created and produced a commissioning program for local cho?reographers, facilitating work by 20 artists from the DC area, Maryland, and Virginia. Prior to the Kennedy Center, she was the company manager and publicist for Li Chiao-Ping Dance, a modern dance company based in Madison, Wisconsin. Ms. irogdon holds a Masters of Arts in Business with concentration in Arts Administration from the Jniversity of Wisconsin, and a Bachelor of Arts n Economics from Duke University. She lives with her husband David, daughter Sophie, and son Nicholas in Oak Park, Illinois.
-ou Conte (HSDC Founder; Director, Lou Conte Dance Studio), after a performing career includ-ng Broadway musicals such as How to Succeed in Business Without Really Trying (original cast), Mame, and Cabaret, established the Lou Conte Dance Studio in 1974. In 1977, he founded what is now Hubbard Street Dance Chicago with four
dancers performing at senior citizens homes in Chicago through Urban Gateways, a Chicago-based arts education organization. Originally the company's sole choreographer, he developed re?lationships with emerging and world-renowned choreographers as the company began to grow, adding bodies of work by a variety of artists. These relationships transformed HSDC into the internationally-acclaimed repertory company it is today. In the 1980s, Conte commissioned several works by Lynne Taylor-Corbett, Margo Sapping-ton, and Daniel Ezralow. He continued to build HSDC's repertoire by forging a key partnership with Twyla Tharp in the 1990s, acquiring seven of her works, including an original work for the company. Conte further expanded the company's repertoire to include European choreographers Jiri Kylian and Nacho Duato and Israeli choreographer Ohad Naharin. These long-term relationships, along with Conte's participation in selecting Jim Vincent as the company's new artistic director, have paved the way for HSDC's future. Through?out his 23 years as the company's artistic director, Conte received numerous awards, including the Chicago Dance Coalition's inaugural Ruth Page Artistic Achievement Award in 1986, the Sidney R. Yates Arts Advocacy Award in 1995, and the Chica-goan of the Year award from Chicago magazine in 1999. In 2002, he was one of six individuals named Laureates of The Lincoln Academy of Illinois, the highest honor the state bestows upon Illinois resi?dents. He has been credited by many for helping raise Chicago's international cultural profile and for creating a climate for dance in the city, where the art form now thrives.
Shannon Alvis {Indianapolis, IN) trained at Jor?dan Academy of Dance at Butler University and at the University of Utah. She has performed with the Utah Ballet, Indianapolis Ballet Theatre, and the Chautauqua Ballet Company and has attend?ed numerous summer programs including Boston Ballet, Pennsylvania Ballet, School of American Ballet, Royal Winnipeg Ballet, and American Bal?let Theatre. Ms. Alvis joined Hubbard Street 2 in June 1998 and moved to the full company in June 2000.
Alejandro Cerrudo {Madrid, Spain) received his training at the Real Conservatorio Professional de Danza de Madrid and in 1998 joined the Victor Ullate Company where he danced for one year. From 1999 to 2002, Mr. Cerrudo danced with the Stuttgart Ballet and in 2002 he joined Nederlands Dans Theater 2 under the direction of Gerald Tibbs. Mr. Cerrudo danced with NDT 2 for three years before becoming an HSDC company mem?ber in August 2005.
Philip Colucci {Malaga, New Jersey) began danc?ing at the age of 10 and received his training from the Vineland Regional Dance Company. He was accepted into the Juilliard School and graduated with his BFA in 1999. While attending Juilliard, he was nominated by Benjamin Harkarvy for the Prin?cess Grace Award in dance, which he received in 1998. Mr. Colucci toured Italy with the Peridance Ensemble before joining the Pennsylvania Ballet as an apprentice in 1999. He became a full company member of the Corps de Ballet in August 2000 and later achieved the rank of soloist. Mr. Colucci joined HSDC in May 2007.
Prince Credell (Bronx, NY) began dancing at age eight. His formal training began at The Ailey School as a Judith Jamison Scholar. While complet?ing his studies at the New York City High School of the Performing Arts, Mr. Credell danced with the Metropolitan Opera Ballet. After concluding his training at the San Francisco Ballet School, he joined Ailey II in 2001. Mr. Credell has also danced for Complexions and as a guest artist under the direction of Donald Byrd. In 2002, he joined Lines Ballet under the direction of Alonzo King, and he also assisted in setting King's works. In 2003 he became a Princess Grace Honoree. He became an HSDC company member in August 2006.
Meredith Dincolo (Indianapolis, IN) began danc?ing at age seven in Indianapolis before moving to Michigan to study under lacob Lascu. She gradu?ated from the University of Notre Dame in 1993 and moved to Chicago to pursue dance. Ms. Dincolo joined Hubbard Street Dance Chicago in 1996, where she spent four years under the di?rection of Lou Conte. In 2000, she joined Lyon Opera Ballet and then went on to the National-
Photo: Todd Rosenberg
theater Mannheim in Germany under Kevin O'Day ind Dominique Dumais. Ms. Dincolo returned to HSDC in November 2004.
. utumn Eckman (Atlanta, GA) received her clas-! ical training from the late Tom Pazik of the Atlanta
1 allet and from the Houston Ballet Academy under ( lara Cravey and Steve Brulee. She has performed with the Cangelosi Dance Project, Giordano Jazz i)ance Chicago, as a principal dancer for State itreet Ballet and Luna Negra Dance Theater. Ms. [ickman joined HSDC in August 2007.
;rian Enos (Cotati, CA) began his dance training at age 14 and has studied with the Houston Bal-(et Academy, Maria Vegh, the Santa Rosa Junior College, and Sara Stuber. At age 18, he joined the Houston Ballet where he performed works by Trey Mclntyre, David Parsons, Lila York, Ben Ste?venson, Dominic Walsh, Priscilla Nathan-Murphy, James Kudelka, and Fredrick Ashton. Mr. Enos performed with the Houston Ballet for two years before joining HSDC in July 2002. He was com?missioned to create work for Houston Ballet in fall 2005, departing HSDC in August and rejoining the company in January 2006.
Kellie Epperheimer (Los Osos, CA) began her dance training in 1988 with the Academy of Dance and Civic Ballet of San Luis Obispo. She has participated in summer programs with the Jof-frey Ballet and The Juilliard School. In 2002, she had the opportunity to tour Russia with the Deyo Dancers. Ms. Epperheimer joined Hubbard Street
2 in January 2005 before becoming an apprentice with the main company in December 2006.
arah Cullen Fuller (Santa Cruz, CA) began her ormal dance training at age nine at The Acadmy of Movement and Music in Oak Park and tne schools of the Boston and Joffrey Ballets. She iraduated from the University of Illinois, Cham-laignUrbana, with degrees in dance and psy-
hology where she danced works by Paul Taylor,
usan Marshall, and Jose Limon. She performed with The 58 Group before joining Hubbard Street 2, under the direction of Julie Nakagawa Bottcher 'n January 2002 and was promoted to the main
ompany in November 2004.
Laura Halm (Baltimore, MD) began her dance training at age four and has studied at Central Pennsylvania Youth Ballet, Boston Ballet School, San Francisco Ballet School and the Baltimore School for the Arts. She received her BFA in dance from The Juilliard School in May 2002 where she performed works by Jose Limbn, Ohad Naharin, and Robert Battle. She also had the privilege of performing with El Ballet Moderno y Folklorico de Guatemala as a guest artist before joining Hub-bard Street 2 in January 2004. Ms. Halm became an apprentice with Hubbard Street Dance Chicago in August 2006.
Terence Marling (Chicago, IL) began his bal?let training in 1982 at the Ruth Page School of Dance under the direction of Larry Long. In 1994, he joined the Pittsburgh Ballet Theater directed by Patricia Wilde, where he performed leading roles in Don Quixote, Glen Tetley's Le Sacre du Printemps, Balanchine's Rubies, Ohad Naharin's Tabula Rasa, Paul Taylor's Airs, and Jirf KiliSn's Re?turn to the Strange Land. Marling also originated roles in ballets by Kevin O'Day, Dwight Rhoden, Ib Andersen, Lynne Taylor-Corbett, and Robert Hill. Directors Kevin O'Day and Dominique Dumais in?vited him to join the Nationaltheater Mannheim in Germany in 2003, where he participated in the creation of 10 works. Mr. Marling joined HSDC in April 2006 and is continuing to choreograph and teach in his spare time.
Jamy Meek (Lubbock, TX) received a BA in per?forming arts from Oklahoma City University. He danced with Ballet Lubbock, Willis Ballet and the San Antonio Metropolis Ballet, joining HSDC in June 1996.
Pablo Piantino {Mendoza, Argentina) began dancing at the age of 14. His training includes pri?vate seminars with Hector Zaraspe and studies at both the Col6n Theatre School and The Juilliard School where he received his BFA. Having danced with both the Col6n Theatre Ballet Company and The Juilliard School Dance Ensemble, Mr. Piantino joined the San Francisco Ballet in 1999 and be?came an HSDC company member in August 2005.
Yarden Ronen (Tel-Aviv, Israel) trained at the Jerusalem Academy of Music and Dance and re?ceived a full scholarship to continue his training at the Bat-Dor School of Dance in Tel Aviv. Upon completing his military service in 1996, he joined Bat-Dor Dance Company. In 2001, Mr. Ronen relo?cated to New York City and became a member of Ballet Hispanico of New York and BuglisiForeman Dance before joining HSDC in August 2004.
Penny Saunders (West Palm Beach, FL) gradu?ated from and received her formal dance training at The Harid Conservatory in Boca Raton. She also participated in summer programs with the School of American Ballet, Central Pennsylvania Youth Ballet, and the Princeton Ballet. While furthering her training under Elisabeth Carroll, she joined the American Repertory Ballet in New Jersey. Ms. Saunders also has danced with Ballet Arizona, toured extensively with MOMIX, and was a mem?ber of Cedar Lake Ensemble in New York before joining HSDC in November 2004.
Jessica Tong (Binghamton, NY) received a full scholarship to the Ballet Department at the Uni?versity of Utah and became a member of Utah Ballet as a junior in high school. She attended summer programs at American Ballet Theatre, San Francisco Ballet, Kaatsbaan.and Lou Conte Dance Studio, among others. Ms. Tong danced with Bal-letMet in Columbus, Ohio, Eliot Feld's Ballet Tech in NYC, and Hubbard Street 2 before joining the main company as an apprentice in January 2007.
Terence Marling (Chicago, IL) began his bal?let training in 1982 at the Ruth Page School of Dance under the direction of Larry Long. In 1994, he joined the Pittsburgh Ballet Theater directed by Patricia Wilde, where he performed leading roles in Don Quixote, Glen Tetley's Le Sacre du Printemps, Balanchine's Rubies, Ohad Naharin's Tabula Rasa, Paul Taylor's Airs, and Jiri KiliSn's Re?turn to the Strange Land. Marling also originated roles in ballets by Kevin O'Day, Dwight Rhoden, Ib Andersen, Lynne Taylor-Corbett, and Robert Hill. Directors Kevin O'Day and Dominique Dumais in?vited him to join the Nationaltheater Mannheim in Germany in 2003, where he participated in the creation of 10 works. Mr. Marling joined HSDC in April 2006 and is continuing to choreograph and teach in his spare time.
Jamy Meek (Lubbock, TX) received a BA in per?forming arts from Oklahoma City University. He danced with Ballet Lubbock, Willis Ballet and the San Antonio Metropolis Ballet, joining HSDC in June 1996.
Pablo Piantino (Mendoza, Argentina) began dancing at the age of 14. His training includes pri?vate seminars with Hector Zaraspe and studies at both the Col6n Theatre School and The Juilliard School where he received his BFA. Having danced with both the Colon Theatre Ballet Company and The Juilliard School Dance Ensemble, Mr. Piantino joined the San Francisco Ballet in 1999 and be?came an HSDC company member in August 2005.
Yarden Ronen {Tel-Aviv, Israel) trained at the Jerusalem Academy of Music and Dance and re?ceived a full scholarship to continue his training at the Bat-Dor School of Dance in Tel Aviv. Upon completing his military service in 1996, he joined Bat-Dor Dance Company. In 2001, Mr. Ronen relo?cated to New York City and became a member of Ballet Hispanico of New York and BuglisiForeman Dance before joining HSDC in August 2004.
Penny Saunders (West Palm Beach, FL) gradu?ated from and received her formal dance training at The Harid Conservatory in Boca Raton. She alsc participated in summer programs with the School of American Ballet, Central Pennsylvania Youtr-Ballet, and the Princeton Ballet. While furthering her training under Elisabeth Carroll, she joinec the American Repertory Ballet in New Jersey. Ms Saunders also has danced with Ballet Arizona, toured extensively with MOMIX, and was a mem?ber of Cedar Lake Ensemble in New York before joining HSDC in November 2004.
Jessica Tong {Binghamton, NY) received a full scholarship to the Ballet Department at the Uni?versity of Utah and became a member of Utah Ballet as a junior in high school. She attended summer programs at American Ballet Theatre, San Francisco Ballet, Kaatsbaan.and Lou Conte Dance Studio, among others. Ms. Tong danced with Bal-letMet in Columbus, Ohio, Eliot Feld's Ballet Tech in NYC, and Hubbard Street 2 before joining the main company as an apprentice in January 2007.
obyn Mineko Williams (Lombard, IL) began lancing at age five under the direction of Yvonne irown Collodi. She continued studying dance at ;he Lou Conte Dance Studio on full scholarship from 1993 to 1995. Ms. Williams danced with River North Chicago Dance Company for four ears before becoming an apprentice with HSDC i 1 June 2000. She became a full company mem?ber in September 2001.
"he Hubbard Street Dance Center Apprentice pro?gram was instituted in May 2007. These dancers ct as company members for both Hubbard Street ance Chicago and Hubbard Street 2:
ason Hortin (Olympia, WA) graduated from 'he University of Nevada, Las Vegas with a BFA n dance under the direction of Louis Kavouras. Mr. Hortin has danced with Moving People Dance "heatre in Santa Fe, the Erick Hawkins Dance Com-oany based in New York, and River North Chicago 3ance Company. He has performed at the Fringe Festival in Edinburgh, Scotland; the International Oance Festival in Kiel, Germany; Lincoln Center in New York City; and the Kennedy Center in Washi?ngton DC. Mr. Hortin joined HSDC as a Hubbard Street Dance Center Apprentice in August 2007.
"iffany Vann (Jacksonville, FL) received her lance training from the Juilliard School and also ompleted training summer studies with the Kirov cademy, the Harid Conservatory, Boston Ballet, iates Dance Festival, Perry Mansfield, and the Bal-et Divertimento Professional Project. Since receiv-ig her BFA, Ms. Vann has performed with Ballet lemphis and Dayton Contemporary Dance Com-any 2. Ms. Vann joined HS2 in June 2006 and was promoted to Hubbard Street Dance Center pprentice in June 2007.
Hubbard Street Dance Chicago
Artistic Staff
Lucas Crandall, Associate Artistic Director, HSDC
Glenn Edgerton, Associate Artistic Director, Hubbard Street
Dance Center Kristen Brogdon, Artistic Administrator
Production Staff
Gregory Etter. Production Manager
Anne Grove, Company Manager
Aprill C. Clements, Srage ManagerProperties Master
Taryn Kaschock, Rehearsal Assistant
Kilroy G. Kundalini, Audio Engineer
Rebecca M. Shouse, Wardrobe Supervisor
Scott Kepley, Lighting Supervisor
Matthew Gawryk, Second Electrician
Stephan Panek, Carpenter
Carl and Charlene Herstein
Russian Patriarchate Choir of Moscow
Anatoly Grindenko, Director
Sergey Timofeev Andrey Zhuravlev Alexander Zakirov Platon Grekov Philipp Chizhevsky Viktor Balkarov Roman Laptev Andrey Bashkov Vladimir Lebedev Oleg Kovalev Yury Vichnyakov Alexey Antonov
Program Tuesday Evening, October 30, 2007 at 8:00 St. Francis of Assisi Catholic Church Ann Arbor
Anonymous polyphony, 16th century Call to Worship (from Psalm 94 [95])
Anonymous polyphony, 17th century Introductory Psalm at Vespers (Psalm 103 [104])
Anonymous polyphony, 18th century The First Kathisma (from Psalms 1, 2, and 3)
Anonymous chant with ison, 16th century Sticheron (from the Aposticha of Great and Holy Friday at Vespers)
Anonymous demestvenny polyphony, 16th century Lord, 1 call upon Thee, Hear Me (with Sticheron for the Nativity of Christ)
Anonymous demestvenny polyphony, 16th century Anaphora (Eucharistic Canon)
Anonymous demestvenny polyphony, 16th century Hymn to the Mother of God
Dmitry Bortniansky We Praise Thee, O God (Te Deum laudamus)

Sergei Rachmaninoff
Sergei Rachmaninoff Alexandre Gretchaninoff Peter Goncharov Traditional
Bless the Lord, 0 My Soul
(Introductory Psalm at Vespers, Psalm 103 [104])
Lord, Now Lettest Thou Thy Servant Depart
The Augmented Litany
Before Thy Cross We Bow Down
Songs of Old Russia
Legend of the Twelve Brigands
Song of the Noble Regiment
The Coach-Bell Clangs Monotonously
Snow, It's Time for You to Melt (Cossack Song)
18th Performance of the 129th Annual Season
Choral Series
The photographing or sound and video recording of this concert or posses?sion of any device for such recording is prohibited.
Tonight's performance is supported by Carl and Charlene Herstein. Media partnership is provided by WRCJ 90.9 FM and Detroit Jewish News.
Special thanks to Tamara Real, Father Gregory Joyce, St. Vladimir Orthodox Church, and St. Francis of Assisi Church for their participation in this residency.
The Russian Patriarchate Choir appears by arrangement with David Eden Productions, Ltd.
Large print programs are available upon request.
The fall of Communism in Russia has brought about a resurgence of performance and schol?arship in the area of early Russian Orthodox chant and sacred polyphony. No longer do musi?cologists have to risk their careers and reputation to investigate the ideologically suspect "music of the cult," as did Maksim Brazhnikov (Leningrad Univer?sity) and Nikolai Uspensky (Leningrad Theological Academy). No longer do conductors have to expend gargantuan amounts of energy simply to get perfor?mances of sacred musical settings past the ideologi?cal watchdogs, as did Alexander Yurlov (RSFSR Aca?demic Choir) and Andrei Volkonsky (the "Madrigal" Ensemble). And while the greater bulk of choral per?formance today still focuses on reviving the sacred choral works of 19thand 20th-century composers, a growing amount of attention is being directed to church music dating from before the year 1750. No other ensemble has done more in this area than the Russian Patriarchate Choir of Moscow under the direction of Anatoly Grindenko. To appreciate the magnitude of the Patriarchate Choir's achievement, we must take a brief look at the historical develop?ment of Russian Orthodox church music, a vast and complex body of liturgical chant and poetry, from which the Choir draws the bulk of its repertoire.
The origins of liturgical singing as an art form, indeed, the beginnings of Russian art music, date from the conversion of Kievan Rus' to the Byz?antine form of Christianity, which took place in 988 A.D. under Prince Vladimir of Kiev. The story of how Vladimir settled on Orthodox Christianity as a religion for his people provides an important insight into the role the liturgical arts have played throughout Russia's history. The envoys sent by the prince to investigate different religions duly report?ed on the beliefs and practices they encountered among the Christians, the Moslems, and the Jews. But when they entered the Great Church of the Holy Wisdom, the Hagia Sophia in Constantinople and beheld the splendor of Byzantine Orthodox worship--the chanting, the icons, the incense, all taking place within an immense architectural rep?resentation of the celestial dome--they "...did not know whether they were in heaven, or on earth. We only know that this is the place where God dwells among his people."
Developing within the domain of the church, sacred musical art in Kievan Rus' adopted charac?teristics that by then had already become firmly es?tablished throughout the Eastern Christian world: (1) the musical element--chant--was deemed an essential rather than optional aspect of worship: "to worship" meant "to sing"; (2) it was exclu-
sively vocal, allowing no musical instruments: since the singing was worship, and worship of necessity contained words, it could not be relegated to in?strumental performance; and (3) it was performed largely in the people's native language; in the case of the Slavs--Church Slavonic, the written form of which had been developed by the missionary broth?ers SS. Cyril and Methodius nearly a century before the baptism of Rus'. The musical element at wor?ship was termed penie (singing); the term musikia or muzyka, derived from Latin through the "Muses" of Greek mythology, did not enter the Russian lexicon until the late-16th century, when it came to refer ex?clusively to instrumental music. Only in the late-17th century was the term "music" applied to liturgical singing as well.
From Byzantium the Eastern Slavs received not only a rich and well-developed system of liturgi?cal offices, but also a body of chant set down in a complex, ideographic notation, consisting of staff-less neumes written above the text. Even before the baptism of Rus', the chant melodies began to be adapted in Bulgaria to the specificities of the Slavon?ic language; the first clergy and singers who came to Kiev were Bulgarians. Changes in language brought with them changes in notation as well. Thus, while the musical notation of medieval Byzantine Chant, prior to the Fall of Constantinople in 1453, is deci?pherable, contemporaneous Russian notation is not; the earliest Russian chant notation that can be tran?scribed with any degree of accuracy dates from the early-17th century.
Even without being fully decipherable, early Russian manuscripts yield some information con?cerning the melodies they contain. At least two dif?ferent styles of chant are apparent in manuscripts dating from the 11th through 14th centuries: a high?ly melismatic chant termed "kondakarian," reserved for festal occasions, and a less elaborate, syllabic chant called "znamenny," used for both festal and ferial days. Both types of chant appear to contain just one melodic line, although both kondakarian and znamenny manuscripts contain additional mark?ings that, scholars have surmised, may indicate some manner of polyphonic performance.
While Western European medieval musicians were developing the art of polyphony, beginning with organum and culminating with the Renaissance motet, the Russian land was suffering the devasta?tions of the Mongol invasions and the ensuing cul?tural and artistic collapse. Only with the defeat of the Tatars and the establishment of relative political stability under the newly emergent princes of Mus?covy is there evidence of resumed artistic activity.
In the 1460s, under Prince Ivan III, construction of the great Moscow cathedrals began, and a perma?nent corps of singers known as the Tsar's Singing Clerics was established. (The latter would eventually become known as the Imperial Court Chapel.)
If one can speak of a musical "Renaissance" in Russia, it would be in the 16th century, during the lengthy reign of Prince Ivan IV, the Terrible (1530-1584). A school of chant composers had arisen in the northwestern city of Novgorod, which had escaped the Mongol invasions but not Ivan's strivings for political unification. After Novgorod's conquest, the chant composers--Fyodor Khristian-in, Vassily and Savva Rogov, Ivan Nos, and others-were brought to Moscow, where they continued to compose hymns in honor of newly canonized Rus?sian saints and to produce their own individual "in?terpretations" of traditional znamenny melodies. It is at this time that the first manuscripts appear displaying clear evidence of polyphony: while some liturgical chant books continue to have just one line of neumes above the text, others contain two and three such lines.
Early Russian polyphony comes in two dis?tinctly different styles: "strochny" and "demest-venny"; in the strochny style, two or three parts move linearly in essentially the same rhythmic mo?tion, forming triads with occasional dissonances-a type of non-functional harmony. In demestvenny polyphony one of the parts typically is more rhyth?mically active than the others, creating a higher potential for dissonance.
The transcription of both strochny and demes?tvenny polyphony has presented scholars with con?siderable challenges: until refinements were made in the staff-less neumatic notation in the 1600s, the neumes only indicated relative melodic motion, but not the absolute height of the pitch. Similarly, before the adoption of staff notation in the second half of the 17th century, Russian neumatic chant notation expressed no fixed mensural values. One can only imagine the difficulties of attempting to transcribe polyphony in which neither pitch nor du?ration are notated with absolute precision. The early attempts of scholars such as Victor Belyaev, Maksim Brazhnikov, and Nikolai Uspensky have taken on an element of "venerable canon," and are sung as transcribed, despite their highly dissonant character. Other scholars, such as Irina Yefimova, have argued for the need to apply considerable adjustment and correction to the results of literal transcription in or?der to minimize the dissonance. Ultimately, it is only when the scholars' efforts are tested in live perfor?mance (by such groups as the Russian Patriarchate
Choir) that further progress will be made in under?standing the true nature of Russian medieval chant and polyphony.
Despite our imperfect present-day view, what emerges is a unique soundscape that musically expresses a prayerful and spiritual reality. The Or?thodox liturgy has been called a "manifestation of the Kingdom of Heaven here on earth." And just as the medieval Russian icon, with its reverse perspec?tive, looks out at the viewer from its otherworldly vantage point, so the chant, both unison and poly?phonic, presents the sacred words from a distinctly dispassionate and contemplative perspective. The ison or drone, featured prominently in Byzantine chant and in some renditions of Russian chant is regarded as a musical representation of eternity. Similarly, the dissonant clashes produced by over?lapping fourths and fifths in strochny polyphony, have been likened to the rich overtones produced by Russian bells--also reminders of a heavenly, rather than earthly reality.
The medieval, theocentric Russian culture ex?perienced a radical reorientation in the middle of the 17th century, in the reign of Tsar Alexis Mikhailov-ich Romanov, a change that had vast effects upon the art of liturgical singing and music in general. Since the late-16th century, Orthodox church sing?ing in Southwestern Rus' (Ukraine) had gradually adopted elements of Roman Catholic church mu?sic--harmonic part-singing according to the rules of Western harmony and a mensural staff notation, similar to Gregorian but employing five lines instead of four. Beginning in 1650, groups of church sing?ers from Ukraine appeared in increasing numbers in Muscovy, where they were favorably received by the Tsar, the Patriarch, and influential courtiers and bishops. Within one or two generations, the euphonious "partesny" style of polyphony had all but replaced both the unison znamenny chant and indigenous strochny and demestvenny polyphony. The old chants, along with certain old liturgical ritu?als retreated to the far-flung Russian frontiers with the schismatic "Old Believers," while the rest of Rus?sia increasingly turned its face towards the West.
With the founding of St. Petersburg by Peter the Great and the suspension of the Russian Patri?archate, the westernization of Russian society and culture was set upon an irreversible course. Peter's successors to the throne, Empresses Anna, Eliza?beth, and Catherine, began the practice of inviting Italian maestri di cappella to preside over the musi?cal life of the Imperial Court, which fast became the trend-setter for the rest of high society.
From this unique blending of ancient Russian
chant traditions and Italian bel canto arose one of the greatest choral traditions in the world. The pre?eminence of the Imperial Chapel throughout most of the 19th century was supplanted in the last de?cade of the century and the first two decades of the 20th century by the Moscow Synodal Choir, which nurtured and inspired a glorious pleiade of compos?ers from Kastalskyand Chesnokovto Gretchaninoff and Rachmaninoff. Seventy-five years of militant atheism merely diverted composers' and conduc?tors' attention into the realm of secular music and folk music arrangements. With Communism out of the way, Russian choral artists have resumed their cultivation of their national choral heritage--both sacred and secular--with renewed fervor.
The music of tonight's program is drawn in part from the vast repertory of anonymous chant-based works that arose during the flowering of compositional activity under Ivan the Terrible and his successors, and in part from compositions by latter-day composers, from Bortniansky to Rach?maninoff. It should be noted that, while the early works are presented in their original, male-chorus voicing, the composed works have all been ar?ranged from their original mixed-chorus versions.
Program note by Vladimir Morosan, San Diego, California, O 2007 by Musica Russica, Inc.
Anatoly Grindenko was born in Kharkov in 1950 into the family of an army serviceman. His interest in music began at a very young age. Later his interests expanded to include ancient Greek culture, philosophy, religion, art, poetry, and European medieval culture. At age 18, in order to gain a deeper insight into the musical culture of Europe, he began to play the viola da gamba, bass, and violin.
At age 20 Mr. Grindenko's search for musical truth led him to rock music, where he got acquaint?ed with King Crimson, Gentle Giant, Pink Floyd, Genesis, and Yes. During his years at the Moscow Conservatory he was drawn to the spiritual tradi?tions of the East and undertook pilgrim travels to the Pamir region in Central Asia. At age 25, he came to Christianity. He studied the older Orthodox tra?dition and traveled throughout Russia studying old popular songs. Five years later he left his career as a musician to work in Troitse-Sergieva Lavra (mon?astery) in the town of Zagorsk. During his stay at the Lavra he continued to learn the kryuk notation (nevmennaya) and icon painting, and organized a choir of seminarians and monks. In 1983, inside
the Lavra's main cathedral, the choir sang the Lit?urgy composed of ancient chants. That summer the Danilovsky monastery opened--the first monastery to be opened during the Soviet era--and Anatoly Grindenko created a choir of the brethren, learned the art of bells, made the bell tower, and adjusted the bell ring.
In 1985, with the blessing of Archbishop Pitir-im, Mr. Grindenko organized the male choir at the publishing department of Moscow Patriarchate. The choir gave its first solo concert in 1987 at Moscow Conservatory's Maly Zal. It was the very first perfor?mance of a church choir on a non-church stage after the period of stagnation. At present, in spite of sig?nificant difficulties connected with the political and economical situation in Russia, the choir continues its scientific and creative activity.
The Russian Patriarchate Choir of Moscow was founded by Anatoly Grindenko in Tro-tse-Sergieva Lavra (near Moscow) in 1983. In the traditional manner, it consists of 13 members, including Mr. Grindenko. In addition to performing both in Russia (where the choir is an actual church choir) and internationally, the singers are dedicated scholars of the repertoire for male voices, who led the way in the re-discovery of Orthodox Church music in the late years of the Soviet Regime. At this time--when this music was far from approved by the government--the choir spent years decod?ing ancient manuscripts and giving premiere per?formances of works that had lain in obscurity for centuries. With the collapse of the Soviet Union came the opportunity for the choir to perform in?ternationally and bring this music to a wider public. Through its live performances and many recordings it has reached a worldwide audience, attracted first and foremost by the sheer beauty of the choir's singing. The group has appeared throughout Eu?rope and Scandinavia; at festivals in Utrecht, Lon?don, Paris, Maastricht, Barcelona, and Ravenna; and at Les Folles Journees in Nancy.
Tonight's concert marks the Russian Patriarchate Choir and Anatoly Grindenko's UMS debuts.
David Eden Productions, Ltd.
Erica Charpentier, General Manager
Pat Kirby, Company Manager
Elise-Ann Konstantin and Stonie Darling, Visa Coordinators
Support for the Russian Patriarchate Choir tour is provided by the Trust for Mutual Understanding.
and the
Catherine S. Arcure and Herbert E. Sloan Endowment Fund
St. Petersburg Philharmonic Orchestra
Yuri Temirkanov, Artistic Director and Principal Conductor Julia Fischer, Violin
Wolfgang Amadeus Mozart Ludwig van Beethoven
Sergei Prokofiev
Sunday Evening, November 4, 2007 at 7:00 Hill Auditorium Ann Arbor
Overture to Le nozze di Figaro, K. 492
Concerto for Violin in D Major, Op.61
Allegro ma non troppo
Cadenza by Fritz Kreisler
Suite from the Ballet Romeo and Juliet, Op. 64b (a)
Montagues and Capulets
The Young Juliet
Friar Laurence
Romeo and Juliet Before Parting
Dance of the Girls from Antilles
Romeo at Juliet's Grave
Tybalt's Death
19th 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.
Tonight's performance is supported by the Catherine S. Arcure and Herbert E. Sloan Endowment Fund.
Tonight's performance is supported in part by Mrs. Robert E. Meredith.
Special thanks to Beth Genne, Associate Professor of Dance, 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 & Eccentric newspapers, and Detroit Jewish News.
Special thanks to Tom Thompson of Tom Thompson Flowers, Ann Arbor, for his generous contribution of lobby floral art for tonight's concert.
The St. Petersburg Philharmonic Orchestra's tour has been made possible in part by the AEGONTransamerica Foundation; by Donald J. Shepard, Chairman and CEO, AEGON N.V.; and by American Friends of the St. Petersburg Philharmonic.
St. Petersburg Philharmonic appears by arrangement with Opus 3 Artists, New York, NY.
Ms. Fischer appears by arrangement with J. F. Mastroianni Associates, Inc. Large print programs are available upon request.
Overture to Le nozze di Figaro, K. 492 (1786) Wolfgang Amadeus Mozart Born January 27, 1756 in Salzburg Died December 5, 1791 in Vienna
In its own time, The Marriage of Figaro was a "dangerous" piece because it openly challenged certain long-standing social conventions of class. The play on which it was based, written in 1781 by French playwright Pierre Augustin Caron de Beaumarchais, was forbidden by the Viennese censors, due to the explicit anti-aristocratic views expressed by Figaro, the barber of Seville. These sentiments were a clear signal of the French Rev?olution, which broke out only a few years later. The opera, premiered in 1786 in Vienna, was ap?proved only after librettist Lorenzo da Ponte had excised or softened the play's most inflammatory passages. Even so, there is an open class conflict between Count Almaviva and the lower-class characters Figaro and Susanna who devise an elaborate ploy to outwit him.
The overture is a fireball of energy that an?ticipates the high speed of the action and gives us a foretaste of the strong emotional forces that fill the opera's four acts.
Concerto for Violin in D Major, Op. 61 (1806)
Ludwig van Beethoven
Born December 17, 1770 in Bonn
Died March 26, 1827 in Vienna
Two years after moving from Bonn to Vienna, the 24-year-old Beethoven met a violin prodigy 10 years his junior named Franz Clement. The boy had already toured much of Europe, performed in London under Haydn, and earned the admiration of many important musicians on the continent. He carried with him an album that was signed by many of the aristocrats, musicians, and officials he had come in contact with during his travels. Beethoven, a former child prodigy himself, made his entry in Clement's album:
Dear Clement,
Proceed along the path which you have hith?erto trodden so splendidly and so gloriously. Nature and art vie in making you one of the greatest artists. Follow both, and you need not fear that you will fail to reach the great-the greatest goal on earth to which the artist
can attain. Be happy, my dear young friend, and come back soon, so that I may hear again your delightful, splendid playing.
Wholly your friend
L. v. Beethoven (in the service of His
Excellency the Elector of Cologne)
Clement later went on to become the con?ductor of the Theater an der Wien in Vienna. His musical memory was legendary and gave rise tc many fantastic stories. According to one of them, he once prepared a piano score of Haydn's Cre?ation after hearing it performed several times, with only a libretto, no full score, to help him. He was always a great champion of Beethoven's music: he was involved in the production of the original Fidelio in the autumn of 1805 and was the concertmaster at the first public performance of the Symphony No. 3 in the same year.
It seems, then, that Clement was not as un?worthy of Beethoven's Violin Concerto as some have later thought. He may not have been above such stunts as playing pieces "reversed violin" (the instrument held upside down)--something he did the very same night he premiered the Beethoven. Yet by all accounts he was an excellent artist, wide?ly praised for the gracefulness and tenderness of his playing as well as for his extraordinary technical skills. Although his fame was eventually to decline and he was to die in poverty in 1842, in 1806 he must have been at the height of his powers.
One wonders what this not insignificant art?ist thought when he first saw the manuscript of Beethoven's Violin Concerto with the punning inscription "Concerto par Clemenza pour Clem?ent primo Violino e direttore al theatro a Vienna." Was it really on the day of the first performance As best as we can know 180 years later, the work was not finished until the last possible moment and Clement sight-read it at the concert (which, by the way, also included a performance of the "Eroica" Symphony led by Beethoven). We will never know how the concerto sounded under the circumstances, and that may even be a good thing. The critics, at any rate, gave mixed reviews. As one of them wrote:
The judgment of connoisseurs is unanimous; the many beauties of the piece must be con?ceded, but it must also be admitted that the continuity is often completely broken and
that the endless repetitions of certain com?monplace passages might easily become te?dious to the listener.... It is to be feared that if Beethoven continues upon this path he and the public will fare badly.
One thing that may have helped Clement find his way through the new work is that at least certain passages must have been somewhat fa?miliar. Clement (himself a composer) had written his own violin concerto (also in D Major), which was premiered about a year-and-a-half before the Beethoven. In a new (1998) monograph on the Beethoven Violin Concerto (Cambridge Mu?sic Handbook), Robin Stowell has examined this entirely forgotten work and found that some of the passagework in the Beethoven Concerto is closely modeled on Clement's piece. This shows that Beethoven went to great lengths to accom?modate his friend's playing style, using some of Clement's favorite playing techniques, and show?ing him in the process how much more could be gotten out of those techniques.
The new concerto went unappreciated for a long time, despite the fact that the composer and pianist Muzio Clementi persuaded Beethoven to arrange it as a piano concerto, which Beethoven did. Although the concerto is too violinistic to work well on the piano, Clementi would hardly have proposed such an arrangement if it had not made some business sense to him. But there were apparently no performances of the piano version during Beethoven's lifetime, and only a few not very successful ones of the original. The longest and probably the most difficult violin concerto written to date, it was awaiting the exceptional artist who could uncover all its beauties.
It was the 13-year-old Joseph Joachim who finally brought the work to triumph at a concert given in London under Mendelssohn (1844). Since then, the world has never tired of the composi?tion, which soon became known as the "Queen of Violin Concertos."
Clement's violin concerto was by no means Beethoven's only model in his Violin Concerto. It has long been known that Beethoven was strongly influenced by the composers of the French violin school. This school, founded by the Italian-born Giovanni Battista Viotti (1755-1824), was con?tinued by virtuosos such as Rodolphe Kreutzer (1766-1831) and Pierre Rode (1774-1830). These violinist-composers were the first to establish the
violin concerto as a major concert genre, on a par with symphonies. Their brilliant and dignified works abound in attractive melodies and often contain march-like themes that sometimes give them a downright military character.
All these features greatly impressed Beethoven, who was a great admirer of French music in general. His opera Fidelio was based on French models; he regarded Luigi Cherubini, Ital?ian-born like Viotti but a master of French opera, as the greatest composer of his time. And he was personally acquainted with Kreutzer and Rode; he dedicated his Violin Sonata, Op. 47 to the former, and wrote the Sonata, Op. 96 for the latter.
What exactly is the relationship between Beethoven's Violin Concerto and the concertos of the French school It has been suggested that even the five timpani strokes that open the work are a reflection of the French "military" concerto style. But the movement that follows is anything but march-like: it is one of Beethoven's most lyri?cal allegros.
The large scope and the melodic richness of the French works, however, did inspire Beethoven. In addition, as violinist-musicologist Boris Schwarz showed in a 1958 article, Beethoven closely fol?lowed the works of Viotti and Kreutzer in the elaboration of the solo violin part. Some passages that don't originate with Clement have close par?allels in the French composers' works. The bor?rowings or near-borrowings occur mostly, if not exclusively, in sections with virtuoso passagework, an area where the pianist Beethoven evidently did not have the practical experience the violinist composers had.
In the end, though, Beethoven's concerto is a masterpiece sui generis: the borrowed details were inserted into a completely new context. The unique Olympian serenity the work radiates is all Beethoven, as are the dramatic outbursts that temporarily cloud the happy atmosphere.
On the whole, the Violin Concerto is one of the happiest works Beethoven ever wrote. The first, dream-like entry of the solo violin, evolving into a mini-cadenza after the orchestral exposi?tion, is a case in point. So is the beautiful second theme, presented both in the major and in the minor modes. This theme seems to be reserved entirely for the orchestra, and the solo violin never gets to play it in full until the very end, after the cadenza. Then, at last, the soloist makes the most of this delightful melody and takes it from the
lowest register of the instrument to the highest. The simple and song-like style of performance is gradually altered by the addition of virtuoso scales and passages, and the volume rises to a powerful fortissimo to close the movement.
The second-movement "Larghetto," in G Major, never leaves its home tonality, a quite unusual circumstance that explains the excep?tional restfulness that pervades the movement. It is a set of free variations on a quiet, meditative theme. At the end, there is a bridge leading into the third-movement "Rondo" without a pause.
According to the early-20th-century mu?sicologist Arnold Schering, there was an old Viennese tradition that ascribed the first theme of the "Rondo" to Franz Clement. Whether or not that is true, the melody provides a splendid start?ing point for a light-hearted and vivacious move?ment, whose cheerful dance rhythms (in 68 time) continue a time-honored classical Rondo tradition while introducing many individual touches in the elaboration of the model. The central episode in g minor, in which the solo violin engages in a dia?logue with the solo bassoon, is especially haunt?ing. The ending of the movement is a typical Beethovenian joke: a pianissimo recapitulation of the theme is interrupted by two fortissimo chords, and the work is suddenly over.
Suite from the Ballet Romeo and Juliet. Op. 64b(a)
Sergei Prokofiev
Born April 27, 1891 in Sontsovka, Ukraine
Died March 5, 1953 in Nikolina Gora, nr. Moscow
Editor's Note: In this performance, Maestro Temirkanov has programmed an amalgam of various movements from Prokofiev's own catalog of suites. Proko?fiev organized the music from his entire ballet score into three suites suitable for concert performance-Opp. 64a, 64b, and 101. Tonight's movements include and start with the entire Suite No. 2, Op. 64b-"Montagues and Capulets" through "Romeo at Juliet's Grave"-and borrow from Suite No. 1, Op. 64a to end the set-"Masks" and "Tybalt's Death."
In his autobiography, Sergei Prokofiev describes how his ballet Romeo and Juliet came to be written:
In the latter part of 1934 there was talk of the Kirov Theatre of Leningrad staging a ballet of mine. I was interested in a lyrical subject. Shakespeare's Romeo and Juliet was sug?gested. But the Kirov Theatre backed out and I signed a contract with the Moscow Bolshoi Theatre instead. In the spring of 1935 [Kirov Theatre stage director Sergei] Radlov and I worked out a scenario, consulting with the choreographer on questions of ballet tech?nique. The music was written in the course of the summer, but the Bolshoi Theatre declared it impossible to dance to and the contract was broken.
There was quite a fuss at the time about our attempts to give Romeo and Juliet a happy ending--in the last act Romeo ar?rives a minute earlier, finds Juliet alive and everything ends well. The reasons for this bit of barbarism were purely choreographic: liv?ing people can dance, the dying cannot. The justification was that Shakespeare himself was said to have been uncertain about the endings of his plays (King Lear) and paral?lel with Romeo and Juliet had written Two Gentlemen of Verona in which all ends well. Curiously enough, whereas the report that Prokofiev was writing a ballet on the theme of Romeo and Juliet with a happy ending was received quite calmly in London, our own Shakespeare scholars proved more pa?pal than the pope and rushed to the defense of Shakespeare. But what really caused me to change my mind about the whole thing. was a remark someone made to me about the ballet: "Strictly speaking, your music does not express any joy at the end." That was quite true. After several conferences with the choreographers, it was found that the tragic ending could be expressed in the dance and in due time the music for that ending was written.
Although the choreographers found that the tragic ending was viable, the administra?tion of the Bolshoi decided that the whole ballet was not. And it must be granted that the difficulties of expressing the action of Shakespeare's tragedy without a single work spoken are indeed formidable.
With his usual precision, Prokofiev had imag?ined in great detail what gestures and elements of dramatic action he intended his music to depict, and he could not hide his disappointment when the performance did not live up to his expectations:
The Kirov Theatre produced the ballet in January 1940 with all the mastery for which its dancers are famed--although with some slight divergences from the original version. One might have appreciated their skill more had the choreography adhered more closely to the music. Owing to the peculiar acoustics of the Kirov Theatre and the need to make the rhythms as clear-cut as possible for the dancers I was obliged to alter a good deal of the orchestration. This explains why the same parts in the suites are more translucent than in the ballet score.
In Romeo and Juliet, Prokofiev combined his exceptional melodic gifts with the somewhat acerbic harmonic idiom that is one of the hall?marks of his style. This enabled him to express the timeless Romantic essence of this immortal love story while presenting it from a thoroughly con?temporary perspective.
Romeo and Juliet is one of the longest ballets in the repertoire, taking about two-and-a-half hours to perform. The score contains no fewer than 52 musical numbers, greatly varying in style. The num?bers depict the characters of the drama in consider?able realistic detail and psychological depth. Some of the movements accompany dramatic action while others are conventional ballet numbers.
At this evening's concert we shall hear the second of three suites Prokofiev extracted from the ballet. The suite is in seven movements, be?ginning with "The Montagues and the Capulets," the dance of the knights at the ball where the two lovers first meet. The famous pesante (ponderous) theme is a good example of how a simple minor triad, that backbone of classical music, can be made to sound fresh and original.
The movement "Juliet the Young Girl" paints a vigorous portrait of a happy child of 14 who has not yet met her great love. Energetic tutti sounds illustrating the vivacity of Juliet's character alter?nate with a series of lyrical solos (clarinet, flutes, and saxophone) suggestive of her grace and ten?derness.
The "Friar Lawrence" movement is based on two themes: a soft melody scored for solo bas?soon accompanied by plucked strings and harp, and a soaring theme played by cellos in their high register.
The movement which is called simply "Dance" takes us to the banquet at Capulet's house, where the festivities are in full swing. This is followed, as a total contrast, by "Romeo and Juliet Before Parting," where the lovers see each other for the last time (though they do not know it). Their pas-de-deux is accompanied by an ex?pansive cantabile (singing) melody with numerous solo passages for strings.
After the "Dance of the Girls from Antil?les," an exquisite happy interlude in the tragedy, the Op. 64b suite ends with the scene "Romeo at Juliet's Grave," he comes to the Capulet fam?ily vault, picks up Juliet, whom he believes dead, from her bier and dances a last farewell, holding his beloved who still shows no signs of life. He then commits suicide (when Juliet finally awakens and finds Romeo dead, she, too, kills herself).
Program notes by Peter Laki.
Praised as a "master of symphonic structure and breadth" by The New York Times, Yuri Temirkanov has over the last 40 years forged a fiercely individual brand of music-making, marking him as one of the most dynamic conduc?tors on the international concert circuit. In his pri?mary role as Music Director and Principal Conduc?tor of the St. Petersburg Philharmonic Orchestra, a position he has occupied since his predecessor
Yevgeny Mravinsky's departure in 1988, Maestro Temirkanov frequently elicits per?formances lauded for their intelligence, precision,wide-rang?ing emotional depth, and an "uninhibited, gloriously flowing character" (New Jersey Star-Ledger). In addition to his ten-
Yuri Temirkanov
ure in St. Petersburg, the maestro currently serves as Principal Guest Conductor of the Bolshoi Opera, Principal Guest Conductor of the Danish National
Symphony Orchestra, Conductor Laureate of the Royal Philharmonic Orchestra, and Music Director Emeritus of the Baltimore Symphony. He has served as Principal Conductor of the Royal Philharmonic Orchestra, Music Director of the Kirov Opera and Ballet (now known as the Mariinsky Theatre), Princi?pal Guest Conductor of the Dresden Philharmonic, and most recently, Music Director of the Baltimore Symphony. Mr. Temirkanov regularly appears with many of Europe's leading orchestras, including the Berlin Philharmonic, Vienna Philharmonic, Dresden Staatskapelle, London Philarmonic, London Sym?phony Orchestra, Royal Concertgebouw Orchestra, Santa Cecilia of Rome, and La Scala. He is a regu?lar visitor to the US, where he conducts the major orchestras of New York, Philadelphia, Boston, Chi?cago, Cleveland, San Francisco, and Los Angeles.
In addition to his fall tour with the St. Peters?burg Philharmonic, highlights of Maestro Temir-kanov's current season include conducting Verdi's La Traviata at Parma's Teatro Regio, leading Tchai?kovsky's Queen of Spades and Bizet's Carmen at the Bolshoi Opera, programs of Prokofiev and Shostakovich with the Berlin Philharmonic and the London Symphony, the premiere of a new com?mission by Georgian composer Giya Kancheli with the Danish Radio Symphony, and a tour of Latin America with the St. Petersburg Philharmonic in summer 2008.
Maestro Temirkanov's extensive discography features collaborations with the New York Philhar?monic, the Kirov Opera Orchestra and Chorus, the St. Petersburg Philharmonic, the Bolshoi Theatre Or?chestra and Chorus, and the Danish National Radio Symphony. He has recorded the complete Stravin?sky ballets and Tchaikovsky's symphonic cycle with the Royal Philharmonic Orchestra, and many of the major works of Shostakovich, Prokofiev, Rachmani-nov, and Mussorgsky with the other ensembles.
Maestro Temirkanov is the recipient of nu?merous distinguished citations and awards. He has received the State Prize of Russia (1999), the Association of Italian Music Critics' Abbiati Prize (2003), and has been made an honorary member of the International Academy of Sciences, Indus?try, Education and Art (1998). In 2003, he was awarded the President's Medal by Vladimir Putin, and was named Conductor of the Year in Italy. He has received Grammy nominations for his record?ings of Prokofiev's Alexander Nevsky (1996) and Shostakovich's Symphony No. 7(1998).
Maestro Temirkanov started his musical studies at the age of nine. After studying violin
and viola as a boy, he eventually pursued viola and conducting at the Leningrad Conservatory. He took first place at the prestigious All-Soviet National Conducting Competition in 1966, and was subsequently invited by conductor Kiril Kon-drashin to tour Europe and the US with legendary violinist David Oistrakh and the Moscow Philhar?monic Orchestra.
Maestro Temirkanov debuted with the St. Petersburg Philharmonic a year later and was in?vited to join the orchestra as Assistant Conduc?tor to Yevgeny Mravinsky. He served as Principal Conductor of the Leningrad Symphony Orchestra from 1968 to 1976, then as Music Director of the Kirov Opera and Ballet until 1988, when he as?sumed his current position as Music Director anc Principal Conductor of the St. Petersburg Philhar?monic Orchestra.
In a crowded field, Julia Fischer has emergec as a singularly-expressive voice among violin?ists of her generation, combining technical mastery with a commanding interpretive vision Ms. Fischer, winner of the coveted ECHO Klassik Award for her recording of Russian violin concer?tos (Khachaturian, Prokofiev, and Glazunov) on PentaTone classics, is increasingly in demand in North America, having performed recently with the Philadelphia Orchestra (Christoph Eschen-bach), the Pittsburgh Symphony (Marek Janows-ki), the Cincinnati Symphony (Yakov Kreizberg), the National Symphony (Emmanuel Krivine), the Minnesota Orchestra (Yakov Kreizberg), and on a tour of Europe with the New York Philharmonic under Lorin Maazel.
Ms. Fischer's European engagements include her debut with the BBC Symphony Orchestra (Da?vid Zinman) and return appearances with the Dresdner Philharmonic, Orchestre de Paris, Or chestre National de Belgique, Orchestre Nationa de Lyon, Orchestra of the Suisse Romande, and the Radio Symphony Orchestra Stuttgart. She will tour with the Kammerorchester Basel (Christo pher Hogwood) and with the Netherlands Philhar?monic (Yakov Kreizberg), with whom she will give the Dutch premiere of the Maazel Violin Concerto Other conductors with whom Ms. Fischer has col?laborated include Sir Neville Marriner, Jun Markl Jeffrey Tate, Ruben Gazarian, Herbert Blomstedt, and Michael Tilson Thomas. Ms. Fischer has per?formed in most European countries, the US, Bra-
Julia Fischer
zil, and Japan; and in concerts broadcast on TV and radio in every major European country, as well as on many US, Japanese, and Australian radio stations. Ms. Fischer's recordings have met with extraordinary critical acclaim. Two of them were named Gramophone "Editor's Choice:" an all-Tchaikovsky CD including the Violin Concerto and her recording of Mendelssohn piano trios with cellist Daniel Miiller-Schott and pianist Jonathan Gilad. Her two-CD recording of Bach Sonatas and Partitas won the Diapason d'Or, and on her re?cording of Mozart violin concerti with the Nether?lands Chamber Orchestra (Yakov Kreizberg), her playing was described by Gramophone as having "dazzling maturity and technical finish." In 2006 she was chosen "Best Newcomer of the Year" by BBC Music Magazine and graced the cover of Gramophone the same year. Her new CD of the Brahms Double Concerto with cellist Daniel Mul-ler-Schott and the Netherlands Philharmonic (Ya?kov Kreizberg) has just been released. In addition to her audio recordings, Ms. Fischer is featured on a DVD of Vivaldi's Four Seasons (Opus Arte).
Born in 1983 in Munich, Ms. Fischer started violin studies at the age of three. She was admit?ted to the Munich Academy of Music at the age of nine, where her principal teacher has been Ana Chumachenco. Ms. Fischer is now herself Professor of Violin at the Hochschule fur Musik und Darstel-ende Kunst Frankfurt am Main. Her violin was made by Giovanni Battista Guadagnini in 1750.
The St. Petersburg Philharmonic Orches?tra (SPPO) is Russia's oldest symphonic ensemble, tracing its origins to a group of rnusic-loving aristocrats who founded Europe's first Philharmonic Society in 1802. The St. Peters?burg Philharmonic we know today has earned near-legendary status as the pre-eminent expo-
nent of the modern Russian symphonic tradition. With Music Director and Principal Conductor Yuri Temirkanov at the helm since 1988, the SPPO has conducted an ambitious schedule of worldwide touring and recording, building on the foundation laid by the great Yevgeny Mravinsky, the Orches?tra's conductor from 1938-1988.
The Orchestra celebrated its 2OOth Anniver?sary in 2002 and to mark this notable landmark in its history, performed at a star-studded Gala concert at the Royal Festival Hall in London which included soloists Evgeny Kissin and Dmitri Hvoros-tovsky. In the earliest days of its existence however, the SPPO's energies were directed first, and exclu?sively, to the Russian aristocracy, then after the rev?olution in 1917, to the working classes. Even in the first half of the 20th century, some of the great?est conductors of the time led the SPPO--Glazu-nov, Koussevitsky, Tcherepnin, Walter, Klemperer, Kleiber, and Knappertsbusch among them. The chief architect of SPPO's greatness during that time (when the Orchestra was known as the Leningrad Philharmonic) was Yevgeny Mravinsky. Maestro Mravinsky established and maintained an extraor?dinary level of musical quality and integrity which remains the hallmark of this superb ensemble to this day. Maestro Mravinsky had a special friend?ship with composer Dmitri Shostakovich, which enabled the Orchestra to become recognized as a champion and authoritative interpreter of his works. It was after World War II that the Orches?tra's reputation took on a global dimension. As the first Soviet ensemble to tour abroad, the Orchestra performed throughout Europe, Asia, and the US under the direction of such greats as Stokowski, Munch, Cluytens, Markevitch, Krips, Kodaly, and Britten. Maestro Mravinsky also made numerous recordings with the Orchestra which eventually ob?tained distribution outside the USSR.
In 1991 the city of Leningrad reclaimed its original name and its orchestra became known as the St. Petersburg Philharmonic. Under the lead?ership of Music Director and Principal Conductor Yuri Temirkanov, the ensemble now regularly tours Europe, the US, and Japan. The SPPO is a favorite at such major summer festivals as Salzburg, Edin?burgh, Helsinki, Rheingau, MDR, Lucerne, and the BBC Proms.
Recordings of the Orchestra can be heard with Yuri Temirkanov conducting on Sony BMG Masterworks, with Mariss Jansons on EMI and with Vladimir Ashkenazy on Decca.
St. Petersburg Philharmonic Orchestra
Yuri Temirkanov, Artistic Director and Principal Conductor Nikolai Alexeev, Associate Conductor
Violin I
Lev Klychkov, Concertmaster
Pavel Popov
Alexander Zolotarev
Yury Ushchapovsky
Valentin Lukin
Sergey Teterin
Olga Rybalchenko
Natalia Sokolova
Alexey Vasilyev
Alexander Rikhter
Renata Bakhrakh
Nikolay Tkachenko
Tatiana Makarova
Mikhail Alekseev
liya Melik-Muradyan
Anton Chausovsky
Violin II
Mikhail Estrin, Principal Dmitry Koryavko Arkady Nayman Tatiana Shmeleva Arkady Maleyn Liudmila Odintsova Zhanna Proskurova Liubov Khatina Dmitry Petrov Anatoly Babitsky Nikolay Dygodyuk Ruslan Kozlov Konstantin Basok Olga Kotlyarevskaya Igor Zolotarev
Andrey Dogadin, Principal Yury Dmitriev Vladimir Ivanov Artur Kosinov Yury Anikeev Dmitry Kosolapov Alexey Bogorad Roman Ivanov Konstantin Bychkov
Leonid Lobach Mikhail Anikeev Alexey Koptev Elena Panfilova
Sergey Slovachevsky, Principal
Nikolay Girunyan
Valery Naydenov
Sergey Chemyadyev
Mikhail Slavin
Taras Trepel
Yaroslav Cherenkov
lossif Levinzon
Victor Ivanov
Nikolay Matveev
Kirill Arkhipov
Alexander Kulibabin
Double Bass Artem Chirkov, Principal Alexander Shilo Rostislav lakovlev Oleg Kirillov Mikhail Glazachev Nikolay Chausov Alexey Ivanov Alexey Chubachin Nikolay Syray Arseny Petrov
Marina Vorozhtsova, Principal Olesya Tertychnaya Olga Viland
Maria Markul
Ruslan Khokholkov, Principal Artsiom Isayeu Pavel Serebryakov
English Horn Mikhail Dymsky
Andrey Laukhin, Principal Valentin Karlov Denis Sukhov Igor Gerasimov
Bass Clarinet
Vladislav Verkovich
Oleg Talypin, Principal Sergey Bazhenov Maxim Karpinsky
Alexey Silyutin
Andrey Glukhov, Principal Igor Karzov Anatoly Surzhok Anatoly Musarov Vitaly Musarov Alexandru Afanasiev
Igor Shrapov, Principal Mikhail Romanov Vyacheslav Dmitrov Alexey Belyaev
Maxim Ignatyev, Principal
Dmitry Andreev
Denis Nesterov
Vitaly Gorlitsky
Valentin Avvakumov
Sergey Antoshkin Valery Znamensky Dmitry Klemenok Konstantin Solovyev Ruben Ramazyan Alexander Mikhaylov
Anna Makarova Andres Izmaylov
Maxim Pankov
Librarian Leonid Voronov
Stage Manager
Alexander Novikov
St. Petersburg Philharmonic Orchestra Administration
llya Teplyakov, executive
Director Galina Logutenko, Deputy
Director for Foreign
For Opus 3 Artists
David V. Foster, President
and CEO Byron Gustafson, Executive
Vice President and
Managing Partner Leonard Stein, Vice President,
Director, Tour
Administration William Bowler, Manager,
Artists S Attractions Kay McCavic, Company
Manager Nadia Mokhoff, Assistant
Company Manager Gerald Breault, Stage
Manager Anna Dok, Assistant to
Leonard Stein
Tonight's concert by the St. Petersburg Philharmonic Orchestra marks the ensemble's 10th ap?pearance under UMS auspices. The Orchestra's debut goes back to November 12, 1962 when they first appeared in Ann Arbor under the direction of their famed music director Evgeny Mravinsky. The program for that evening noted that the concert was presented "as part of the Cultural Exchange program maintained by the Governments of the United States and the U.S.S.R." Of course, the orchestra was then named The Leningrad Philharmonic.
Tonight's concert marks Maestro Temirkanov's sixth appearance under UMS auspices. Maestro Temirkanov made his UMS debut leading the Leningrad Symphony Orchestra in February 1977 at Hill Auditorium.
Tonight's concert marks Julia Fischer's UMS Debut.
UMS's Education and Audience Development Program deepens the relationship between audiences and art and raises awareness of the impact the multi-disciplinary performing arts and education can have by enhancing the quality of life of our community. The program creates and presents the highest quality arts education experiences to a broad spectrum of community constituencies, proceeding in the spirit of partnership and collaboration. Details about all educational events and resi?dency activities are posted one month before the performance date. Join the UMS Email Club to have updated event information sent directly to you. For immediate event info, please email, or call the numbers listed below.
Please call 734.647.6712 or email 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 area's Arab-American, African, MexicanLatino, and African-American audiences. Among the initiatives is the creation of the NETWORK, a program 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.-?"......1
nities for students and members of the ; 11 Inn C
University community to further appreciate the T artists on the UMS series.
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-
Americans and the broader community to cele?brate the world-class artistry of today's leading African and African-American performers and creative artists. NETWORK members connect, socialize, and unite with the African-American community through attendance at UMS events and free preor post-concert receptions. NETWORK members receive ticket discounts :or selected UMS events; membership is free.
Shen Wei Dance Arts: Second Visit
to the Empress
Dianne Reeves
Handel's Messiah
Youssou N'Dour and The Super F_toile
Jazz at Lincoln Center Orchestra: Love Songs
of Duke Ellington
Celebration of the Keyboard
Ahmad Jamal
SFJAZZ Collective: A Tribute to Wayne
Urban Bush WomenCompagnie Jant-Bi:
Les ecailles de la memoires (The scales of
Bobby McFerrin, Chick Corea and
Jack Dejohnette
Please call 734.615.0122 or email 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 for March events!
chool FundraisersGroup Sales
Raise money for your school and support the arts. UMS offers a wide range of fundraising opportunities and discount programs for schools. It is one of the easiest and most rewarding ways to raise money for schools. For informa?tion contact or 734.763.3100.
Teacher Advisory Committee
This group of regional educators, school administrators, and K-12 arts education advo?cates advises and assists UMS in determining K-12 programming, policy, and professional development.
UMS is in partnership with the Ann Arbor Public Schools and the Washtenaw Intermediate School District as part of the Kennedy Center: Partners in Education Program. UMS also participates in the Ann Arbor Public Schools' "Partners in Excellence" program.
UMS Teen Programs
Teen Tickets
Teens can attend UMS performances at signifi?cant discounts. Tickets are available to teens for $10 the day of the performance (or on the Friday before weekend events) at the Michigan League Ticket Office and $15 beginning 90 minutes before the performance at the venue. One ticket per student ID, subject to availability.
Breakin' Curfew
In a special collaboration with the Neutral Zone, Ann Arbor's teen center, UMS presents this yearly performance highlighting the area's best teen performers. Details about this per?formance will be announced in Spring 2008.
UMS Family Programs
UMS is committed to programming that is appropriate and exciting for families. Please visit the family programs section of for a list of family-friendly performance opportunities.
The 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
df&&fr) Ford Motor Company Fund === 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
CF1 Group
Chamber Music America
Doris Duke Charitable Foundation
DTE Energy Foundation
The Esperance Family Foundation
JazzNet Endowment
Masco Corporation Foundation
Michigan Economic Development Corporation
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
Randall and Mary Pittman ProQuest Company Prudence and Amnon Rosenthal
K-12 Education Endowment
Fund Target
Thomas 8. 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 offers five programs designed to fit stu?dents' 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
At the beginning of each semester, UMS offers half-price tickets to college students. A limited number of tickets are available for each event in select seating areas. Simply visit www.ums.orgstudents, log in using your U-M unique name and Kerberos password, and fill out your form. Orders will be processed in the order they are received. You will pay for and pick up your tickets at a later date at the Michigan League Ticket Office.
Winter Semester: Begins Sunday, January 6, 2008 at 8 pm and ends Tuesday, January 8 at 8 pm.
Sponsored by UM?K.S!5
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 Rush Tickets. The Card is valid for any event for which Rush Tickets are available, and can
be used up to two weeks prior to the 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 LMEKB5
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 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 for the latest on events, auditions, contests, fund?ing for arts initiatives, work and volunteer opportunities, arts courses, and more.
'nternships and College Work-Study
nternships with UMS provide experience in ierforming arts administration, marketing, icket sales, programming, production, and arts education. Semesterand year-long unpaid nternships 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 nduding concert promotion and marketing, icket sales, fundraising, arts education, arts jrogramming, and production. If you are a Jniversity 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.
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 6,530 pm, Rackham Building Filarmonica detla Scala
Speaker: Martin Katz
Fri, Oct 12,5:30 pm, Hill Auditorium Krystian Zimerman 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 10,5:30 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 14,5:3o pm, Rackham Building Christian Tetzlaff
Speaker: Stephen Shipps
Fri, March 14,5:30 pm, Rackham Building San Francisco Symphony
Speaker: Steven Whiting
Fri, March 21, 5-3o pm, Rackham Building Bach's St. Matthew Passion
Speaker: Anne Parsons
Wed, April 2,5:30 pm, Rackham Building
Lang Lang
Speaker: Kenneth C. Fischer
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 734.764.848g for information
Go Blue! Tailgate
Saturday, September 22, 2007
Hosts: Maya Savarino Penny & 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 15,2008,7 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
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.
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.
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.
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 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 way 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 about On the Road in the 0809 season.
UMS Ushers
Without the dedicated service of UMS's Usher Corps, our events would not run as smoothly as they do. Ushers serve the essential functions of assisting patrons with seating, distributing 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
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.
$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
DTE Energy
DTE Energy Foundation
Esperance Family Foundation
Northwest Airlines
The Power Foundation
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
$10,000-$ 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 Herzig 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
University of Michigan Credit Union
Universal Classics Group
Marina and Bob Whitman
Paulett Banks
Edward Surovell RealtorsEd and
Natalie Surovell Carl and Charlene Herstein Miller Canfield Paddock and Stone RLC. M. Haskell and Jan Barney Newman Performing Arts Fund A. Douglas and Sharon J. Rothwell James and Nancy Stanley
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 Conn LLP
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 T.J. O'Keefe Pepper Hamilton LLP Philip and Kathy Power Red Hawk Bar & 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
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
Jim and Barbara Adams
Susan and Alan Aldworth
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 Oilman 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
Anastasios Alexiou
Robert and (Catherine Aldrich
Michael and Suzan Alexander
Dr. and Mrs. David G. Anderson
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. Bnggs
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 Raimi
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 Hers tern
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
Walhe and Janet Jeffries
Timothy and Jo Wiese Johnson
Robert L and Beatrice H. Kahn
Robert and Jeri 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 Melvin 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. Marylen S. Oberman Marysia Ostafin and George Smillie Mohammad and
J. Elizabeth Othman Donna Parmelee and
William Nolting Bertram and Elaine Pitt Peter and Carol Polvenm Richard and Mary Price Produce Station Mrs. Gardner C. Quarton Donald Regan and
Elizabeth Axelson 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 Savarino Schakolad Chocolate Factory Erik and Carol Serr Janet and Michael Shatusky Loretta M. Skewes Frances U. and Scott K. Simonds Dr. Bernard Sivak 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 Zampierollo and Brian Partin
3Point Machine, Inc.
Wadad Abed
Roger Albin and Nih Tannenbaum
Christine W. Alvey
Catherine M. Andrea
Dr. and Mrs. Rudi Ansbacher
Hariene and Henry Appelman
Ralph Lydic and Helen Baghdoyan
Mary and Al 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 G. 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 LJndy M. Cubba
John G. and Mary R. Curtis
Roderick and Mary Ann Daane
Robert and Joyce Damschroder
Norma and Peter Davis
Ellwood and Michele Oerr
Linda Dintenfass and Ken Wisinski
Cynthia M. Dodd
Robert J. and Kathleen Dolan
Dallas C. Don
Gavin Eadie and Barbara Murphy
James Eng and Patricia Randle
Stefan and Ruth Fajans
Elly 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 Beverly 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
ingnd 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-
Phihppe 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 KarEstrom 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 Ornnger Constance and David Osier Marie L. Panchuk Zoe and Joe Pearson Jean and Jack Peirce Margaret and Jack Petersen Elaine Pi a sec ki Evelyn Pickard Juliet S. Pierson Wallace and Barbara Prince Anthony L. Reffells and
Elaine A. Bennett R. E. 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 If ma 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
Dorit Adler
Thomas and Joann Adler Family Foundation Helen and David Aminoff Anonymous
Bert and Pat Armstrong
lack 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
Rodney and Joan Beniz Dr. Rosemary R. Berardi Sandra L and Stanley Bies llene and William Birge Beverly J. Bole
Amanda and Stephen Borgsdorf Victoria C. Botekand
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 Brent and Valerie Carey Thomas and Colleen Carey James and Mary Lou Carras Dennis J. Carter Margaret and William Caveney J Wehrley and Patricia Chapman Charles Reinhart Company Realtors Charles Stewart Mott Foundation John and Christine Chatas Linda Chatters and
Robert Joseph Taylor Andy and Dawn Chien Kwang and Soon Cho Reginald and Beverly Ciokajlo Theodore and Jean Cohn 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 Menal Das Art and Lyn Powrie Davidge Ed and Ellie 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 Outta Jane E. Dutton Eva and Wolf Duvernoy Bradley Dyer Dr. Alan S. Eiser Mary Ann Faeth Mark and Karen Falahee Dr. and Mrs. S. M. Farhat Phil and Phyllis Felhn James and Flora Ferrara Dr. James F. Filgas David Fink and Marina Mata Dr. 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 Gagliardi 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 Gillrow Joyce L. Ginsberg David and Maureen Ginsburg irwm 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. Grift 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 Hentsche! 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 Stvm 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 Mariiynn Kokoszka Alan and Sandra Kortesoja Barbara and Michael Kratchman Doris and Don Kraushaar Gary and Barbara Krenz Charles and Mary Krieger Bert and Geraldine Kruse Donald John Lachowia
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 Undow Michael and Debra Usull Michael Charles Litt Dr. Daniel Little and
Dr. Bernadette Lmtz 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 Melvm and Jean Manis Manpower, Inc. of Southeastern
Ken and Lynn Marko 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 Gerlinda 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 MiaE 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 Anaia Rodgers
Dr. Susan M. Rose
Jean P. Rowan
Bob and Susan Rowe
Rosemane 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 Scott and Joan Singer Nancy and Brooks Sitterley, MD Tim and Marie Slottow Greg and Meg Smith Robert W. Smith Ralph and Anita Sosin Mr. and Mrs. Lawrence Sperting Jim Spevak Jeff Spindler Judy and Paul Spradlin David and Ann Staiger Rick and LJa 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 Katherine 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 ManGrace and Tom York Gail and David Zuk
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
Estate of Douglas Crary
Doris Duke Charitable Foundation
Estate of Dr. Eva L. Mueller
Bernard and Raquel Agranoff
Mr. and Mrs. Robert R. Gamble
David and Phyllis Herzig
Verne and Judy Istock
Sesi Investment
Herbert Sloan
Kathy Benton and Robert Brown
Robert and Pearson Macek
Estate of Melanie McCray
James and Nancy Stanley Mary Vanden Belt
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
Michael Allemang and Janis Bobrin
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
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
IATSE Local 395 Stagehands
Keki and Alice Irani
Mel and Myra Jacobs
Ben M. Johnson
Harold R. Johnson
Robert L. and Beatrice H. Kahn
Perry and Denise Kantner
John B. Kennard
Nancy Keppelman and Michael Smerza
Robert and Bonnie Kidd
Gary and Barbara Krenz
Amy Sheon and Marvin Kristov
Leo and Kathy Legatski
Melvin A. Lester MD
Ken and Jane Lieberthal
William and Lois Lovejoy John and Kathy Loveless Ted and Teresa Marchese Mary and Chandler Matthews Susan McClanahan and
Bill Zimmerman Bill and Ginny McKeachie Joanna McNamara and
Melvin Guyer John and Carla Michaud Patricia Mooradian Mary Morse
Michael Gatti and Lisa Murray Gerry and Joanne Navarre Frederick C. Neidhardt Gayl and Kay Ness Susan and Richard Nisbett Constance K. and
Charles E. Olson, Jr. Anne Parsons and Donald Dietz Marv Peterson Nancy S. Pickus Julian and Evelyn Prince Steve and Ellen Ramsburgh Stephen and Agnes Reading John and Dot Reed Dr. Riley Rees and
Ms. Elly Wagner Mamie Reid Theresa Reid and
Marc Hershenson Sam and Janice Richards Kenneth J. Robinson and
Marcia Gershenson Ann and Thomas J. Schriber Ruth Scodel
ingrid and Cliff Sheldon Don and Sue Sinta Jim Skupski and
Dianne Widzinski Carl and Jari Smith Scott and Amy Spooner Lois and Jack Stegeman Doug Laycock and
Teresa A. Sullivan Mark and Patricia Tessler Denise Thai and David Scobey Carrie and Peter Throm John and Geraldine Topliss Jonathan Trobe and
Joan Lowenstein Claire and Jeremiah Turcotte Thomas and Mary Wakefield Richard and Madelon Weber W. Scott Westerman, Jr. Sally M. Whiting Max Wicha and Sheila Crowley Frances A. Wright Betty and Bob Wurtz
Anonymous Arts Alliance of the Ann Arbor Area Barbara B. Bach Barbara Everitt Bryant Mark Clague Hugh and Elly Cooper Jill Crane
Sally Cushing
Ken and Joyce Holmes
Dr. Nancy Houk
John and Patricia Huntington
Mika and Danielle LaVaque-Manty
Judie and Jerry Lax
Rod and Robin Little
Beth McNally
Ronald G. Miller
Shelley and Dan Morhaim
Eileen Pollack
Margaret and Glen Rutila
Linda Tubbs
Endowed Funds
The future success of the University Musical Society is secured in part by income from UMS's endowment. UMS extends its deepest apprecia?tion to the many donors who have established andor 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
Endowment Fund Choral Union Fund Hal and Ann Davis Endowment
Fund Doris Duke Charitable
Foundation Endowment Fund Ottmar Eberbach Funds Epstein Endowment Fund JazzNet Endowment Fund William R. Kinney Endowment
Fund Natalie Matovinovic Endowment
NEA Matching Fund Palmer Endowment Fund Mary R. Romig-deYoung Music
Appreciation Fund Prudence and Amnon Rosenthal
K-12 Education
Endowment Fund Charles A. Sink Endowment Fund Catherine S. ArcureHerbert E.
Sloan Endowment Fund University Musical Society
Endowment Fund The Wallace Endowment Fund
Burton Tower Society
77ie Burton Tower Society recognizes and honors those very special friends who have included UMS in their estate plans. UMS is grateful for this important support, which will continue the great traditions of
artistic excellence, educational opportunities, and community partnerships in future years.
Bernard and Raquel Agranoff
Carol and Herb Amster
Mr. Neil P. Anderson
Dr. and Mrs. David G. Anderson
Catherine S. Arcure
Linda and Maurice Binkow
Elizabeth S. Bishop
Mr. and Mrs. W. Howard Bond
Mr. and Mrs. Pal E. Borondy
Carl and Isabeile Brauer
Barbara Everitt Bryant
Pat and George Chatas
Mr. and Mrs. John Alden Clark
H. Michael and Judith L. Endres
Dr. James F. Filgas
Ken and Penny Fischer
Ms. Susan Ruth Fischer
Beverley and Gerson Geltner
Paul and Anne Glendon
John and Martha Hicks
Mr. and Mrs. Richard Ives
Marilyn G. Jeffs
Thomas C. and
Constance M. Kinnear Diane Kirkpatrick Charlotte McGeoch Michael G. McGuire M. Haskell and
Jan Barney Newman Len Niehoff
Dr. and Mrs. Frederick C. O'Dell Mr. and Mrs. Dennis M. Powers Mr. and Mrs. Michael Radock Mr. and Mrs. Jack Ricketts Mr. and Mrs. Willard L Rodgers Prudence and Amnon Rosenthal Margaret and Haskell Rothstein Irma J. Sklenar Herbert Sloan Art and Elizabeth Solomon Roy and JoAn Wetzel Ann and Clayton Wilhite Mr. and Mrs. Ronald G. Zollars
Tribute Gifts
Contributions have been received in honor andor mem?ory of the following individuals:
H. Gardner Ackley Wendy Bethune and
Roland Pender Carl and Isabeile Brauer Cheryl Clarkson Jon Cosovich Arthur F. Cox, Jr. John S. Dobson Janel fain
Ken and Penny Fischer Lila Green Lisbeth Louise Hildebrandt
Johnson Harbeck Harold Haugh Dr. Sidney S. Hertz Kenyatta Martin Marilyn Mason James D. Moore
Holmes E. and Susan E. Newton
Gwen and Emerson Powrie
Gail W. Rector
Claire Rice
Margaret E. Rothstein
Eric H. Rothstein
Nona R. Schneider
William J. Scott
Marvin Selin
Marjorie Merker Sell '39
George E. Smith
Charles R. Tieman
Francis V. Viola III
George and Ailie Wappula
Edward C. Weber
Dr. Jan Winkelman
Peter Holderness Woods
Barbara E. Young
In-Kind Gifts
16 Hands
4 Seasons Perfume and
LingerieAllure Boutique Wadad Abed
Abracadabra JewelryGem Gallery Acme Mercantile Benjamin Acosta-Hughes Bernie and Ricky Agranoff Alice Lloyd Residence Hall Carol and Herb Amster Blair Anderson Ann Arbor Art Center Ann Arbor Art Center Gallery Shop Ann Arbor Aviation Center Ann Arbor District Library Ann Arbor Framing Ann Arbor Hands-On Museum Ann Arbor Public Schools Ann Arbor Tango Club Ann Arbor's 107one Arbor Brewing Company Avanti Hair Designers Ayla & Company John U. Bacon Bailey, Banks & Biddle Bana Salon and Spa Bob and Wanda Bartlett Joseph W. Becker Gary Beckman Bellanina Day Spa Kathy Benton and Robert Brown Yehonatan Berick Lynda Berg Berry Goldsmiths The Betty Brigade Ntshta Bhatia
Maurice and Linda Binkow Jerry Blackstone Bloomfield Gourmet Shoppe Blue Nile
Boychoir of Ann Arbor Enoch Brater
Beth BruceThe Carlisle Collection Bob Buckler iim 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 Copeland
James Corbett and Mary Dempsey Curves Habte Dad Gary Decker Judith DeWoskin Sally and Larry DiCarlo Andrew S. DixonPersonal Computer
Heather Dombey Downtown Home & Garden DTE Energy
Duggan Place Bed and Breakfast Aaron Dworkm The Earie Restaurant Eastern Michigan University Dance
Department Eastern Michigan University
Department of Theater Education Gillian Eaton Jack and Betty Edman Lisa and Jim Edwards El Bustan Funoun Anthony Elliott Julie Ellison Equilibrium Espresso Royale Mary Ann Faeth Fantasy Forest
Jo-Anna and David Featherman Susan Filipiak Ucal Fmley
Susan Fisher and John Waidley Kristin Fontichiaro Frame Factory Fran Coy Salon Sara Frank
Maxme and Stuart Frankel Traianos Gagos Deborah Gabrion Zvi Gitelman Glass Academy LLC Anne Glendon Kathy and Tom Goldberg The Golden Apple Larry Greene
Greenstone's Fine Jewelry Linda Gregerson Tim Grimes Groom & Go Susan Guiheen Susan and Richard Gutow Walt and Charlene Hancock Lavinia Hart Heather's Place
David W. and Kathryn Moore Heleniak Carl and Charlene Herstein Hill Top Greenhouse and Farms
Abracadabra Jewelry 25
Alumni Association of the University
of Michigan 35 Americans for the Arts 28 Ann Arbor Public Schools
Educational Foundation 26 Ann Arbor Symphony Orchestra 42 Bank of Ann Arbor 26 Borders Downtown 32 Charles Reinhart Realtors 25 Donaldson and Gunther, DDS 32 Edward Surovell Realtors 25 Edwards Brothers 22
Barbara Hodgdon
The Homestead Bed and Breakfast
Hong Hua
Howell Nature Center
Carol and Dan Huntsbarger
The Moveable Feast Iguanaworks Integrated Architecture Inward Bound Yoga Julie's Music Imagining America Mohammad issa Andrew Jennings Mercy and Stephen Kasle Meg Kennedy Shaw Ken's Flower Shops Kerrytown Concert House Patty and David Kersch Iman Khagani Kenneth Kiesler Tom and Liz Knight Knit A Round Yarn Shop Knit Pickers Joan Knoertzer Gayle LaVictoire Lynnae Lehfeldt Lori Lentini-Wilbur Richard LeSeuer Bobbie and Myron Levme Lewis Jewelers Karen Lindenberg Logan An American Restaurant Eleanor Lord Stephanie Lord Martin and Jane Maehr Mariachi Especial de Alma Martha Cook Residence Hall Marygrove College Dance
Chandler and Mary Matthews Marilyn McCormick Zarin Mehta Kate Mendeloff The Metro Cafe MFtt Culinary Team MFit Fitness Center Michigan Theater Carla Milarch Miles of Golf
Jeff MoreAshley's Restaurant Morgan and York Mosaic Youth Theater Motawi Tileworks Vince Mountain Louis Nagel The Neutral Zone John Neville-Andrews M. Haskell and Jan Barney Newman Sarah and Dan Nicoh Tom OgarMerrill Lynch Opus One Marysia Ostafin Pacific Rim by Kana Paesano's Restaurant
Gilmore Festival 30 Honigman Miller Schwartz and
Cohn IIP 34 Howard Cooper Imports 4 IATSE 20 Iris Cleaners-39 Jaffe Raitt Heuer and Weiss 20 Kellogg Eye Center 16 Kensington Court inside front cover Nicols Sacks Slank Sendelbach &
Buiteweg PC 30 Performance Network 38 Red Hawk 30
Kimberly Peaisall
Penny Stamps Visiting Distinguished
Visitors Series Performance Network Peter's Palate Pteaser Pierre Paul An Gallery Gregory and Allison Poggi The Polo Fields Golf and Country Club David Potter Phil and Kathy Power Yopie Prins Purple Rose Theater Putterz Golf ft Games The Quarter Bistro and Tavern Ingnd Racine
Paula RandJuliana Coliezione Marnie Reid Huda Rosen Steve Rosoff Ellen Rowe Russell S. Bashaw Faux Finish
Sludio. LLC Afa Sadykhty Sam's Clothing Store Agnes and David Sams Jamie Saville and Rusty Fuller Schakolad Chocolate Factory Michael Schoenfeldt Penny Schreiber Ruth Scodel SeloShevel Gallery Sesi Lincoln Mercury Volvo Mazda Seva Restaurant Rabia Shafie
Shaman Drum Bookshop Nelson Shantz Piano Service Bright Sheng George Shirtey John Shultz Photography Silkmoons Susan Silver-Fink Loretta Skewes Tim and Marie Slottow Andrea Smith Mandisa Smith Elizabeth Southwick Cynthia Sowers The Spa at Liberty Peter Sparling Rick Sperling Sphinx Organization Jim and Nancy Stanley St. Anne Church in Detroit Bennett Stein Stonebridge Golf Club Cindy Straub Ed and Natalie Surovell
Edward Surovell Realtors Sweet Gem Confections Swing City Dance Studio Ten Thousand Villages Tom Thompson Flowers Liz Toman Trader Joe
The Nature Conservancy 24
Tisch Investments 42
Totoro Japanese Restaurant 25
United Sank and Trust 34
WEMU inside back cover
Wright Griffen Davis 24
Zanzibar 30
Travis Pointe Country Club
Sue Ullrich
U-M Alumni Association
U-M Arts of Citizenship
U-M Arts on Earth
U-M Arts at Michigan
U-M Black Arts Council
U-M Center for Afroamerican and
African Studies
U-M Center for Chinese Studies U-M Center for Latin American and
Caribbean Studies U-M Center for Middle Eastern and
North African Studies U-M Center for Russian and East
European Studies U-M Department of Dance U-M Department of Internal
U-M Department of Musical Theatre U-M Gifts of Art U-M Golf Course U-M Hatcher Graduate Library U-M Honors Program U-M Institute for the Humanities U-M International Institute U-M Museum of Art U-M Office of New Student
U-M Residential College U-M School of Art and Design U-M School of Education U-M School of Law U-M School of Music, Theater and
Urban Jewelers Van Boven Shoes Arthur Verhoogt Vie Fitness and Spa Viking Sewing Center VOLUME Youth Poetry Project Martin Walsh
Washtenaw Community College Washtenaw Intermediate School
Enid Wasserman Waterscape Wayne State University Dance
Department Weber's Inn and Hotel The West End Grill Steven Whiting Ann and Clayton Wilhite Cassie Williams Ralph Williams Debbie Williams-Hoak Yolles-Samrah Wealth
Management. LLC Yotsuba Japanese Restaurant & Bar Tom Zimmerman Zingerman's Bakehouse Zingermans Delicatessen
UMS is proud to be a 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
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
UMS and
Carl and Charlene Herstein
Russian Patriarchate Choir of Moscow
Anatoly Grindenko, Director
Call to Worship (from Psalm 94 [95]) (Anonymous polyphony, 16th century)
Amin'. Priidite, poklonimsia Tsarevi nashemu Bogu. Priidite, poklonimsia i pripadem Hristu Tsarevi nashemu Bogu. Priidite, poklonimsia i pripadem samomu Hristu Tsarevi i Bogu nashemu. Priidite, poklonimsia i pripadem Yemu.
Introductory Psalm at Vespers
(Psalm 103 [104]) (Anonymous polyphony, 17th century)
Ghospodi Bozhe moy, vozvelichilsia
yesi zelo.
Pripev: Blagosloven yesi, Ghospodi! Tvoriay AngelT Svoya duhi, i slugi Svoya
plamen' ognenn'fy. Tvoriay AngelT Svoya duhi, i slugi Svoya
plamen' ognennTy. Pripev: Blagosloven yesi, Ghospodi! Yako vozvelichashasia dela Tvoya, Ghospodi; vsia premudrostiyu sotvoril yesi. Yako vozvelichashasia dela Tvoya, Ghospodi; vsia premudrostiyu sotvoril yesi. Pripev: Divna dela Tvoya, Ghospodi! Vsia premudrostiyu sotvoril yesi! Da ischeznut greshnitsT ot zemli,
i bezzakonnitsT, yakozhe ne bi'ti im. Da ischeznut greshnitsT ot zemli,
i bezzakonnitsT, yakozhe ne b'fti im. Blagoslovi, dushe moya, Ghospoda. Pripev: Divna dela Tvoya, Ghospodi! Slava Ottsu, i STnu,
i Sviatomu Duhu, i nine i prisno,
i vo veki vekov. Amin'. Pripev: Slava Ti, Ghospodi,
sotvorivshemu fsia! Alliluiya, alliluiya, alliluiya, slava Tebe, Bozhe!
Amen. Come, let us worship
God, our King.
Come, let us worship and fall down
before Christ, our King and our God.
Come, let us worship and fall down
before the very Christ, our King and our God.
Come, let us worship and fall down before Him.
0 Lord my God, Thou hast become
exceedingly glorious. Refrain: Blessed art Thou, 0 Lord! Thou makest Thine Angels spirits, and Thy
ministers a flaming fire. Thou makest Thine Angels spirits, and Thy
ministers a flaming fire. Refrain: Blessed art Thou, 0 Lord! How glorious are Thy works, 0 Lord; in wisdom hast Thou made all things. How manifold are Thy works, O Lord; in wisdom hast Thou made all things. Refrain: Glorious are Thy works, O Lord! In wisdom hast Thou made all things! May sinners disappear from the earth,
and may the wicked be no more. May sinners disappear from the earth,
and may the wicked be no more. Blessed, you are, 0 Lord! Refrain: Glorious are Thy works, 0 Lord! Glory to the Father, and to the Son,
and to the Holy Spirit, now and ever,
and unto ages of ages. Amen. Refrain: Glory to Thee, O Lord,
Who hast created all! Alleluia, alleluia, alleluia, glory to Thee, 0 God!
The First Kathisma (from Psalms 1, 2, and 3) (Anonymous polyphony, 18th century)
Blazhen muzh, Alliluia.... izhe ne
ide na sovet nechestiv'fh. Pripev: Alliluiya (9x posle kazhdogo stiha) Yako vest' Ghospod' put' pravednTh
i put' nechestiv'ih pogibnet. Pripev: Alliluiya... Rabotayte Ghospodevi so strahom, i
raduytesia Yemu s trepetom. Pripev: Alliluiya...
Voskresni, Ghospodi, spasi mia, Bozhe moy. Pripev: Alliluiya... Ghospodne yest' spaseniye
i na liudeh Tvoih blagosloveniye Tvoye. Pripev: Alliluiya... Slava Ottsu, i STnu,
i Sviatomu Duhu, i nine i prisno, i vo veki vekov.
Amin'. Pripev: Alliluiya...
Blessed is the man, Alleluia... who walks not
in the counsel of the wicked. Refrain: Alleluia (9x after each verse) For the Lord knows the way of the righteous,
but the way of the wicked will perish. Refrain: Alleluia... Serve the Lord with fear and
rejoice in Him with trembling. Refrain: Alleluia...
Arise, O Lord! Save me, O my God! Refrain: Alleluia... Salvation is of the Lord;
and Thy blessing is upon Thy people. Refrain: Alleluia... Glory to the Father, and to the Son,
and to the Holy Spirit, both now and ever and unto ages of ages.
Amen. Refrain: Alleluia...
Sticheron (from the Aposticha of Great
and Holy Friday at Vespers) (Anonymous chant with ison, 16th century)
This hymn corresponds to moment in the service when Christ's body is taken down from the Cross, and the Shroud (plashchanitsa) is brought out by the clergy from the altar and placed on the Tomb in the center of the church, amidst flowers and incense.
Tebe odeyuushchagosia svetom,
yako rizoyu, snem losif s dreva
s Nikodimom, i videv mertva, naga,
nepogrebenna, blagoserdnTy plas vospriim,
ridaya, glagolashe: "UvT mne, sladsayshiy lisuse! Egozhe vmale sontse,
na Kreste visima uzrevsheye, mrakom oblagashesia, i zemlia strahom kolebashesia, i razdirashesia tserkovnaya zavesa; no se nine vizhu Tia, mene radi voleyu podyemsha smert'. Kako pogrebu Tia, Bozhe moy Hi kakoyu plashchanitseyu obviyu Koimali rukama prikosnusia netlennomu
Tvoyemu telu Hi kiya pesni vospoyu tvoyemu ishodu,
Thou, Who clothest Thyself with light
as with a garment, wast taken down from the tree by Joseph,
with Nicodemus; and as he gazed upon Thee dead, naked,
and unburied, he wept in tenderhearted compassion and
lamented, saying: "Woe is me, my sweetest Jesus! A short while ago, the sun beheld Thee
hanging on the cross, and it hid itself in darkness, and the earth quaked in fear at the sight, and the veil of the Temple was torn in two; lo, now I see Thee
voluntarily endure death for my sake. How shall I bury Thee, O my God Or with what linen shroud shall I wrap Thee With what hands shall I touch
Thy pure body Or what songs shall I sing for Thy exodus,
0 merciful One
Velichayu strasti Tvoya, pesnoslovliu i pogrebeniye Tvoye so voskreseniyem, zovi'y: 'Gospodi, slava Tebe!' "
Lord, I call upon Thee, Hear Me
(with Sticheron for the Nativity of Christ) (Anonymous demestvenny polyphony, 16th century)
Ghospodi, vozzvah k Tebe, uslishi mia... Da ispravitsia molitva moya,
yako kadilo pred Toboyu, vozdeyaniye ruku moyeyu,
zhertva vecherniaya.
Ghospodu lisusu rozhdshusia ot
SviatTya Desvi,
prosvetishasia vsiacheskaya: pastTrem bo sviriayushchim, i volhvom poklaniayushchimsia, angelom vospevayushchim, Irod miatiashesia, Yako Bog vo ploti yavisia, Spas dush nashih.
Anaphora (Eucharistic Canon) (Anonymous demestvenny polyphony, 16th century)
Milost mira, zhertvu hvaleniya!
I so duhom tvoim...
ImamT ko Ghospodu.
Dostoyno i pravedno yest' poklaniatisia Otsu,
i STnu, i Sviatomu Duhu, Troistse yedinosushchney i nerazdel'ney.
Sviat, Sviat, Sviat, Ghospod' Savaof! Ispoln'
nebo i zemlia slavi Tvoyeva! Osanna vvTshnih! Blagosloven
griadTy vo imia Ghospodne! Osanna vvTshnih! Tebe poyem, Tebe blagoslovim,
Tebe blagodarim, Ghospodi, i molimtisia, Bozhe nash.
I extol Thy Passion!
In song I glorify Thy Burial and Thy
Resurrection, crying:
'0 Lord, glory to Thee!' "
Lord, I call to Thee, hear me... Let my prayer arise in Thy sight
as incense, and let the lifting up of my hands be an
evening sacrifice.
When the Lord Jesus was born of the
Holy Virgin,
all creation was enlightened: the shepherds abided in the fields, the Magi worshipped, the Angels sang their praises; while Herod was troubled, for God had appeared in the flesh, the Savior of our souls.
A mercy of peace, a sacrifice of praise!
And with thy spirit...
We lift them up to the Lord.
It is meet and right to worship the Father,
and the Son, and the Holy Spirit, the Trinity one in essense and undivided.
Holy, Holy, Holy, Lord of Sabaoth! Heaven and earth are filled with Thy glory!
Hosanna in the highest! Blessed is he that comes in the name of the Lord!
Hosanna in the highest!
We hymn Thee, we bless Thee, we give thanks unto Thee, O Lord,
and we pray unto Thee, O our God.
Hymn to the Mother of God
(Anonymous demestvenny polyphony, 16th century)
Dostoyno yest', yako voistinu, blazhiti Tia,
Bogoroditsu, prisnoblazhennuyu i preneporochnuyu,
i Mater' Boga nashego. Chestneyshuyu heruvim i
slavneyshuyu bez sravneniya
bez istleniya Boga Slova rozhdshuyu, sushchuyu Bogoroditsu,
Tia velichayem.
We Praise Thee, O God
(Te Deum laudamus) (Dmitry Bortniansky)
Tebe Boga hvalim, Tebe Gospoda ispoveduyem. Tebe prevechnago Ottsa vsia zemlia velichayet. Tebe vsi angeli, Tebe nebesa
i vsia sili,
Tebe heruvimi i serafimT neprestannimi glasT vz'fvayut: "Sviat, sviat, sviat, Gospod' Bog Savaof, poln'i sut' nebesa i zemlia velichestva slavT Tvoyeya!" Tebe preslavniy apostolskiy lik, Tebe prorocheskoye hvalebnoye chislo, Tebe hvalit presvetloye mucheniseskoye
voinstvo. Tebe po vsey vselenney ispoveduyet sviataya
Ottsa nepostizhimago velichestva, poklaniayemago Tvoyego istinnago
i yedinorodnago STna, i Sviatago Uteshitelia Duha. Ti Tsariu slavT, Hriste, Ti Ottsa prisnosushchniy Sin yesi; Ti, ko izbavleniyu priyemlia cheloveka, ne vozgnushalsia yesi devicheskago chreva. TT odolev smerti zhalo, otverzl yesi veruyushchim Tsarstvo
nebesnoye. Ti odesnuyu Boga sedishT
vo slave otchey, sudiya priiti
It is truly fitting to call thee blessed,
0 Mother of God, ever-blessed and most pure,
and Mother of our God. More honorable than the Cherubim and
incomparably more glorious than
the Seraphim,
without corruption thou gavest birth to God, the Word; true Mother of God,
we magnify thee.
We praise Thee, 0 God,
we confess Thee to be the Lord.
All the earth worships Thee,
the Father everlasting.
To Thee all Angels, the Heavens,
and the Powers, the Cherubim and Seraphim, cry out with unceasing voices: "Holy, Holy, Holy, Lord God of Hosts, Heaven and earth are full of the majesty of Thy glory!" The glorious choir of the Apostles, the noble fellowship of the Prophets, and the white-robed army of the Martyrs
praise Thee, the Holy Church throughout the world
confesses Thee: O Father of infinite majesty, Thine praiseworthy, true,
and only-begotten Son, and the Holy Spirit, the Comforter. Thou art the King of Glory, O Christ; Thou art the everlasting Son of the Father; When Thou didst come to deliver man, Thou didst not disdain the Virgin's womb. Having overcome the sting of death, Thou didst open to believers the
Kingdom of Heaven. Thou sittest at the right hand of God
in the glory of the Father. We believe that Thou shalt come to be
our judge.
Tebe ubo prosim: "Pomozi rabom Tvoim, ihzhe chestnoyu kroviyu
iskupil yesi.
Spodobi so sviat'imi Tvoimi v vechnoy slave Tvoyey tsarstvovati."
Spasi liudi Tvoya, Gospodi,
i blagoslovi dostoyaniye Tvoye,
ispravi ya i voznesi ih vo veki;
vo vsia dni blagoslovim Tebe
i vos'hvalim imia Tvoye vo vek i v vek veka.
Spodobi, Gospodi v den sey bez greha
sohranitisia nam.
Pomiluy nas, Gospodi, pomiluy nas; budi milost' Tvoya, Gospodi, na nas, yakozhe upovahom na Tia; na Tia, Gospodi, upovahom, da ne posffdimsia vo veki. Amin.
We therefore beseech Thee: "help Thy servants, whom Thou hast redeemed with
Thy precious Blood.
Count them worthy to reign with Thy saints in Thine everlasting glory."
O Lord, save Thy people,
and bless Thine inheritance.
Govern them and exalt them forever.
Every day we shall bless Thee
and praise Thy name for ever and ever.
Count us worthy, 0 Lord, of passing this day
without sin.
Have mercy on us, 0 Lord, have mercy on us. Let Thy mercy, 0 Lord, be upon us, as we have placed out hope in Thee. In Thee, 0 Lord, have we trusted: let us not be confounded for eternity. Amen.
Bless the Lord, O My Soul (Introductory
Psalm at Vespers, Psalm 103 [104]) (Sergei Rachmaninoff)
Blagoslovi, dushe moya, Ghospoda,
blagosloven yesi, Ghospodi.
Ghospodi Bozhe moy, vozvelichilsia yesi zelo.
Blagosloven yesi, Ghospodi.
vo ispovedaniye i v velelepotu obleklsia yesi.
Blagosloven yesi, Ghospodi.
Na gorah stanut vodT.
Divna dela Tvoya, Ghospodi.
Posrede gor proydut vodT.
Divna dela tvoya, Ghospodi.
Fsia premudrostiyu sotvoril yesi.
Slava Ti, Ghospodi, sotvorivshemu fsia!
Lord, Now Lettest Thou Thy Servant Depart
Nine otpushchayeshT
raba Tvoyego, VladTko,
po glagolu Tvoyemu s mirom,
yako videsta ochi moi spaseniye Tvoye,
yezhe yesi ugotoval
pred litsem vseh liudey,
svet vo otkroveniye yazikov,
i slavu liudey Tvoih Izrailia.
Bless the Lord, 0 my soul,
blessed art Thou, O Lord.
0 Lord my God, Thou art very great.
Blessed art Thou, 0 Lord.
Thou art clothed with honor and majesty.
Blessed art Thou, O Lord.
The waters stand upon the mountains.
Marvelous are Thy works, 0 Lord.
The waters flow between the hills.
Glorious are Thy works, O Lord!
In wisdom hast Thou made all things!
Glory to Thee, 0 Lord, who hast created all!
Lord, now lettest Thou Thy servant
depart in peace, according to Thy word,
for mine eyes have seen Thy salvation,
which Thou hast prepared
before the face of all people--
a light to enlighten
the Gentiles,
and the glory of Thy people Israel.
The Augmented Litany
(Alexandre Gretchaninoff) Solo by Deacon Oleg Kovalev
Diakon: Rstem vsi ot vseya dushT,
i ot vsego pomTshleniya nashego rtsem. Lik: Ghospodi, pomiluy. Diakon: Ghospodi VsederzhTteliu, Bozhe otets
nashTh, molim ti sia, usITshT i pomiluy. Lik: Ghospodi, pomiluy. Diakon: Pomiluy nas, Bozhe, po velitsey
milosti Tvoyey, molim ti sia,
usITshT i pomiluy. Lik: Ghospodi, pomiluy, Ghospodi pomiluy,
Ghospodi, pomiluy. Diakon: Yeshche molimsia o velikih vselenskih
patriarseh i yepiskopeh, i vsey vo Hriste
bratii nashey. Lik: Ghospodi, pomiluy, Ghospodi pomiluy,
Ghospodi, pomiluy. Diakon: Yeshche molimsia o Bogohranimoy
deszhave Rossiyskoy i o spasenii
yeya. Lik: Ghospodi, pomiluy, Ghospodi pomiluy,
Ghospodi, pomiluy. Diakon: Yeshche molimsia o blazhenmh i
prisnopamiatnTh sozdateleh sviatago
hrama sego, i o vseh prezhdepochivshih
otseh i bratiyah, zde lezhashchih i
povsiudu, pravoslavnih. Lik: Ghospodi, pomiluy, Ghospodi pomiluy,
Ghospodi, pomiluy. Diakon: Yeshche molimsia o milosti, zhi'zni,
mire, zdravii, spasenii, proshchenii
i ostavlenii grehov rabov BozhTih, bratii
sviatago hrama sego. Lik: Ghospodi, pomiluy, Ghospodi pomiluy,
Ghospodi, pomiluy. Diakon: Yeshche molimsia o plodonosiashchih
i dobrodeyushchih vo sviatem i
vsechestnem hrame sem,
truzhdayushchihsia, poyushchih i
predstoyashchih liudeh, ozhTdayushchih
ot Tebe velikiya i bogatTya milosti. Lik: Ghospodi, pomiluy, Ghospodi pomiluy,
Ghospodi, pomiluy.
Deacon: Let us say with all our soul, and with all our mind, let us say.
Choir: Lord, have mercy.
Deacon: Lord, Almighty, God of our fathers, we pray Thee, hearken and have mercy.
Choir: Lord, have mercy.
Deacon: Have mercy on us, 0 God, according to Thy great mercy, we pray Thee, hearken and have mercy.
Choir: Lord, have mercy, Lord have mercy, Lord, have mercy.
Deacon: Furthermore, we pray for the honorable Orthodox patriarchs and bishops, and for all our brethren in Christ.
Choir: Lord, have mercy, Lord, have mercy, Lord, have mercy.
Deacon: Furthermore, we pray for the God-protected Russian land and for its salvation.
Choir: Lord, have mercy, Lord, have mercy, Lord, have mercy.
Deacon: Furthermore, we pray for the blessed and ever-memorable founders of this holy temple, and for all our fathers and brethren, the Orthodox departed, who lie here and throughout the world.
Choir: Lord, have mercy, Lord, have mercy, Lord, have mercy.
Deacon: Furthermore, we pray for mercy, life, peace, health, salvation, pardon and remission of sins of the servants of God, the brethren of this holy temple.
Choir: Lord, have mercy, Lord, have mercy, Lord, have mercy.
Deacon: Furthermore, we pray for those who hear fruit and do good works in this holy and all-honorable temple, for those who labor, for those who sing, and for all the people here present, who await Thy great and rich mercy.
Choir: Lord, have mercy, Lord, have mercy, Lord, have mercy.
Before Thy Cross We Bow Down
(Peter Goncharov)
Krestu Tvoyemu poklaniayemsia,
VladTko, i sviatoye voskreseniye Tvoye slavim.
Songs of Old Russia
Legend of the Twelve Brigands
Pripev: Gospodu Bogu pomolimsia, drevniuyu b'rt' vozvestim, tak v Solofkah nam rasskazi'val inok chestnoy Pitirim.
ZhTIo dvenadtsat' razboinikov, zhVI Kudeyar ataman, mnogo razboyniki prolili krovi chestnTh Hristian.
Mnogo bogatstva nagrabili, zhTIi v dremuchem lesu. Vozhd' Kudeyar iz pod Kieva vikral devitsu-krasu.
Dniom s poliubovnitsey teshilsia, nochyu nabegi tvoril. Vdrug u razboynika liutovo sovest' Gospod' probudil.
Brosil svoih on tovarishchey, brosil nabegi tvorit'. Sam Kudeyar v monastTr' ushol Bogu i liudiam sluzhit'.
Zakliuchitel'n'fy pripev: Gospodu Bogu pomolimsia, drevniuyu b'lV vozvestim, tak v Solofkah nam rasskazival sam Kudeyar-Pitirim.
Before Thy Cross we bow down in veneration,
0 our Master, and Thy holy Resurrection we glorify.
Refrain: Let us pray to the Lord God,
let us tell an ancient tale,
which was told to us in the Solovki Monastery
by the venerable monk Pitirim.
There once lived twelve robbers, and Kudeyar was their chieftain. Much blood did the robbers spill of honest Christian folk.
They hoarded many riches, living in the dense forest. Chief Kudear stole for himself a beautiful bride from near Kiev.
By day he played with his mistress, by night he carried out raids. But one day, suddenly, the Lord God awakened the fierce brigand's conscience.
He left his comrades,
he stopped his raids.
Kudeyar himself went to a monastery
there to serve God and his fellow man.
Final refrain:
Let us pray to the Lord God,
let us tell an ancient tale,
which was told to us in the Solovki Monastery
by Kudeyar-Pitirim himself.
Song of the Noble Regiment
Brat'ya! Fse v odno molen'ye DushT russkiye sol'yom: Nine den' pominoven'ya PavshTh f pole boyevom.
No ne vzdohami pechali Pamiat' pafshTh mi pochtim: Na netlenniye skrizhali Imena ih nachertim.
Vot kakim deyepisan'yem Tsar'-Otets nam povelel Sohraniat' vospominan'ya Pravoslavni'h ratnTh del.
Vot netlenniye uroki. Brat'ya, mT-l' ih ne poymiom, K etim strokam nov'i stroki Mi ne fse-li prinesiom.
The Coach-Bell Clangs Monotonously
Odnozvuchno gremit kolokol'chik, i doroga pilitsa slegka, i undo po rovnomu poliu razlivayetsa pesn' yamshchika.
Stol'ko grusti f toy pesne unTloy, stol'ko chustva v napeve rodnom, shto v grudi moyey hiadnoy ostTloy razgorelosia sertse ogniom.
I pripomnil ya nochi inTya i rodniya polia i lesa, i na ochi, davno uzh suhiya nabezhala, kak iskra, sleza.
Odnozvuchno gremit kolokol'chik, iz dali otdavayas' slegka, i zamolk moy yamshchik, a doroga predo mnoy daleka, daleka.
Brothers, let us unite our Russian souls
into a single prayer,
and pay homage today
to those who fell on the field of battle.
Yet, not with sighs of sadness we shall honor the memory of the fallen: rather, let us carve their names upon eternal tablets.
Such is the gesture by which
our Father the Tsar desires
that we should preserve the memory
of the mighty deeds of the righteous.
An everlasting lesson!
If we do not understand it, brothers,
never shall we ourselves be able
to add to these lines the tales of our own deeds.
The coach-bell clangs monotonously, and a little dust rises from the road. Sadly over the plain the song of the coachman is heard.
So much sadness is in his unhappy song, so much feeling is in this well-known melody that in my coarsened and cold breast my heart comes alive, rekindled.
I recall memories of different nights, and my dear plains and the forests. And from my eyes, dry for so long a time, like a spark, a tear springs forth.
The coach-bell clangs monotonously, it can scarcely be heard in the distance. And my coachman has grown silent, but the road before me is long, oh, so long!
Snow, It's Time for You to Melt
(Cossack Song)
Polno vam, snezhochki, na taloy zemle
lezhat', Polno vam, kazachen'ki, gore
Polno vam, kazachen'ki, gore
gorevat'! Ostavim tosku-pechal' v tiomnom vo lesu.
Ostavim tosku-pechal' v tiomnom vo lesu. Budem privikat' k aziatskoy storone.
Budem privikat' k aziatskoy storone. Yest' u nas, kazachen'ki, krupa i muka.
Yest' u nas, kazachen'ki, krupa i muka. Kashits! navarim, miagkih hlebov napechom.
Kashitsi navarim, miagkih hlebov
napechom. Slozhimsia po denezhke, poshliom za
Slozhimsia po denezhke, poshliom za
vinom. Vi'p'yem mi' po riumochke, pozavtrakayem.
Vip'yem mT po riumochke, pozavtrakayem. VTp'yem po drugoy, razgovor zavediom.
Vip'yem po drugoy, razgovor
zavediom. Vip'yem ml po tret'yey, s goria pesniu
Vip'yem mi' po tret'yey, s goria pesniu
zapoyom. MT poyom, poyom pro kazhach'yo zhit'yo.
Mi poyom, poyom pro kazhachye zhit'yo. Kazachye zhit'yo pravo luchshe vsevo.
Kazachye zhit'yo pravo luchshe vsevo. U kazaka doma chorna burochka.
U kazaka doma chorna burochka. Zhena molodaya fsio vintovochka.
Snow, it's time for you to melt on the frozen
ground! Cossacks, it's time for you to stop your
Cossacks, it's time for you to stop your
sorrowing! Let us leave our sadness in the dark forest.
Let us leave our sadness in the dark forest, let us get accustomed to this Asian country.
Let us get accustomed to this Asian country. For we, Cossacks, have oats and flour.
We, Cossacks, have oats and flour; Let us make porridge and bake some white bread.
Let us make porridge and bake some white
bread. Let's pool our money together and buy some
Let's pool our money together and buy some
wine. Let's drink a round and have some breakfast.
Let's drink a round and have some breakfast. Let us drink another and our conversations will flow freely.
Let us drink another and our conversations
will flow freely. Let's drink a third one, and strike up a sad
Let's drink a third one, and strike up a sad
song. We'll sing, sing of the Cossack's life.
We'll sing, sing of the Cossack's life. The Cossack's life is truly the best!
The Cossack's life is truly the best!
At home the Cossack has a black horse.
At home the Cossack has a black horse, and a young wife, who is sleek as a gun.
Zhena molodaya fsio vintovochka. Otpusti, polkovnik, na vintovku pogliadet'.
Otpusti, polkovnik, na vintovku pogliadet'. Shtob moya vintovka chisto smazana bTla.
Shtob moya vintovka chisto smazana bila. Vdariat po trevoge shtob zariazhena bTla.
Vdariat po trevoge shtob zariazhena
bTla. VernTy moy tovarishch kon' goriachiy
Verni'y moy tovarishch kon' goriachiy
voronoy. S pesney razudaloy mT poydiom na smertn'iy
S pesney razudaloy mT poydiom na smertmy
boy. Sluzhba nasha, sluzhba chuzhedal'nia
Sluzhba nasha, sluzhba chuzhedal'nia
storona. Buynaya golovushka kazatskaya sud'ba.
A young wife, who is sleek as a gun. Colonel, let me go home to check out my gun.
Colonel, let me go home to check out my gun. May my gun be clean and well-oiled.
May my gun be clean and well-oiled. When the alarm sounds, may it be well-loaded.
When the alarm sounds, may it be well-loaded.
With my faithful friend my ardent black stallion.
With my faithful friend my ardent black
stallion. Singing a bold song, we shall go fight to the
Singing a bold song, we shall go fight to the
death. Our service is destined to be in a faraway
Our service is destined to be in a faraway
land. To be gallant such is the Cossack's fate.
Translations compiled, revised, and edited by Vladimir Morosan
Please note that choir member Alexander Sazonov has replaced Platon Grekovon on this US concert tour.
Open to the Public
Ksenia's Lament:
Women's Voices in the Muscovite Theater and Beyond
Wednesday, October 31, 12:00 noon,
School of Social Work Building, Room 1636,
1080 South University Avenue (Corner of South University
Avenue and East University Avenue)
Led by Claudia Jensen, affiliate faculty of music history, Department of Slavic Languages and Literatures, University of Washington.
A collaboration with the U-M
Center for Russian and Eastern European Studies.

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