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UMS Concert Program, Thursday Nov. 08 To 18: University Musical Society: Fall 2007 - Thursday Nov. 08 To 18 --

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Rights Held By
University Musical Society
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Season: FALL 2007
University Of Michigan, Ann Arbor

university musical society
Fal 07 University of Michigan Ann Arbor 2 Letters from the Presidents 5 Letter from the Chair
UMSLeadership 6 UMS Corporate and Foundation Leaders 14 UMS Board of DirectorsNational Council SenateAdvisory Committee 15 UMS StaffTeacher Advisory Committee
UMSlnfo P17 General Information P19 UMS Tickets
UMSAnnals 21 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 Andres 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
Vice 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
Mai 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 5. Hann Randy J. Harris Walter L Harrison Deborah S. Herbert Norman G. Herbert Toni Hoover Peter N. Heydon Kay Hunt Alice Davis Irani Stuart A. Isaac Gloria James Kerry Thomas E. Kauper David B. Kennedy Thomas C. Kinnear Marvin Krislov F. Bruce Kulp Leo A. Legatski Earl Lewis
Patrick B. Long Helen B. Love Judythe H. Maugh Paul W. McCracken Rebecca McGowan Barbara Meadows Alberto Nacif Shirley C. Neuman Jan Barney Newman Len Niehoff Gilbert S. Omenn Joe E. O'Neal John D. Paul Randall Pittman John Psarouthakis Rossi Ray-Taylor John W. Reed Richard H. Rogel Prudence L. Rosenthal Judy Dow Rumelhart Maya Savarino
Ann Schriber Erik H. Serr Harold T. Shapiro George I. Shirley John 0. Simpson Herbert Sloan Timothy P. Slottow Carol Shalita Smokier Jorge A. Solis Peter Sparling Lois U. Stegeman Edward D. Surovell James L. Telfer Susan B. Ullrich Eileen Lappin Weiser B. Joseph White Marina v.N. Whitman Clayton E. Wilhite Iva M. Wilson Karen Wolff
Andrea Smith, Chair Phyllis Herzig, Vice Chair Alice Hart, Secretary Betty Byrne, Treasurer Meg Kennedy Shaw, Past Chair
Randa Ajlouny MariAnn Apley Lorie Arbour Barbara Bach Rula Kort Bawardi Poage Baxter Nishta Bhatia Luciana Borbely
Mary Breakey Mary Brown Heather Byrne Janet Callaway Laura Caplan Cheryl Clarkson Wendy Comstock Jean Connell Phelps Connell Norma Davis Mary Dempsey Mary Ann Faeth Michaelene Farrell Sara Fink Susan Fisher
Kathy Goldberg Joe Grimley Susan Gutow Lynn Hamilton Charlene Hancock Raphael Juarez Jen Kelch Jean Kluge Pam Krogness Julaine LeDuc Mary LeDuc Joan Levitsky Eleanor Lord Judy Mac Jane Maehr
Joanna McNamara Jeanne Merlanti Liz Messiter Kay Ness Sarah Nicoli Thomas Ogar Betty Palms Allison Poggi Lisa Psarouthakis Paula Rand Wendy Moy Ransom Stephen Rosoff Swanna Saltiel Agnes Moy Sarns Jamie Saville
Penny Schreiber Bev Seiford Alida Silverman Loretta Skewes Nancy Stanley Karen Stutz Eileen Thacker Janet Torno Amanda Uhle Dody Viola Enid Wasserman Amy Weaver Ellen Woodman Mary Kate Zelenock
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 Kirkland Rosalie Koenig Sue Kohfeldt Laura Machida Janet Mattke Jamie McDowell Jose Mejia Eunice Moore Michelle Peet
Anne Perigo Cathy Reischl Jessica Rizor Tracy Rosewarne Sandra Smith Julie Taylor Cayla Tchalo Dan Tolly Barbara Wallgren Jont 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 visit
Refreshments are available in the lobby during intermissions at events in the Power Center, in the lower lobby of Hill Auditorium (beginning 75 minutes prior to concerts--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 until seated by ushers. Most lobbies have been outfitted with monitors andor speakers so that latecomers will not miss the performance.
The late-seating break is determined by the artist and will generally occur during a suitable repertory break in the program (e.g., after the first entire piece, not after individual movements of classical works). There may be occasions where latecomers are not seated until intermis?sion, as determined by the artist. UMS makes every effort to alert patrons in advance when we know that there will be no late seating.
UMS tries to work with the artists to allow a flexible late-seating policy for family perform?ances.
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.
In Person:
League Ticket Office
911 North University Ave.
Mon-Fri: 9am-5pm
Sat: 10am-1pm
By Phone:
Outside the 734 area code, call toll-free 800.221.1229
By Internet:
By Fax: 734.647.1171
By Mail:
UMS Ticket Office Burton Memorial Tower 881 North University Ave. Ann Arbor, Ml 48109-1011
On-site ticket offices at performance venues open 90 minutes before each performance and remain open through intermission of most events.
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?ing series of world-class artists, who represent the diverse spectrum of today's vigorous and exciting live performing arts world. Over its 128 years, strong leadership coupled with a devoted community has placed UMS in a league of internationally recognized performing arts pre?senters. Today, the UMS seasonal program is a reflection of a thoughtful respect for this rich and varied history, balanced by a commitment to dynamic and creative visions of where the performing arts will take us in this new millen?nium. Every day UMS seeks to cultivate, nurture, and stimulate public interest and participation in every facet of the live arts.
UMS grew from a group of local university and townspeople who gathered together for the study of Handel's Messiah. Led by Professor Henry Simmons Frieze and conducted by Professor Calvin Cady, the group assumed the name The Choral Union. Their first perform?ance of Handel's Messiah was in December of 1879 and this glorious oratorio has since been performed by the UMS Choral Union annually. As a great number of Choral Union mem?bers also belonged to the University, the University Musical Society was established in December 1880. UMS included the Choral Union and University Orchestra, and through?out the year presented a series of concerts fea?turing local and visiting artists and ensembles.
Since that first season in 1880, UMS has expanded greatly and now presents the very best from the full spectrum of the performing arts--internationally renowned recitalists and orchestras, dance and chamber ensembles, jazz and world music performers, and opera and theater. Through educational endeavors, 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 2000.
Power Center
The Power Center for the Performing Arts grew out of a realization that the University of Michigan had no adequate proscenium-stage theater for the performing arts. Hill Auditorium was too massive and technically limited for most productions, and the Lydia Mendelssohn Theatre was too small. The Power Center was built to supply this missing link in design and seating capacity.
In 1963, Eugene and Sadye Power, together with their son Philip, wished to make a major gift to the University, and amidst a list of
Jniversity priorities "a new theater" was men-ioned. 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 Crass Harp (based on the novel by Truman Capote), the Power Center achieved he seemingly contradictory combination of providing a soaring interior space with a jnique level of intimacy. Architectural features nclude two large spiral staircases leading from he orchestra level to the balcony and the well-nown mirrored glass panels on the exterior. The lobby of the Power Center presently fea?tures two hand-woven tapestries: Modern Tapestry by Roy Lichtenstein and Volutes (Arabesque) by Pablo Picasso.
The Power Center seats approximately 1,400 people.
Arbor Springs Water Company is generously providing complimentary water to UMS artists backstage at the "ower Center throughout the 0708 season.
ackham Auditorium rifty 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 nome of the Kelsey Museum. When Horace H. Rackham, a Detroit lawyer who believed strongly in the importance of the study of numan 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 'louses Rackham Auditorium, but also to estab-ish 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 architectural sculptor Corrado Parducci,
Rackham Auditorium was quickly recognized as the ideal venue for chamber music. In 1941, UMS presented its first chamber music festival with the Musical Art Quartet of New York per?forming three concerts in as many days, and the current Chamber Arts Series was born in 1963. Chamber music audiences and artists alike appreciate the intimacy, beauty, and fine acoustics of the 1,129-seat auditorium, which has been the location for hundreds of chamber music concerts throughout the years.
St. Francis of Assisi Catholic Church
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
Thursday, November 8 through Sunday, November 18, 2007
Madeleine Peyroux 5
Thursday, November 8, 8:00 pm Hill Auditorium
Zehetmair String Quartet 7
Thursday, November 8, 8:00 pm Rackham Auditorium
Caetano Veloso 11
Friday, November 9, 8:00 pm Hill Auditorium
Yo-YoMa 15
Kathryn Stott
Saturday, November 10, 8:00 pm Hill Auditorium
Los Angeles Guitar Quartet 23
Sunday, November 18, 4:00 pm Rackham 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 SatOrchestra 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 Tue Russian 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 SatYoussou N'Dour and The Super ?toile
9 Sun Leo Kottke and the
Turtle Island String Quartet
Winter 2008
4 FriEmerson 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 5af-Ahmad Jamal
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 777U-SFJAZZ Collective:
A Tribute to Wayne Shorter
14 Fri San 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 FriBrad Mehldau Trio
5 SatChoir 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 Andres Schiff: Beethoven Concert 3
22 Tue Andras Schiff: Beethoven Concert 4
10SafFord Honors Program: Sir James Galway
UMS Educational Events
through Sunday, December 2, 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
Handel's Messiah
PREP with Dr. Jerry Blackstone
Saturday, December 1, 7:00-7:30 pm and Sunday, December 2, 1:00-1:30 pm, Hill Auditorium Mezzanine Lobby
UMS Choral Union conductor Jerry Blackstone will give a pre-performance lecture on the historical and musical background of Handel's Messiah. You must have a ticket to the performance to attend.
Madeleine Peyroux
Vocals and Guitar
Jon Herington, Guitar Jim Beard, Piano Johannes Weidenmueller, Bass Darren Beckett, Drums
Thursday Evening, November 8, 2007 at 8:00 Hill Auditorium Ann Arbor
Tonight's program will be announced from the stage by the artists and will not contain an intermission.
One dollar from each concert ticket purchased for tonight's concert is being generously donated to Ann Arbor's SafeHouse Center, a non?profit organization dedicated to ending domestic violence and sexual assault in Washtenaw County, Michigan.
20th Performance of the 129th Annual Season
The photographing or sound and video recording of this concert or posses?sion of any device for such recording is prohibited.
Media partnership provided by WEMU 89.1 FM, WDET 101.9 FM, and Ann Arbor's 107one.
The Steinway piano used in this evening's concert is made possible by William and Mary Palmer and by Hammell Music, Inc., Livonia, Michigan.
Ms. Peyroux appears by arrangement with Monterey International and American International Artists.
Ms. Peyroux records for Rounder Records -Universal Music. Large print programs are available upon request.
Madeleine Peyroux doesn't simply in?terpret songs, she possesses them.. .and vice versa. Ms. Peyroux is either an old soul or was "born with it" (depending on one's theory about the flashpoint of artistry); this art?istry became apparent in 1996 with the release of her debut album, Dreamland, a remarkably know?ing work in which the then-22-year-old singer brought commensurate insightfulness to material associated with Billie Holiday, Bessie Smith, and Patsy Cline. Her decision to cover Edith Piaf's "La Vie en Rose" reflected the decade that the Geor?gia-born Peyroux had spent living in Paris, from ages 13 to 22. In the 10 years since then, she has brought a wealth of life experience to her natu?ral affinities, first manifested on her sophomore album, Careless Love, and brought to fruition on Ms. Peyroux's latest album, Half the Perfect World. "This record is different from Careless Love in the sense that there's a unison of joy on it," Peyroux says. "It's pushing certain boundaries for me."
Whereas much of her earlier work drew on writers and singers from the first half of the 20th century, the bulk of Half the Perfect World focus?es on artists and writers from the lifetime of the
32-year-old artist, including Leonard Cohen, Tom Waits, Fred Neil, and Joni Mitchell. Ms. Peyroux's knack for choosing the perfect song is again key to the album's emotional impact, but her contin?ued growth as a songwriter is equally important, and the new album's four original tunes more than hold their own, raising the groove quotient in the process. Ms. Peyroux, Larry Klein, and Steely Dan's Walter Becker collaborated to write the al?bum's opening track, the wonderfully catchy "I'm All Right." The album's other original songs re?unite the writing team of Ms. Peyroux, Jesse Har?ris, and Larry Klein (who penned the single "Don't Wait Too Long" on Careless Love). Rounding out the new album are Ms. Peyroux's interpretations of standards from Johnny Mercer, Charlie Chaplin, and Serge Gainsbourg.
"These love songs all come from an ex?tremely personal place," says Ms. Peyroux of her latest repertoire, "and therefore allow me a most intimate reading." Indeed, her vocals bring such insight into both covers and originals that a theme emerges--many of her song interpretations explore romantic relationships from a distinctly female perspective.
Connoisseurs of eloquent, understated delivery now have a core artist in Mad?eleine Peyroux, and while she continues to provide dramatic evidence of her rar?efied power of suggestion, it is also hard to avoid the impression that her current artistry and musical delivery is merely the tip of the iceberg.
Tonight's concert marks Madeleine Peyroux's UMS debut.
Tour Staff
Scott Harder, Tour Manager Richard Erwin, Sound Engineer
Madeleine Peyroux
Zehetmair String Quartet
Thomas Zehetmair, First Violin Kuba Jakowicz, Second Violin Ruth Killius, Viola Ursula Smith, Cello
Wolfgang Amadeus Mozart
Paul Hindemith
Robert Schumann
Thursday Evening, November 8, 2007 at 8:00 Rackham Auditorium Ann Arbor
String Quartet in G Major, K. 156
Tempo di Menuetto
String Quartet No. 4, Op. 22
Fugato. Sehr langsame Viertel Schnelle Achtel. Sehr energisch, Presto Ruhige Viertel. Stets flieSend MaBig schnelle Viertel Rondo. Gemachlich und mit Grazie
First two movements played attacca (without pause) INTERMISSION
String Quartet in a minor. Op. 41, No. 1
Introduzione. Andante espressivo-Allegro
Scherzo. Presto
21st Performance of the 129th Annual Season
45th Annual Chamber Arts Series
The photographing or sound and video recording of this concert or posses?sion of any device for such recording is prohibited.
Media partnership provided by WGTE-91.3 FM and Observer & Eccentric newspapers.
Zehetmair String Quartet appears by arrangement with Mariedi Anders Artists Management.
Large print programs are available upon request.
String Quartet in G Major, K. 156
Wolfgang Amadeus Mozart
Born January 27, 1756 in Salzburg, Austria
Died December 5, 1791 in Vienna
Mozart wrote his first string quartet in 1770, at the age of 14, during his first visit to Italy. Two-and-a-half years later, back in Italy for the third and, as it turned out, last time, he got more ambitious and composed a full set of six quartets. It was custom?ary then to publish string quartets in groups of six (this was Haydn's practice as well), but these early works by Mozart didn't find a publisher and were not printed until the late-19th century.
Unlike the later works which have four move?ments, Mozart's Italian quartets have only three: an opening "Allegro" and a slow movement followed by either a Minuet or a concluding Presto, but never both. At first sight, they would seem rather simple, unproblematic products of the so-called "galant" style (elegant, melodious, and somewhat superfi?cial), yet on closer look it tums out that we had better refine our cliches a bit. The first movement has that unsophisticated perfection that perplexes the analyst who may find little to say about it. But the second movement is a dramatic "Adagio" in the key of e minor which Mozart seldom used. The sud?den alternations between piano and forte, the syn?copated rhythms, and proto-Romantic sigh motives are among the elements that used to be described as Sturm und Drang (storm and stress). The grace?ful third-movement "Minuet" reverts to the sunny world of the galant style, but its trio, or middle sec?tion, introduces another dark moment by revisiting the minor mode (g minor this time).
String Quartet No. 4, Op. 22
Paul Hindemith
Born November 16, 1895 in Hanau,
near Frankfurt am Main, Germany Died December 28, 1963 in Frankfurt
Of all the young modernist composers making head?lines in the years after World War I, Paul Hindemith stood out by his exceptional artistry as a performer. By the age of 20, he was the concertmaster of the Frankfurt Opera; later he toured extensively as the violist of the Amar Quartet. The quartet was found?ed when another ensemble canceled the premiere of Hindemith's String Quartet, Op. 16. The composer quickly recruited his brother Rudolf, a cellist; to?gether with violinists Licco Amar and Walter Casper, they started what would grow into one of the most
prominent quartets of the 1920s and 1930s, and the first to specialize in 20th-century music.
Hindemith's music grew directly from his in?nate Musizierfreude or "joy of music-making," combined with an innovative approach to all musi?cal elements--melody, harmony, and rhythm. The present quartet is a case in point. Its five move?ments traverse an enormous territory in terms of character and technique. The opening slow rugafo took its cue from Beethoven's Op. 131, but its tonal language is entirely new. Its theme contains all 12 tones of the chromatic scale, but it is not 12-tone music in a Schoenbergian sense. The fuga?to has a free rhythmic flow that alternates between 44 and 54 in a rather unpredictable way, but Hin-demith used no time signatures to indicate those changes--a notational detail that cannot be heard when the quartet is played. Or can it Hindemith's notation emphasizes the unbroken continuity of the musical phrases, a quality that should come across in performance--here, throughout the quartet, and in many of Hindemith's other works.
The difference between a fugue and a fugato is that the latter may begin as a fugue but not continue as one. In Hindemith's Op. 22, an agitated, non-imitative middle section develops, after which the fugal opening retums. That agitated material in turn gives rise to the second movement, which fol?lows the first without pause, and is filled with ener?getic ostinatos ("obstinately" repeated rhythmic fig?ures). Here the progress of the music is the opposite of what happened in the first movement; the middle section is slower and more lyrical, with a subsequent recapitulation of the fast music.
The central slow movement is an essay in "bitonality": its beautiful C-Major melody played by the second violin is pitted against C-sharps and F-sharps in the other instruments. Yet these disso?nant sonorities do nothing to weaken the expres?sive power of the movement.
The fourth movement is a virtuoso rhapsody for solo cello, with the other instruments occasion?ally stepping out of their accompanying role and matching the brilliant figures of their featured col?league. After this moment of great excitement, the finale is a leisurely rondo with a graceful, though once again thoroughly chromaticized theme. The tradition of the string quartet, which goes back all the way to Haydn, is acknowledged with affection as it is carried on into a new era.
Hindemith's six string quartets have recently been re-catalogued with the publication of a pre?viously un-numbered early work. As a result, the present quartet, previously known as No. 3, is now listed as No. 4.
String Quartet in a minor. Op. 41, No. 1
Robert Schumann
Born June 8, 1810 in Zwickau, Saxony
Died July 29, 1856 in Endenich, near Bonn
Schumann wrote all three of his string quartets within a space of less than two months in the summer of 1842. This extreme productivity may have been due to a "manic" phase in the manic-depressive disorder from which he suffered; if so, the world owes to that disorder some of the finest string quartets of the Romantic era.
Schumann and his close friend Mendelssohn (to whom these quartets were dedicated) understood the late-Beethoven quartets better than anyone at the time and responded to them in their own works. In Schumann's opening movement, a wide array of key areas are visited, with a broad range of textures and emotions to match; yet Schumann avoided Beethoven's wild tempo fluctuations, and the slow introduction never retums. For Schumann, the string quartet did not involve "going to the edge" or even "over the edge" as it did for Beethoven; it was, rath?er, an exercise in classicism, a tribute and homage to an already venerable genre of chamber music.
Schumann was to return to the main idea of the second-movement scherzo in his short piano piece "The Wild Rider" from his Album for the Youth (1849). Here it is presented in a fuller form and a much more difficult setting. There is also a middle section in a new key, meter and tempo; Schumann called it "In?termezzo" rather than "Trio," to emphasize that this is a brief respite after which the "wild ride" resumes.
As has often been remarked, the third-move?ment "Adagio" (which marks a return to F Major) took its first three notes from the slow movement of Beethoven's Symphony No. 9. Later, however, the melody takes a typically Schumannesque turn; it is played, after the first violin, by the cello, Schu?mann's favorite string instrument. After a central dramatic episode, the expressive melody retums and ends with a gentle coda.
The vigorous "Presto" finale keeps repeating its principal motif--with a characteristic repeated note and subsequent leap--almost maniacally over and over again. Both the first and the second themes are constructed from this materially, which is developed both contrapuntally and with harmon?ic accompaniment. Then, in the final portion of the movement, a sudden slowdown occurs: a new (and quite simple) melody is introduced over a drone and a series of long-held chords are played extremely softly, before the principal motif retums with the final dash to the finish.
Program notes by Peter Laki.
Founded in autumn 1994, the Zehetmair String Quartet embarked upon its first con?cert tour in spring 1998. Their success resulted in re-engagements by all promoters, followed by invitations to the US (2001 and 2003) and Japan (2002) to complement the Quartet's annual Euro?pean tours. In the summer of 2004, the Zehetmair Quartet was a guest at the Edinburgh Festival, the Helsinki Festival, the Schleswig Holstein Musik Fes?tival, and others. In 2005, the Zehetmair Quartet gave their first masterclass in Bern; further master-classes are planned for future seasons. In Spring 2006, a very successful concert tour led the Zehet?mair Quartet throughout Europe with appearances in Vienna, Berlin, Cologne, Zurich, Madrid, Lisbon, and Manchester. This past February they gave con?certs and taught a masterclass in Japan.
Their first CD recording featuring Bartok's String Quartet No. 4 and K. A. Hartmann's String Quartet No. 7 was released in 2000 on the ECM label and was awarded the Quarterly Prize by the Deutsche Schallplattenkritik. Their ECM release of Schumann's String Quartets Nos. 7 and 3 in 2003, won the Gramophone Award ("Record of the Year"), the Diapason d'Or of the Year, the Dutch Edison Classical Music Award 2004, the Belgian Caecilia Award, and the Klara Award for the "Best International Production" of the year. This past spring, the Quartet issued their latest recording, which features Hindemith's String Quartet No. 4 and Bart6k's String Quartet No. 5.
The Zehetmair Quartet rehearses a new pro?gram each year, under a conception that generally envisages rarely performed masterpieces (e.g. by K. A. Hartmann, S. Veress) in combination with pieces associated with the "standard" string quar?tet repertoire.
Tonight's concert marks the Zehetmair String Quartet's UMS debut.
Zehetmair String Quartet
Photo O 2006 by Kth Pittnon
and the
University of Michigan
Health System
Caetano Veloso
Vocals, Nylon and Steel Guitars
Pedro S3, Electric Guitar
Ricardo Dias Gomes, Bass and Rhodes Piano
Marcelo Callado, Drums
Friday Evening, November 9, 2007 at 8:00 Hill Auditorium Ann Arbor
Tonight's program will be announced by the artists from the stage and will not contain an intermission.
Photo: Fernanda Negrini
22nd Performance of the 129th Annual Season
The photographing or sound and video recording of this concert or posses?sion of any device for such recording is prohibited.
This performance is sponsored by the University of Michigan Health System. Special thanks to Robert Kelch, Executive Vice President for Medical Affairs, for his continued and generous support of the University Musical Society.
Media partnership is provided by WEMU 89.1 FM, WDET 101.9 FM, and Metro Times.
Mr. Veloso appears by arrangement with International Music Network. Large print programs are available upon request.
There are too many songs in this world. I have, myself, written a ridiculous amount of them. Usually with a lot of ambition and not much care. I try not to write as many songs anymore. I often think about singing songs that already exist, because singing gives me pleasure. (Not as much as it could, because I don't sing as well as I think one should sing.) However, I have the habit and the need to write songs.
The songs recorded for ce are usually short and were written with the guitarbassdrums (and sometimes keyboards) set-up in mind. I showed the songs to Pedro Si with the arrangement lines already sketched out (sometimes defined) on an acoustic guitar. This is why (but not the only rea?son) they bear similarities to rock songs. I suppose they have the same unrestrained attitude which, at the time of Tropicalismo (and also after), made me show an interest for the dominant mass cul?ture (from the wealthy--and sometimes poor-English-speaking countries) but without submit?ting myself to it or even becoming an expert on that culture. Of course, today, as an old man, I know more than I knew when I was 24. And I am better at doing things. However, if some people think that the rock feel from the '80s with a punk vision is commonplace among bands today and that I haven't avoided making use of it in many moments, they will be right. It is not, however, a rock album like the ones I listen to and that inter?est me: the songs are mine, my voice is still the same, my hair is greyer than it is black, less curly and always shorter than when it was really long-or longer than when I decided to wear it short.
The album ce is the result of many conversa?tions that I had with Pedro S3 during the years that he has been playing in my band (since Noites do Norte). We talked about things we listened to, we listened to some things together, and fi?nally we talked about doing an album that would make a point in the critical discussion about rock. It would be an album by a fictitious band, where sometimes he would sing, sometimes I would sing (as a different character and with my voice elec?tronically altered!). It would be like the Gorillaz. (Actually, I really like the Gorillaz!) I thought about doing this while I recorded the sambas album, in perfect secrecy.
All the songs on ce are played by the same three musicians in concert with me tonight: Pedro SA, Ricardo Dias Gomes, and Marcelo Callado. Be?sides singing, I also play my old acoustic guitar,
plucking the strings (I never managed to play by "hitting" the strings as the whole rock and post-rock generation does), usually nylon strings. We use the same set-up on stage.
I guess ce is my only album, up to now, where all the songs were written just by me.
--Caetano Veloso
Caetano Veloso is among the most influ?ential and beloved artists to emerge from Brazil. Entering the Brazilian musical land?scape in the 1960s, Mr. Veloso has made more than 30 recordings to date and has developed a strong international following.
Born in Santo Amaro, Bahia, in 1942, Caeta?no Veloso began his professional musical career in 1965 in Sao Paulo. His first compositions drew on the bossa novas of Joao Gilberto, but he rapidly began to develop his own distinctive style. Ab?sorbing musical and aesthetic ideas from sources as diverse as The Beatles, concrete poetry, the French Dadaists, and the Brazilian modernist po?ets of the 1920s, Mr. Veloso, together with Gilber-
Caetano Veloso
Photo Fernanda Ncgrini
to Gil, Gal Costa, his sister Maria Bethania, and a number of other poets and intellectuals, founded a movement called Tropicalismo. By experiment?ing with new sounds and words, adding electric guitars to their bands, and utilizing the imagery of modern poetry, Mr. Veloso became a musical revolutionary.
This short-lived movement, founded in 1968, ended abruptly when Mr. Veloso and Mr. Gil were sent into exile to live in London. Now universally credited with redefining what is known as Brazil?ian music, Tropicalismo laid the groundwork for a renaissance of Brazilian popular music both at home and abroad. Mr. Veloso and Mr. Gil returned to Brazil in 1972 and found that their music had remained intact and their audience had continued to grow.
Although Tropicalismo set the tone for Caetano Veloso's career, his music has evolved greatly over the years. Incorporating elements of rock, reggae, fado, tango, samba canao. baiao, and rap--with lyrics containing some of the best poetry in a musical tradition rich in verse--Mr. Ve?loso's music is sometimes traditional, sometimes contemporary, and often hybrid. At once an as?tute social commentator and balladeer of highly emotive love songs, Mr. Veloso is one of the most respected poets in the Portuguese language. In?deed he is one of only a handful of artists who has managed how to be musically modern and still undeniably Brazilian.
Mr. Veloso followed his 1999 Grammy Award-winning Nonesuch release, Into, an album which garnered widespread critical acclaim in the US and brought with it his first-ever US tour, with a sound?track for the Carlos Diegues film Orfeu. In Spring 2001 Nonesuch released Noites do Norte (Nights of the North), a meditation on themes of race, slav?ery, and Brazil's quest for a national identity.
Mr. Veloso's long-awaited memoir, Tropical Truth: A Story of Music and Revolution in Bra?zil, was published by Knopf in Fall 2002 alongside the release of a two-CD set, Live in Bahia, signal?ing a period of unprecedented activity in the US.
Mr. Veloso's first album sung entirely in Eng?lish, A Foreign Sound (released in 2004), was a culmination of his longstanding and multifarious exploration of American music. Surprising and imaginative interpretations of American songs have been a staple of his recent live shows, and they have made occasional appearances on his studio albums over the years. As he explains in his
memoir, he came to some of his favorite American singers and musicians--including Billie Holiday, Ella Fitzgerald, Chet Baker, Miles Davis, and the Modern Jazz Quartet--by tracing the steps of his foremost musical hero, Joao Gilberto.
Caetano Veloso's ce was released by None?such Records in January 2007. The record includes 12 original songs by Mr. Veloso, who recorded them in the springsummer of 2006 with a rock band of younger musicians appearing in tonight's concert: Pedro Sa, Ricardo Dias Gomes, and Marcelo Callado; it was produced by Mr. Sa and Moreno Veloso.
"Pedro Sa and Moreno are my sons--the lat?ter, biologically speaking, and both in the familiar sense of the term," Veloso says. "They are both in their 30s, have a vivid relationship with the routes taken by musical taste in the last decades--as well as making remarkable personal interventions on the direction of these routes. Ricardo Dias Gomes and Marcello Callado are in their 20s. It was Pedro who suggested their names when he heard my themes and my ideas. Our communication was so clear that in a few minutes of rehearsal, the tracks were ready to be recorded. All of them. Not even one got stuck."
This evening's concert marks Caeta?no Veloso's second appearance under UMS auspices. Mr. Veloso made his UMS debut in November 2002 at Michigan Theater as part of his Noites do Norte US tour.
Tonight's concert also marks Pedro Sa's second appearance on the UMS stage.
University Musical Society is grateful to the following donors for their support of tonight's performance:
The Maxine and Stuart Frankel Foundation
Brian and Mary Campbell
Michael Allemang and Janis Bobrin
Mainstreet Ventures
Thomas B. McMullen Company
Sesi Motors
Loretta Skewes and Dody Viola
Pfizer Global Research
and Development
Yo-Yo Ma
Kathryn Stott
Franz Schubert
Dmitri Shostakovich
Astor Piazzolla
Saturday Evening, November 10, 2007 at 8:00 Hill Auditorium Ann Arbor
Sonata in a minor for Arpeggione and Piano, D. 821
Allegro moderato
Sonata for Cello and Piano in d minor. Op. 40
Allegro non troppo
Le Grand Tango
Egberto Gismonti and Geraldo Carneiro, Arr. Gismonti
Cesar Franck, Arr. Jules Delsart
Bodas de Prata and Quatro Canto
Sonata in A Major for Violin and Piano
Allegretto; Moderato Allegro
Recitativo-Fantasia Allegretto poco mosso
23rd Performance of the 129th Annual Season
129th Annual Choral Union Series
The photographing or sound and video recording of this recital or posses?sion of any device for such recording is prohibited.
This performance is sponsored by Pfizer Global Research and Development: Ann Arbor Laboratories. Special thanks to David Canter, Senior Vice President of Pfizer, for his continued and generous support of the University Musical Society.
This performance is supported by the Maxine and Stuart Frankel Foundation, and Brian and Mary Campbell.
Additional support has been provided by Mainstreet Ventures, Sesi Motors, Thomas B. McMullen Company, Michael Allemang and Janis Bobrin, and Loretta Skewes and Dody Viola.
Special thanks to Anthony Elliott, U-M professor of cello, for his participation in tonight's Prelude Dinner.
Media partnership provided by WGTE 91.3 FM and Observer & Eccentric newspapers.
Special thanks to Joseph Gramley and the U-M School of Music, Theatre & Dance for their participation in this residency.
The Steinway piano used in this evening's recital is made possible by William and Mary Palmer and by Hammell Music, Inc., Livonia, Michigan.
Special thanks to Tom Thompson of Tom Thompson Flowers, Ann Arbor, for his generous contribution of floral art for tonight's recital.
Yo-Yo Ma records exclusively for Sony BMG.
Yo-Yo Ma and Ms. Stott appear by arrangement with Opus 3 Artists, New York, NY.
Large print programs are available upon request.
Sonata in a minor for Arpeggione and
Piano, D. 821 (1824) Franz Schubert Born January 31, 1797 in Himmelpfortgrund,
near Vienna, Austria Died November 19, 1828 in Vienna
By all accounts, the arpeggione, a kind of bowed guitar that was held between the knees like a vi?ola da gamba, was not a very felicitous construc?tion as musical instruments go. It was awkward to hold and to play, and its sound was rather small. Yet Schubert wrote one of his most beloved cham?ber works for this instrument, obsolete within 10 years of its first appearance. While it was fully idiomatic for the six-string instrument that Vien?nese luthier Johann Georg Staufer had invented in 1823, the sonata presents great challenges when played on a four-string cello or viola, becoming rather more of a virtuoso vehicle than it was origi?nally intended to be.
Balancing lyrical-expressive and brilliantly athletic moments, this three-movement work is Schubert's most substantial sonata for a stringed in?strument. Due to those contrasting characters, the opening "Allegro" remains utterly unpredictable, even though it adheres to classical sonata form. The brief "Adagio" contains one of Schubert's most beautiful melodies, deeply moving in spite (or may?be because) of its simplicity. The final Rondo, which alternates between the major and minor modes, is relaxed and easy-going, yet with a touch of melan?choly that keeps it from ever becoming trivial.
Sonata for Cello and Piano in d minor. Op. 40(1934)
Dmitri Shostakovich
Born September 25, 1906 in St. Petersburg, Russia
Died August 9, 1975 in Moscow
Shostakovich wrote most of his chamber music for his friends and for himself (he was a prodigiously gifted pianist). The cello sonata was premiered by Shostakovich and cellist Viktor Kubatsky in Lenin?grad, on December 25, 1934.
This sonata is a deeply ambivalent work. In it, Shostakovich cultivated an art form that came from another time and place and didn't always fit in easily with the realities of modern life. At the same time, the composer believed passionately in that art form. The result is a great sonata, but also
a sometimes wry and sometimes nostalgic com?mentary on one.
In the effusively lyrical first movement, the second theme could almost be sung to the words of a 19th-century romans (romance). But the clas?sical sonata form is maintained only up to a point: we wait in vain for the recapitulation, and when it finally comes, the opening theme is played at half its original tempo with a "frozen" accompani?ment and there the movement ends. What is this if not a painful admission that sonata form (and the world) is no longer what it used to be
Yet life has to go on, and a bright moment arrives with a Scherzo a la valse, a sparkling move?ment that anticipates the second movement of Shostakovich's Symphony No. 5. And similarly to what will happen there, merriment is only a short step away from gloom: a dark "Largo" follows with an expressive melody subjected to many chromatic key shifts and finally exploding in a for?tissimo climax--only to fall back into the muted sadness of the beginning.
The final word belongs to a light-hearted dance movement in rondo form. As a final sur?prise, the piano part, which until now has been of only moderate technical difficulty, erupts in a frenzied cascade of 16th-note runs, before it re?sumes its accompanying role as the cello brings back the deceptively simple rondo theme "as though nothing has happened."
Le Grand Tango (1981)
Astor Piazzolla
Born March 11, 1921 in Mar del Plata, Argentina
Died July 4, 1992 in Buenos Aires
Astor Piazzolla was the great modern master and innovator of Argentine tango. A musician steeped in the traditional music of his native country who had a picture of Bela Bart6k over his bed, Piazzolla grew up in New York City and later studied compo?sition with Nadia Boulanger in Paris. Returning to Argentina, Piazzolla, a virtuoso player on the ban?doneon (the special Argentine accordion), infused the tango with modern techniques and harmonies that infuriated traditionalists but eventually won him great success both at home and around the world. He introduced the tango into symphonic music in works like his Bandoneon Concerto and the chamber opera Maria de Buenos Aires.
Le Grand Tango was originally written for
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Extraordinary performance takes courage, hard work, dedication, and remarkable talent. Pfizer salutes this season's wonderful performers who inspire us in so many ways.
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Mstislav Rostropovich. In writing a tango for a great instrumentalist who was not a tango musi?cian, Piazzolla produced a fascinating, Janus-faced work, with what Maria Susana Azzi and Simon Collier described in their Piazzolla biography as "intricate juxtapositions of driving rhythms and heart-rending tags of tune."
Bodas de Prata and Quatro Canto (1974)
Egberto Gismonti
Born in Carmo, Brazil in 1947
This selection, which may be heard on Yo-Yo Ma's 2003 album Obrigado Brazil (Thank you, Brazil), takes us straight to a cocktail bar in Rio de Janeiro, where, a glass of caipirinha in hand, we are guar?anteed to forget all our worldly cares. On the CD, Yo-Yo Ma's pianist partner is the composer and "multi-instrumentalist" (as he is often described) Egberto Gismonti, one of Brazil's most popular mu?sicians. Gismonti has an impeccable classical pedi?gree (like Piazzolla, he studied with Boulanger), but he has embraced a wide variety of musical forms and created a unique musical cocktail that is sure to make your head spin. The original composition, Bodas de prata (Silver Anniversary), was here com-
bined with four other songs written in collabora?tion with the poet Geraldo Carneiro (b. 1952), but the transition between them is seamless, as though two great musicians had been improvising over a few melodic and harmonic formulas--and having the time of their lives.
Sonata in A Major for Violin and Piano (1886) Cesar Franck
Born December 10, 1822 in Liege, Belgium Died November 8, 1890 in Paris
For many years, Cesar Franck worked as an organ?ist at Sainte-Clotilde, which was not one of Paris's most prestigious churches. His father had destined him for the career of a traveling piano virtuoso a la Franz Liszt. The dreams, however, did not come true, and Franck had to settle for a less glamorous existence. His first major break did not come until he was 50; in 1872, he was appointed to the Paris Conservatoire as a professor of organ. But even that did not necessarily mean success as a com?poser. His large-scale oratorios and other sacred works failed to make an impression. It was only during the last decade of his life that he wrote the series of masterpieces (including the Violin
Sonata, his Symphony, and the String Quartet) for which he is remembered to this day.
The present Sonata--originally written for violin--was written in 1886, as a wedding present for the great violinist Eugene Ysaye (1858-1931), who like Franck was a native of Liege, Belgium. The first public performance was given by Ysaye and pianist L6ontine Bordes-Pene in Brussels on De?cember 16, 1886, at a concert devoted to Franck's works. The Sonata had an enormous success. The director of the Brussels Conservatoire congratulat?ed the composer with the words: "You have trans?formed chamber music: thanks to you a new vision of the future has been revealed to our eyes."
The director was not exaggerating. Franck's Sonata was also a unique achievement in that it introduced into chamber music certain techniques never previously used in that medium. Inspired by Liszt's symphonic poems, Franck linked the four movements of the Sonata together by a net?work of thematic recurrences. The characters of the themes are sometimes fundamentally trans?formed in this process. Franck also used counter?point more extensively than did most Romantic composers--in part because, as an organ player, he was deeply immersed in the music of J. S. Bach. Moreover, Franck had been touched by the style of Richard Wagner, who had died in 1883 but was still the most controversial modern composer in Europe. In the Sonata in A Major, Franck repeat?edly used a variant of the famous "Tristan" chord. He combined all these influences, however, with a boundless melodic invention all his own.
The Sonata has an unusual movement se?quence. In most sonatas, the longest and weighti?est movement comes at the beginning. In the Franck sonata, this movement stands in second place, preceded by a dreamy "Allegretto ben Moderato." The passionate second movement is in the key of d minor that was often used to de?pict tempestuous emotions. The third movement is a "Recitativo-Fantasia" that, in what was an ex?traordinary move in 1886, entirely dispenses with the idea of a main tonal center. The key changes constantly during two unaccompanied cadenzas, separated by a nostalgic recollection of the first movement's opening melody on the piano. The movement continues with an "aria" that is in turn lyrical and dramatic, with a molto lento e mesto (very slow and sad) ending. Finally, the fourth movement crowns the Sonata with a real tour de force: its initial melody is played by the two in?struments in canon--that is, the melodic lines are
the same, with one instrument starting one mea?sure after the other. The remaining themes come from the third movement, turning the "aria" into a major dramatic outburst. A recapitulation of the canon theme and a short, exuberant coda ends this great sonata.
Program notes by Peter Laki.
The many-faceted career of cellist Yo-Yo Ma is testament to his continual search for new ways to communicate with audiences and to his personal desire for artistic growth and re?newal. Whether performing a new concerto, re?visiting a familiar work from the cello repertoire, coming together with colleagues for chamber music, or exploring musical forms outside of the Western classical tradition, Mr. Ma strives to find connections that stimulate the imagination.
Yo-Yo Ma maintains a balance between his engagements as soloist with orchestras through?out the world and his recital and chamber music activities. He draws inspiration from a wide circle of collaborators, each fueled by the artists' inter?actions. One of Mr. Ma's goals is the exploration of music as a means of communication and as a vehicle for the migrations of ideas, across a range of cultures throughout the world.
Expanding upon this interest, Mr. Ma estab?lished the Silk Road Project to promote the study of
Yo-Yo Ma
Photo: Stephen Danelian
the cultural, artistic, and intellectual traditions along the ancient Silk Road trade route that stretched from the Mediterranean Sea to the Pacific Ocean. By examining the flow of ideas throughout this vast area, the Project seeks to illuminate the heritages of the Silk Road countries and identify the voices that represent these traditions today.
Mr. Ma is an exclusive Sony Classical artist, and his discography of over 75 albums (including more than 15 Grammy Award winners) reflects his wide-ranging interests. In addition to the standard concerto repertoire, Mr. Ma has recorded many of the large body of works that he has commissioned or premiered. He has made several successful re?cordings that defy categorization, including Hush with Bobby McFerrin, Appalachia Waltz and Ap?palachian Journey with Mark O'Connor and Ed?gar Meyer, and two Grammy-winning tributes to the music of Brazil, Obrigado Brazil and Obrigado Brazil--Live in Concert. Mr. Ma's most recent re?cordings include Silk Road Journeys: New Impossi?bilities, with the Silk Road Ensemble; Appassionato; and Paris: La Belle ?poque with pianist Kathryn Sto-tt. He also appears on John Williams's soundtrack for Rob Marshall's film Memoirs of a Geisha. Across the full range of releases Mr. Ma remains one of the best-selling recording artists in the classical field.
Yo-Yo Ma is strongly committed to educa?tional programs that not only bring young audi?ences into contact with music but also allow them to participate in its creation. While touring, he takes time whenever possible to conduct mas-terclasses as well as more informal programs for students--musicians and non-musicians alike.
Yo-Yo Ma was born in 1955 to Chinese par?ents living in Paris. He began to study the cello with his father at age four and soon came with his family to New York, where he spent most of his formative years. Later, his principal teacher was Leonard Rose at The Juilliard School. He sought out a traditional liberal arts education to expand upon his conservatory training, graduating from Harvard University in 1976. He has received nu?merous awards, including the Avery Fisher Prize (1978), the Glenn Gould Prize (1999), the Nation?al Medal of the Arts (2001), the Dan David Prize (2006), and the Sonning Prize (2006). Mr. Ma and his wife have two children. He plays two instru?ments, a 1733 Montagnana cello from Venice and the 1712 Davidoff Stradivarius.
Kathryn Stott is one of Britain's most versa?tile and imaginative musicians. Her curiosi?ty and wide-ranging musical interests have taken her in many different directions, forging a unique career and establishing a rare reputation. A natural collaborator, she is greatly in demand for chamber music alliances, playing with some of the world's leading instrumentalists as well as ap?pearing on major international concert platforms in recitals and concerto performances. She has also directed several distinctive concert series and festivals and has built an extensive and exception?ally varied catalogue of recordings.
Born in Lancashire, she studied at the Yehudi Menuhin School with Vlado Perlemuter and Nadia Boulanger, then at the Royal College of Music in London with Kendall Taylor. In 1978 she attracted critical attention as a prize-winner at the Leeds In?ternational Piano Competition. In addition to her busy career as a performer, she is a professor at the Royal Academy of Music in London and teach?es at Chetham's School of Music in Manchester.
As a concerto soloist she enjoys associations with major orchestras in Britain, the Netherlands, Germany, Italy, Spain, Switzerland, France, Hong Kong, and Australia. She recently toured Japan with the Orpheus Chamber Orchestra. Among her chamber music partnerships, she has long?standing musical relationships with cellists Yo-Yo Ma, Truls Mork, and Christian Poltera; with violin?ist Janine Jansen; and pianist Noriko Ogawa. She has also collaborated with the cellist Natalie Clein and--on the borders of, and beyond, the clas?sical arena--she has developed shared musical interests with the Assad brothers, bandoneonist
Kathryn Stott
Photo: Lorenzo Clooni Massi
Nestor Marconi, double-bassist Edgar Meyer, and the clarinetist Paquito d'Rivera. A close involve?ment with many leading string quartets has led to regular guest appearances with the Belcea, Skampa, and Endellion Quartets, as well as with The Lindsays, in whose farewell concert series she was invited to appear.
Ms. Stott has a special interest in contempo?rary music; concertos by Sir Peter Maxwell Davies and Michael Nyman head the impressive list of major world premieres she has given. Along with Noriko Ogawa, she gave the first performance of Graham Fitkin's Circuit for two pianos and orchestra in Manchester and is recording it on the BIS label.
Her constantly expanding horizons have led her to become a skillful exponent of tango and other Latin dance music, reflected in her collabora?tion with Yo-Yo Ma and leading South-American musicians on the Grammy Award-winning Sony CD Soul of the Tango and its successor Obrigado Brazil. The release of Obrigado Brazil was accompanied by a successful tour of Japan, the US, and Europe.
In the recording studio she has created an eclectic body of work including the complete solo piano music of Faure (Hyperion); concertos by Ka-balevsky and Lennox Berkeley, and solo pieces by Koechlin (Chandos); music by John Foulds and Er-win Schulhoff (BIS); La Habanera featuring music by Ernesto Lecuona (EMI); and a recital of French cello sonatas Paris: La Belle tpoque with Yo-Yo Ma (Sony). Future recording plans include solo music by Smetana and works for cello and piano with Christian Poltera (both Chandos) and the Dvorak Quintet with the Skampa Quartet (Supraphon). Her performance of Mozart's Concerto in d minor, K. 466 at Manchester's Piano 2006 festival was featured as a BBC Music Magazine cover disc.
Ms. Stott has provided the artistic vision behind several major festivals and concert series in the north of England in which she has played a dual role as directorperformer. For Faur? and the French Connection (Manchester, 1995) she was appointed Chevalier dans I'Ordre des Arts et Lettres by the French government. Out of the Shadows featured music by Clara Schumann and Fanny Mendelssohn (Liverpool, 1998); Piano 2000 and Piano 2003 (The Bridgewater Hall, Man?chester) established her reputation as an astute programmer; and in the 0405 season she devised Chopin: the Music and the Legacy for Leeds. Her latest such venture was a weekend mini-festival of five concerts under the title, Paris (Music in the Round, Sheffield, 2006).
Current and future plans include tours of both North and South America and performances in Australia, Hong Kong, and Japan as well as throughout Europe.
She has one daughter, Lucy, and currently resides in Manchester. In her time away from the concert platform and rehearsal studio, Ms. Stott collects black-and-white photographs and studies Italian. One of her most memorable experiences was raising funds for cancer research by walking the Great Wall of China.
Ms. Stott has recently accepted a position on the board of the Nordoff-Robbins Music Therapy fundraising committee.
Tonight's recital marks Yo-Yo Ma's eighth appearance with UMS. He made his Hill Auditorium debut in April 1982 at the 89th Annual Ann Arbor May Festival when he performed the Kabalevsky Cello Concerto with The Phila?delphia Orchestra conducted by Eugene Ormandy. Since that time he has given five solo recitals in Hill Auditorium and performed the Penderecki Cello Concerto No. 2 with the Cracow Philharmonic, Krzysztof Penderecki conducting.
Tonight's recital marks Ms. Stott's third appearance under UMS auspices.
Yo-Yo Ma with Eugene Ormandy backstage at Hill Auditorium during the 1982 May Festival.
and Borders
Los Angeles Guitar Quartet
John Dearman Matthew Greif William Kanengiser Scott Tennant
Sunday Afternoon, November 18, 2007 at 4:00 Rackham Auditorium Ann Arbor
Gioacchino Rossini, Arr. J. Dearman
J. S. Bach, Arr. J. F. Smith
Manuel de Falla, Arr. W. Kanengiser
Overture to Barbiere di Siviglia
Brandenburg Concerto No. 6
Andante ma non troppo
El Amor Brujo
Introducci6n y escena
En la cueva-La noche
Cancibn del amor dolido
El aparecido-Danza del terror
El circulo magico
A media noche
Danza ritual del fuego (Arr. I. Krouse)
Canci6n del fuego fatuo (Arr. S. Tennant)
Danza del juego del amor
Las campanas del amanecer
Baden Powell, An. M. Tardelli
Antonio Carlos Jobim, An. M. Alves
Hermeto Pascoal, An. W. Kanengiser
Heitor Villa-Lobos, An. S. Assad
Paulo Bellinati
Scott Tennant
Simon Jeffes, An. S. Tennant
Scott Tennant
Franz Liszt,
Arr. W. Kanengiser
and J. Minei
Imagens do Brazil Samba Novo
O Morro Nao Tern Vez
De Sabado Pra Dominguinhos
A Lenda do Cabocio
A Furiosa
Celtic Fare
Daya's Spin
Music for a Found Harmonium
The Cat-Cow Reel Hungarian Rhapsody No. 2
24th Performance of the 129th Annual Season
Guitar Series
The photographing or sound and video recording of this concert or posses?sion of any device for such recording is prohibited.
This performance is sponsored by Borders.
Media partnership provided by WDET 101.9 FM, and Ann Arbor's 107one.
Los Angeles Guitar Quartet records for Telarc International and uses Neumann microphones.
Los Angeles Guitar Quartet appears by arrangement with Frank Salomon Associates, New York, NY.
Please visit the Los Angeles Guitar Quartet online at Large print programs are available upon request.
Overture to Barbiere di Siviglia Gioacchino Rossini
Born February 29, 1792 in Pesaro, Italy Died November 13, 1868 in Paris
Rossini's Overture to The Barber of Seville is one of the most popular of his uniformly brilliant opera overtures, and has taken on a life of its own apart from the opera it introduces. The work has be?come a staple of the symphonic repertoire, as well as a frequent soundtrack to cartoons, most no?tably in the classic Bugs Bunny adaptation. It has been arranged for a variety of genres, and a ver?sion for guitar quartet has a natural affinity due to the Andalusian setting of the action. John Dear-man's realization is an excellent example of the rather "democratic" philosophy of arrangement that LAGQ frequently employs. The four mem?bers of the quartet are treated as equal voices, and nearly all prominent melodies are distributed antiphonally within the ensemble.
Brandenburg Concerto No. 6
J.S. Bach
Born March 21, 1685 in Eisenach, Germany
Died July 28, 1750 in Leipzig
Bach's six Brandenburg Concertos, written for the Margrave of Cothen, stand as one of the greatest monuments in the history of music. They explore the potential of the Baroque orchestral concerto, using the concertino-ripieno orchestration, pit?ting small groups of soloists against various tutti groups of instruments. The final concerto of the group is scored exclusively for strings and continuo and is somewhat unusual in that it uses no violin, having the viola carry the highest voice. This lower tessitura makes it especially amenable to a guitar arrangement, and James Smith's version maintains the clean lines of the original. As opposed to the Rossini arrangement, the voices in this setting are arranged in score order, with the four guitarists functioning more like a string quartet than in any other piece on the program. Of particular interest is Bach's masterful use of imitation, especially in the opening "Allegro," where the first two parts chase each other in a lively canon at the eighth note.
El Amor Brujo
Manuel de Falla
Born November 23, 1876 in Cadiz, Spain
Died November 14, 1946 in Alta Gracia
Manuel de Falla was one of the greatest Span?ish composers of the 20th century. Despite the fact that he only wrote one very brief piece for guitar, arrangements of his music have become a staple of the guitarist's repertoire. Some of the most popular are individual movements from his ballet El Amor Brujo, scored originally for full or?chestra and mezzo-soprano. About 20 years ago, I decided to attempt to arrange the entire ballet for four guitars. What is lost in orchestral color is perhaps gained in the authentic gypsy sonority of the guitar, which de Falla in some way was trying to convey in his original.
Set in a gypsy camp, the story deals with Candelas, a beautiful young girl, who is being courted by Carmelo. The spirit of her former lover, a soldier killed in battle, haunts her and the gyp?sies. The piece opens with a strong theme that represents the jealousy of the ghost, and we find ourselves "In the Cave" with a brooding mystery. In "The Song of Sorrowful Love," Candelas sings of the pain of an unattainable Love. The ghost then flies into the cave and the gypsies launch into "The Dance of Terror." Striving to rid them?selves of the apparition, they join hands around the fire and have a seance in the gentle "Magic Circle." They then try to exorcise the ghost in the furious "Ritual Fire Dance" which ends with in?sistent chords as they try to stamp the spirit out into the fire. Magic, it seems, cannot break the spell, as the ghost reappears, and Candelas sings of the fleeting nature of Love in the "Song of the Will o' the Wisp." It is then that she decides to use love instead of sorcery as she persuades her friend Lucia to dance a seductive Tango (in 78 time) to lure the ghost way. At the end of this "Panto?mime," the opening theme of the ghost is just a whisper. This leaves Candelas and Carmelo free to exchange the kiss that will break the spell, as they dance a bulerias in "The Dance of the Game of Love." In the "Finale," Candelas sings to the ghost: "I am the fire in which you are consumed; I am the sea in which you drown!" As the "Bells of Dawn" peal triumphantly, we find that love, not witchcraft, is the most powerful sorcerer.
Imagens do Brazil
In this set of "Images of Brazil," LAGQ pays trib?ute to the rich sonorities and infectious rhythms of Brazil. Inspired by their collaboration during the 0607 season with vocalist Luciana Souza, LAGQ recorded a new CD of Brazilian music for the Te-larc label. Beginning with music of the iconic gui?tar virtuoso Baden Powell, his "Samba Novo" is a reaction against the wave of popularity of the gentler bossa novo style. His music is hard-driv?ing and aggressive, with an extroverted melodic sense. This is followed by a piece by one of the towering figures of Brazilian songwriting, Antonio Carlos Jobim. His "0 Morro Nao Tern Vez" tells of the hopelessness of the people living in the favelas of Rio who get to forget their troubles once a year at Carnaval. Next is a tune by the idiosyncratic jazz musician Hermeto Pascoal, sometimes referred to as the "Frank Zappa of Brazil"; his "De Sabado Pra Dominguinhos" is a fine example of the endless well of melody and surprising harmonic changes that characterize his music. We follow this with a lovely tune by the great Heitor Villa-Lobos, one of Brazil's most celebrated classical composers, and a favorite among guitarists. His "A Lenda do Caboclo" (The Legend of the Native) was origi?nally written for piano and features a gently glid?ing melody interrupted by a bow to the French Impressionist school. The set finishes with "A Furiosa" by the prolific guitaristcomposer Paulo Bellinati, which was written for LAGQ in 1995. It is joyous version of the Maxixe, an antecedent to the samba, and ends with a percussive interlude in imitation of the traditional batucada.
Celtic Fare
LAGQ recently made their Irish and Scottish de?buts and simultaneously were inspired to revisit Scott Tennant's Celtic Fare, first created in one of their world-music excursions for the Sony Classi?cal label. Beginning with a newly composed Irish Air, Tennant was inspired by the memory of the graceful gyrations of a yoga teacher named Daya. This is followed by an arrangement of the popular tune written by Simon Jeffes of the Penguin Cafe Orchestra, the rousing " Music for a Found Harmo?nium." The harmonium is a small laptop keyboard
instrument, frequently used in meditative chant?ing. To round out the set, Tennant composed a lively dance, the "Cat-Cow Reel," which is named after a signature yoga pose of Daya's. As Tennant likes to say, "yoga-celt was born!"
Hungarian Rhapsody No. 2
Franz Liszt
Born October 22, 1811 in Raiding, near Odenburg
Died July 31, 1886 in Bayreuth
Hungarian-born Franz Liszt was a unique "sibling" amidst a formidable "brotherhood" of composer performers (such as Chopin, Paganini, Kreisler, and Rachmaninoff) whose music and peerless vir?tuosity on the piano made him an international superstar of his time.
As was common and (more than likely) ex?pected of a composer such as Liszt, he dove deep?ly into his ethnic roots for those pearls that would make his music truly and unmistakably Hungarian. Bela Bart6k would later praise Liszt and his mu?sic, particularly the Hungarian Rhapsodies, calling them "perfect creations," while at the same time hastily pointing out that the material Liszt was using was essentially Gypsy, and not entirely Hungarian.
The second of Franz Liszt's Hungarian Rhap?sodies is one of his better-known works. It was originally composed in 1847 as a solo piano piece dedicated to the Count Laszl6 Teleky and pub?lished in 1851. An orchestral version followed soon thereafter. Most of his Rhapsodies--including this one--are comprised of two parts: a slower and expressive part which Liszt marks Lassan (lassu) and a final section marked Frisska (friss) which builds up in intensity into a frenzied swirl.
On a contemporary note, the piece has found its way into the television and film media, appearing in such favorites as the Bugs Bunny "Rhapsody Rabbit" episode, and the movie One Hundred Men and a Girl.
Program notes by William Kanengiser.
Recognized as one of America's premiere instrumental ensembles, the Grammy Award-winning Los Angeles Guitar Quartet is one of the most charismatic groups performing today. Popularly known as the LAGQ, these four virtuosi bring a new energy to the con?cert stage with their eclectic programs and dy?namic musical interplay. Their critically acclaimed transcriptions of concert masterworks provide a fresh look at the music of the past, while their interpretations of works from the contemporary and world-music realms continually break new ground. The LAGQ has set new standards for the guitar quartet medium.
The LAGQ has given recitals in many of the world's top halls, including Chicago's Orchestra Hall, London's Wigmore Hall, Tokyo Opera City, and New York's Alice Tully Hall. They have toured extensively in Europe and Asia, where they were featured at the Hong Kong, Singapore, and Ma?nila International Arts Festivals.
The LAGQ's current season includes the re?lease of their fourth CD for Telarc, LAGQ-Brazil. This recording continues to receive raves and
includes performances with singing sensation Luciana Souza, with whom they toured the US, including retums to Spivey Hall and San Francisco Performances, as well as their debut at Carnegie Hall's Zankel Hall. Current season highlights in?clude reengagements in San Francisco, the Chan Centre in Vancouver, the University Musical Soci?ety in Ann Arbor, the Friends of Chamber Music in Portland, Oregon, and a special New Year's Eve celebration at the Tisch Center at the 92nd Street Y. Many of the LAGQ's concerts include extensive residency and outreach activities.
Recent seasons have included performanc?es of the Rodrigo Concerto Andaluz, a work they performed at the composer's official centenary in Spain at the invitation of his daughter. This work formed the centerpiece of a week-long gui?tar celebration that they helped to curate with the Santa Barbara Symphony. In addition to the Rodrigo, the LAGQ looks forward to premiere performances of a new concerto by Brazilian gui?tar legend Sergio Assad and an orchestral work by Cuban-American composer Carlos Rivera be?ginning in 2009. Members of the Quartet also
Los Angeles Guitar Quartet
performed and recorded two works of Osvaldo Golijov with the Atlanta Symphony in Atlanta and at the Ojai and Ravinia Festivals.
The LAGQ's CD Guitar Heroes (Telarc) won the group their first Grammy Award in 2005. It is a heartfelt salute to the great players who have inspired the Quartet. The album has received ac?claim for its unique ability capture the feeling and fervor of diverse musical styles such as jazz, bluegrass, rock, and flamenco. Their first Telarc CD, LAGQ--Latin, features their popular tran?scription of Bizet's Carmen, along with works from Chile, Cuba, and new original works by members of the Quartet. This recording received a 2003 Grammy nomination and the Super Au?dio CD (SACD) version won the award for "Best Made for Surround" at the First Annual Surround Music Awards. The LAGQ's release SPIN (March 2006) shows yet again that the group is equally at home in a wide variety of musical genres and features several commissioned works from their recent collaboration with percussionist Colin Currie. The LAGQ's first live-concert DVD was re?leased by the Mel Bay Artist Series in Fall 2005.
This afternoon's performance marks the Los Angeles Guitar Quartet's second appearance under UMS auspices. They made their UMS debut in April 2006 at Rackham Auditorium.
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-
nities for students and members of the
University community to further appreciate the
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 for 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 Etoile
Jazz at Lincoln Center Orchestra: Love Songs of Duke Ellington
Celebration of the Keyboard
Ahmad Jamal
SFJAZZ Collective: A Tribute to Wayne Shorter
Urban Bush WomenCompagnie Jant-Bi: Les ecailles de la memoires (The scales of memory)
Bobby McFerrin, Chick Corea and Jack Dejohnette
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!
School FundraisersGroup Sales
Raise money for your school and support the arts. UMS offers a wide range of fundraising opportunities and discount programs for schools. It is one of the easiest and most rewarding ways to raise money for schools. For 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
f Ford Motor Company Fund 44ii& 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-
datioiVAIan and Swanna Saltiel CFI Group
Chamber Music America Doris Duke Charitable Foundation DTE Energy Foundation The Esperance Family Foundation JazzNet Endowment Masco Corporation Foundation Michigan Economic
Development Corporation THE MOSAIC FOUNDATION (of
R. & P. Heydon) National Dance Project of the
New England Foundation for
the Arts
National Endowment for the Arts NEA Jazz Masters on Tour Noir Homes, Inc.
Performing Arts Fund Pfizer Global Research and
Development, Ann Arbor
Randall and Mary Pittman ProQuest Company Prudence and Amnon Rosenthal
K-12 Education Endowment
Fund Target
Thomas B. McMullen Company Tisch Investment Advisory UMS Advisory Committee University of Michigan Credit
Union University of Michigan Health
System U-M Office of the Senior Vice
Provost for Academic Affairs U-M Office of the Vice President
for Research
Wallace Endowment Fund Whitney Fund
UMS 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 LMEKBS
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 UMSKS5
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.
Internships and College Work-Study
Internships with UMS provide experience in performing arts administration, marketing, ticket sales, programming, production, and arts education. Semesterand year-long unpaid internships are available in many of UMS's departments. For more information, please call 734.615.1444.
Students working for UMS as part of the College Work-Study program gain valuable experience in all facets of arts management including concert promotion and marketing, ticket sales, fundraising, arts education, arts programming, and production. If you are a University of Michigan student who receives work-study financial aid and are interested in working at UMS, please call 734.615.1444.
Student Advisory Committee
As an independent council drawing on the diverse membership of the University of Michigan community, the UMS Student Advisory Committee works to increase student interest and involvement in the various pro?grams offered by UMS by fostering increased communication between UMS and the student community, promoting awareness and accessi?bility of student programs, and promoting the student value of live performance. For more information or to participate on the Committee, please call 734.615.6590.
Join us for camaraderie, fine cuisine, and musical insights at the Prelude Dinners before these performances. For reservations and information, please call 734.764.84S9
Fri, Sept 28,5:30 pm, Alumni Center Shen Wei Dance Arts
Speaker: Kenneth G. Lieberthal
Sat, Oct 6,5:30 pm, Rackham Building Filarmonica della Scala
Speaker: Martin Katz
Fri, Oct 12,5:30 pm, Hill Auditorium Krystian Zimerman
Speaker: Logan Skelton
Thurs, Oct 25,5:30 pm, Power CenteT 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 Gunmen Johannes String Quartets
Speaker: William Bolcom
Thurs, Feb 14,5:30 pm, Rackham Building Christian Tetzlaff
Speaker: Stephen Shipps
Fri, March 14,5:30 pm, Rackham Building San Francisco Symphony
Speaker; Steven Whiting
Fri, March 21,5:30 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 734.764.8489 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 do 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 Kem
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
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 Cohn 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 Gilman and Dr. Carol Barbour
John and Helen Griffith
Janet Woods Hoobler
Herbert Katz
Shirley Y. and Thomas E. Kauper
Gloria and Bob Kerry
Samuel and Marilyn Krimm
Amy Sheon and Marvin Krislov
Donald J. and Carolyn Dana Lewis
Jeff Mason and Janet Netz
Ernest and Adele McCarus
William C. Parkinson
Richard and Lauren Prager
Jim and Bonnie Reece
John and Dot Reed
Duane and Katie Renken
Barbara A. Anderson and John H. Romani
Corliss and Dr. J.C. Rosenberg
Prudence and Amnon Rosenthal
Dr. Nathaniel H. Rowe
John J. H. Schwarz, MD
Muaiad and Aida Shihadeh
Loretta Skewes
TCF Bank
Jim Toy
Don and Carol Van Curler
Don and Toni Walker
Elise Weisbach
Ronald and Eileen Weiser
Robert O. and Darragh H. Weisman
Roy and JoAn Wetzel
Keith and Karlene Yohn
Anastasios Alexiou
Robert and Katherine 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. Briggs
Barbara Everitt Bryant
Robert and Victoria Buckler
Lawrence and Valerie Bullen
Charles and Joan Burleigh
Letitia J. Byrd
Amy and Jim Byrne
Betty Byrne
Jean W. Campbell
Patricia and Michael Campbell
Bruce and Jean Carlson
Carolyn M. Carty and Thomas H. Haug
Janet and Bill Cassebaum
Anne Chase
Pat and George Chatas
James S. Chen
Leon S. Cohan
Hubert and Ellen Cohen
Lois and Avern Cohn
Cynthia and Jeffrey Colton
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
Yt-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 Jilt 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 Gumn
Helen C. Hall
Jeanne Harrison and Paul Hysen
Sivana Heller
Paul Herstein
Diane S. Hoff
Carolyn B. Houston
Robert M. and Joan F. Howe
John and Patricia Huntington
Eileen and Saul Hymans
Perry Irish
Jean Jacobson
Rebecca Jahn
Wallie and Janet Jeffries
Timothy and Jo Wiese Johnson
Robert L. and Beatrice H. Kahn
Robert and 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 Carofyn and Paul Uchter 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 Polverini 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
Norms and Dick Sams 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 Lima 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 Nili Tannenbaum
Christine W. Alvey
Catherine M. Andrea
Dr. and Mrs. Rudi Ansbacher
Harlene 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 Coiquitt Arnold and Susan Coran
Joan S. Crawford
Peter C. and lindy M. Cubba
John G. and Mary R. Curtis
Roderick and Mary Ann Daane
Robert and Joyce Damschroder
Norma and Peter Davis
Ellwood and Michele Derr
Linda Dintenfass and Ken Wisinski
Cynthia M. Dodd
Robert J. and Kathleen Dolan
Dallas C.Dort
Gavin Eadie and Barbara Murphy
James Eng and Patricia Randle
Stefan and Ruth Fajans
Elty and Harvey Falit
Irene Fast
Margaret and John Faulkner
Sidney and Jean Fine
Carol Finerman
Clare M. Fingerle
Herschel and Adnenne 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 Gasloh
Beverty Gershowitz
Ronald Gibala and Janice Grichor
Paul and Suzanne Gikas
Zita and Wayne Gillis
Amy and Glenn Gottfried
Dr. John and Renee M. Greden
Anna and Robert Greenstone
Ingrid and Sam Gregg
Arthur W. Gulick, MD
Don P. Haefner and
Cynthia J. Stewart Tom Hammond
Martin D and Connie D. Harris Susan Harris Alfred and Therese Hero Herb and Dee Hildebrandt Peter Hinman and Elizabeth Young Sun-Chien and Betty Hsiao Ralph and Del Hulett Ann D. Hungerman Thomas and Kathryn Huntzicker Eugene and Margaret Ingram INV1A Medical Imaging Solutions Stuart and Maureen Isaac Mark S. and Madotyn Kaminski Christopher Kendall and
Susan Schilperoort Rhea K. Kish Paul and Dana Kissner Hermine Roby Klingler Regan Knapp and John Scudder Michael J. Kondziolka and Mathias-
Philippe Florent Badin Dr. and Mrs. Metvyn Korobkin Rebecca and Adam Kozma Barbara and Ronald Kramer Dr. and Mrs. Gerald Krause Jane Laird
Marilyn and Dale Larson John K. Lawrence and
Jeanine A. De Lay Mary Rabaut LeFauve Richard LeSueur Myron and Bobbie Levine Ken and Jane Lieberthal Marilyn and Martin Lindenauer E. Daniel and Kay M. Long Frances Lyman Brigitte and Paul Maassen Pam MacKintosh Nancy and Philip Margolis Susan E. Martin and Randy Walker Olivia Maynard and Olof Karlstrom Margaret E. McCarthy Margaret and Harris McClamroch Dr. Paul W. McCracken Joanna McNamara and Melvm Guyer
James M. Miller and
Rebecca H. Lehto Myrna and Newell Miller Bert and Kathy Moberg Jeanne and Lester Monts Frieda H. Morgenstern Lewis and Kara Morgenstern Elizabeth and Robert Oneal Mark and Susan Orringer Constance and David Osier Marie L Panchuk Zoe and Joe Pearson Jean and Jack Peirce Margaret and Jack Petersen Elaine Piasecki Evelyn Pickard Juliet S. Pierson Wallace and Barbara Prince Anthony L. Reffells and
Elaine A. Bennett 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 Irma J. Sklenar Andrea and William Smith David and Renate Smith Mrs. Gretchen Sopcak Joseph H. Spiegel Andrea and Gus Stager Mr. and Mrs. Gary R. Stahle James and Naomi Starr Lois and Jack Stegeman Virginia and Eric Stein Eric and Ines Storhok Cynthia Straub Ellen and Jeoffrey Stross Brian and Lee Talbot Roger Albin and Nili Tannenbaum Paul and Jane Thielking Fr. Lewis W. Towier 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 Adlcr
Thomas and Joann Adler Family Foundation Helen and David Aminoff Anonymous
Bert and Pat Armstrong
Jack and Jill Arnold
Frank and Nancy Ascione
Penny and Arthur Ashe
AT&T Foundation
Drs. John and Lillian Back
Marian K. Bailey
Bruce Baker and Genie Wolfson
Daniel and Barbara Balbach
John and Ginny Bareham
Frank and Gail Beaver
Prof, and Mrs. Erling Btondal
Rodney and Joan Bentz Dr. Rosemary R. Berardi Sandra L and Stanley Bies llene and William Birge Beverly J. Bole
Amanda and Stephen Borgsdorf Victoria C. Botek and
William M. Edwards Susan Bozell Dr. Robert M. Bradley and Dr.
Charlotte M. Mistretta William R. Brashear Joel Bregman and Elaine Pomeranz Alexander and Constance Bridges Pamela Brown Trudy and Jonathan Bulkley Tony and Jane Burton Heather Byrne Nathan and Laura Caplan 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 Chten 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 Juamta Cox Lloyd and Lots Crabtree Clifford and Laura Craig Merle and Mary Ann Crawford Mary C. Cnchton Connie D'Amato Timothy and Robin Damschroder Sunil and Merial 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 Dutta 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 Fellin James and Flora Ferrara Dr. James F. Filgas David Fink and Marina Mata Dr. Lydia Fischer
Jessica Fogel and Lawrence Weiner 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 Giltrow Joyce L. Ginsberg David and Maureen Ginsburg Irwin Goldstein and Martha Mayo Eszter Gombosi Mitchell and Barbara Goodkm Enid M. Gosling and
Wendy Comstock
Mr. and Mrs. Charles and Janet Goss James W. and Maria J. Gousseff Michael Gowing
Mr. and Mrs. Christopher L Graham Martha and Larry Gray Jeffrey B. Green Daphne and Raymond Grew Mark and Susan Griffin Werner H. Grilk Bob and Jane Grover Robin and Stephen Gruber Anna Grzymala-Busse and
Joshua Berke Ken and Margaret Guire H&R Block Foundation George and Mary Haddad M. Peter and Anne Hagiwara Walt and Charlene Hancock Naomi Gottlieb Harrison and
Theodore Harrison DDS Tricia and Steve Hayes Anne Heacock J. Lawrence and
Jacqueline Stearns Henkel Keith and Marcelle Henley Kathy and Rudi Hentschel James and Ann Marie Hitchcock Mary Ann and Don Hitt Ronald and Ann Holz Robert and Barbara Hooberman Linda Samuelson and Joel Howell Mabelle Hsueh Harry and Ruth Huff Heather Hurlburt and Darius Sivin Robert B. Ingling John H. and Joan L. Jackson Beverly P. Jahn Dr. David and Tina Jahn Mark and Linda Johnson Mary and Kent Johnson Paul and Olga Johnson Jack and Sharon Kalbfleisch Mr. and Mrs. Irving Kao Arthur A. Kaselemas MD Penny Kennedy Roland and Jeanette Kibler Don and Mary Kiel Fred and Sara King Richard and Patricia King James and Jane Kister Dr. David E. and
Heidi Castleman Klein Steve and Shira Klein Anne F. Kloack
Joseph and Marilynn 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 Lachowicz
Kathy and Timothy Laing Neal and Anne Laurance Laurie and Robert LaZebmk David Lebenbom John and Theresa Lee Sue Leong
Mehyn and Joan Levitsky Jacqueline M. Lewis Don and Erica Lindow Michael and Debra Lisull Michael Charles Lin Dr. Daniel Little and
Dr. Bernadette Untz Rod and Robin Little Dr. and Mrs. Lennart H. Lofstrom Julie M. Loftin Naomi E. Lohr Stephanie and Richard Lord Charles R and Judy B. Lucas Martin and Jane Maehr Melvin and Jean Manis Manpower, Inc. of Southeastern
Ken and Lynn Marko W. Harry Marsden Laurie McCauley and Jessy Grizzle Peggy McCracken and
Doug Anderson barn 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 Mial Leo and Sally Miedler Kitty and Bill Moeller Olga Moir Jean Marie Moran and
Stefan V. Chmielewski Patricia and Michael Morgan Mark and Lesley Mozola Roy and Susan Muir Thomas and Hedi Mulford Terence and Patricia Murphy Lisa Murray and Mike Gatti Drs. Louis and Julie Jaffee Nagel Gerry and Joanne Navarre Frederick C. Neidhardt Gayl and Kay Ness Eugene W. Nissen Laura Nitzberg Arthur S. Nusbaum John and Gwen Nystuen Mrs. Elizabeth Ong Kathleen I. Operhall David and Andrea Page William C. Panzer Karen Park and John Beranek Frank and Arlene Pasley Shirley and Ara Paul Donald and Evonne Plantinga Susan Pollans and Alan Levy Bill and Diana Pratt Ann Preuss
Elisabeth and Michael Psarouthakis Maxwell and Marjorie Reade Stephen and Agnes Reading Michael J. Redmond Marme Reid and Family Alice Rhodes Betty Richart Constance Rinehart Riverbend Condominium Jack and Aviva Robinson
Jonathan and Anala Rodgers
Dr. Susan M. Rose
Jean P. Rowan
Bob and Susan Rowe
Rosemarie Rowney
Carol D Rugg and
Richard K Montmorency Michael and Kimm Sarosi Stephen J. and Kim Rosner Sae 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 Shappino 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 Sperling Jim Spevak Jeff Spindler Judy and Paul Spradlin David and Ann Staiger Rick and Lia Stevens James L Stoddard Ellen M Strand and
Dennis C. Regan Barbara and Donald Sugerman Sam and Eva Taylor Steve and Diane Telian Mark and Patricia Tessler Textron
Mary H. Thieme Edwin J. Thomas Nigel and Jane Thompson Claire and Jeremiah Turcotte Alvan and Katharine Uhle Susan B. Ullrich Dr. Samuel C. and Evelyn Ursu Hugo and Karla Vandersypen Mary Vandewiele
Andrea and Douglas Van Houwehng 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 8. 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 THE MOSAIC FOUNDATION (of R. & P.
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. Romar
Lynne A. Aspnes
John U. Bacon
Daniel and Barbara Balbach
Gary Beckman and Karla Taylor
Jack Bilh and Sheryl Hirsch
David and Martha Bloom
Mimi and Ron Bogdasahan
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 Krislov
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 Isabelle Brauer
Barbara Everitt Bryant
Pat and George Chatas
Mr. and Mrs. John Alden Clark
H. Michael and Judith L Endres
Dr. James F. Filgas
Ken and Penny Fischer
Ms. Susan Ruth Fischer
Beverley and Gerson Geltner
Paul and Anne Glendon
John and Martha Hicks
Mr. and Mrs. Richard Ives
Marilyn G. Jeffs
Thomas C. and
Constance M. Kinnear Diane Kirkpatrick Charlotte McGeoch Michael G. McGuire 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 Isabelle 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 Nishta Bhatia
Maurice and Unda Binkow Jerry Blackstone Bloomfield Gourmet Shoppe Blue Nile
Boychoir of Ann Arbor Enoch Brater
Beth BruceThe Carlisle Collection Bob Buckler Jim Bumstein
Patty ButzkeOrbit Hair Design Cafe Zola Cake Nouveau Lou and Janet Callaway Camp Michigania Mary CampbellEveryday Wines Nathan Caplan Casey's Tavern Cass Technical High School Cesar Chavez High School Mignonette Cheng Cherry Republic The Chippewa Club Mark Clague Deb Clancy Coach Me Fit Cole Street Salon & Spa The Common Grill Community High School
Community High School Dance
Program Complete Chiropractic and
Bodywork Therapy Howard CooperHoward Cooper
Import Center Liz 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 Dworkin The Earle 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 end David Featherman Susan Filipiak Ucal F.nley
Susan Fisher and John Waidley Kristin Fontichiaro Frame Factory Fran Coy Salon Sara Frank
Maxine and Stuart Frankel Traianos Gagos Deborah Gabrion Zvi Gitetman 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 Chariene Hancock Lavinia Hart Heather's Place
David W. and Kaihryn Moore Helemak 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 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 Levine Lewis Jewelers Karen Lindenberg Logan An American Restaurant Eleanor Lord Stephanie Lord Martin and Jane Maehr Mariachi Especial de Alma Martha Cook Residence Hall Mary grove College Dance
Chandler and Mary Matthews Marilyn McCormick Zarin Mehta Kate Mendeloff The Metro Cafe MFit Culinary Team MFit Fitness Center Michigan Theater Carla Milarch Miles ol 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 Nicoli Tom OgarMerrill Lynch Opus One Marysia Ostafin Pacific Rim by Kana Paesano's Restaurant
Gilmore Festival 30 Honigman Miller Schwartz and
Cohn LLP 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 Pearsall
Penny Stamps Visiting Distinguished
Visitors Series Performance Network Peter's Palate Pleaser Pierre Paul Art 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 & Games The Quarter Bistro and Tavern ingnd Racine
Paula RandJuliana Collezione Marnie Reid Huda Rosen Steve Rosoff Ellen Rowe Russell S. Bashaw Faux Finish
Studio. LLC Afa Sadykhly Sam's Clothing Store Agnes and David Sarns Jamie Saville and Rusty Fuller Schakolad Chocolate Factory Michael Schoenfeldt
Penny Schreiber
Ruth Scodel
SeloShevel Gallery
Sesi Lincoln Mercury Volvo Mazda
Seva Restaurant
Rabia Shade
Shaman Drum Bookshop
Nelson Shantz Piano Service
Bright Sheng
George Shirley
John Shultz Photography
Susan Sirver-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. Annes Church in Detroit
Bennett Stem
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's
The Nature Conservancy 24
Tisch Investments 42
Totoro Japanese Restaurant 25
United Bank 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 Zingerman's Delicatessen
UMS is proud to be a member of (he 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
d Performing

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