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UMS Concert Program, Saturday Dec. 01 To Jan. 04: University Musical Society: Fall 2007 - Saturday Dec. 01 To Jan. 04 --

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

university musical society
Fall 07 University of Michigan Ann Arbor P2 Letters from the Presidents 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 P21 UMS History P22 UMS Venues and Burton Memorial Tower
UMSExperience 27 UMS Education Programs P33 UMS Student Programs
UMSSupport 37 Corporate Sponsorship and Advertising F 37 Individual Donations P39 UMS Volunteers P41 Annual Fund Support P46 Annual Endowment Support 48 UMS AdvertisersMember Organizations
Cover: Dancer from Cudamani appearing at Hill Auditorium Friday, October 19, 2007. Photo by Jorge Vismara.

Welcome to the 129th season of the University Musical Society (UMS). All of us at the University of Michigan are proud of UMS, the nation's oldest university-related performing arts presenter and one of the most distinguished. This past season's residency with the Royal Shakespeare Company, a US-exclusive engagement arranged by UMS, gave 30,000 people from 39 states and four countries the opportunity to see this remarkable company. I am pleased that 20 percent of the audience were students using specially discounted tickets. Members of the company, when not on the stage at the Power Center, became deeply engaged throughout all of southeast Michigan in some 140 educational events. We look forward to having them back in the future.
Other distinctive features of UMS:
In January, UMS received the inaugural Arts PresentersMetLife Foundation Award for Arts Access in Underserved Communities, a national award recognizing UMS's commitment to serving all communities.
UMS has commissioned more than 50 new works since 1990, demon?strating its commitment to supporting creative artists in all disciplines.
In the past three seasons, 54 percent of UMS presentations featured artists making their UMS debuts, a measure of UMS's commitment to new and emerging artists, and 55 percent featured artists from outside the United States, highlighting UMS's belief that artistic expression can foster greater understanding and appreciation of diverse cultures.
UMS has worked in partnership with more than 50 U-M academic units and more than 150 U-M faculty members during the past three years, in addition to more than 100 community-based partners.
Thank you for attending this UMS performance. Please join us for other UMS events and for performances, exhibitions, and cultural activities offered by our faculty and students in U-M's many outstanding venues. To learn more about arts and culture at Michigan, visit the University's website at
Mary Sue Coleman
President, University of Michigan
Welcome to this UMS performance. I hope you enjoy the experience and will come to other UMS events during our exciting 129th season. You'll find all of our performances listed on page 2 of the program section of this book.
In many organizations, longevity breeds predictability. But at UMS, we strive to surprise, to investigate thought-provoking themes and ideas that emerge from the changing world around us. The 0708 season marks the fourth in our series of global programs focusing on different regions of the world (the Arab World in 0405, Africa in 0506, and Mexico and the Americas last season). This season we invite you to join us as we explore the performing arts through an Asian lens with presentations from Japan, Cambodia, Pakistan, Central Asia, and China. Indeed, this year marks the University of Michigan's China Theme Year, so look for special educational sessions created by UMS and our U-M partners intended to animate and provide context for the six UMS presentations that feature Chinese or Chinese-American artists. Check out our website at for more information.
Other highlights of the 0708 season include:
The launching of a two-year exploration of Beethoven's Piano Sonatas by Andras Schiff, one of the most thoughtful pianists performing today.
The presentation of two exciting international theatrical productions where theater moves beyond the boundaries of stage plays.
Choral music to die for...from the Tallis Scholars, Russian Patriarchate Choir, and Messiah in the first half of the season to the St. Matthew Passion and Choir of King's College Cambridge in the second.
The Ford Honors Program to close the season when we hear Sir James Galway in recital and honor him with the UMS Distinguished Artist Award.
Feel free to get in touch with me if you have any questions, comments, or problems. If you don't see me in the lobby, send me an e-mail message at or call me at 734.647.1174.
Very best wishes,
Kenneth C. Fischer UMS President
It is inspiring and humbling to serve on the Board of UMS, which is widely recognized as one of the world's leading arts presenters. UMS is committed to performance, education, and the creation of new works, and has a 128-year history of excellence in all three areas. Our task at UMS is to advance the arts, to the benefit of the national and international arts communities, the University of Michigan, our local community, and our present and future patrons.
Each of us has an important role to play in this endeavor, whether as an audience member at a performance or an educational activity, a donor, or a volunteer member of the Board, Senate, Advisory Committee, or the new UMS National Council, which is enhancing our visibility around the country. We all are fortunate to have an opportunity to contribute to the special history of UMS.
Arts organizations exist because those who came before us chose to take advantage of the same kind of opportunity. To me, this is exemplified by some?thing that I was once told by a producer before a theatrical performance. He took us into the theater and said that, despite the not insignificant cost of our tickets, we should know there was the equivalent of a $50 bill on every seat-the contribution made by others enabling us to enjoy that presentation.
The same is true for UMS. About half of the cost of what we do comes from ticket sales. The remainder comes from you and your predecessors in this hall. Some sat in the second balcony as students and experienced the transformative power of the arts. Some sat with friends for 30 years in the same section of Hill. And some witnessed children being excited and inspired at a youth performance. All have chosen to leave money on their seats.
When you take your seat, think about what others have done that makes your experience possible. I hope you will be inspired to contribute to the UMS legacy. Consider your opportunity to "leave money on your seat," through both your participation and financial contributions. Be an active part of UMS, and when a member of the next generation arrives, they will be thankful that they got your seat.
Carl W. Herstein
Chair, UMS Board of Directors
James G. Vella
President, Ford Motor Company Fund and Community Services 'Through music and the arts, we are inspired to broaden our horizons, bridge differences among cultures, and set our spirits free. We are proud to support the University Musical Society and acknowledge the important role it plays in our community."
David Canter
Senior Vice President, Pfizer, Inc. "The science of discovering new medicines is a lot like the art of music: to make it all come together, you need a diverse collection of brilliant people. In order to get people with world-class talent you have to offer them a special place to live and work. UMS is one of the things that makes Ann Arbor quite special. In fact, if one were making a list of things that define the quality of life here, UMS would be at or near the very top. Pfizer is honored to be among UMS's patrons."
Robert P. Kelch
Executive Vice President for Medical Affairs, University of Michigan Health System "The arts are an important part of the University of Michigan Health System. Whether it's through perform?ances for patients, families, and visitors sponsored by our Gifts of Art program, or therapies such as harmonica classes for pulmonary patients or music relaxation classes for cancer patients, we've seen firsthand the power of music and performance. That's why we are proud to support the University Musical Society's ongoing effort to bring inspiration and entertainment to our communities."
Douglass R. Fox
President, Ann Arbor Automotive "We at Ann Arbor Automotive are pleased to support the artistic variety and program excellence given to us by the University Musical Society."
Laurel R. Champion
Publisher, The Ann Arbor News "The people at The Ann Arbor News are honored and pleased to partner with and be supportive of the University Musical Society, which adds so much depth, color, excite?ment, and enjoyment to this incredible community."
Timothy G. Marshall
President and CEO, Bank of Ann Arbor "A commitment to the community can be expressed in many ways, each different and all appropriate. Bank of Ann Arbor is pleased to continue its long term support of the University Musical Society by our sponsorship of the 0708 season."
Habte Dadi
Manager, Blue Nile Restaurant "At the Blue Nile, we believe in giving back to the community that sustains our business. We are proud to support an organization that provides such an important service to Ann Arbor."
George Jones
President and CEO, Borders Group, Inc. "Borders embraces its role as a vital, contributing member of the community that reaches out to connect with people. We know that what our customers read, listen to, and watch is an integral part of who they are and who they aspire to be. Borders shares our community's passion for the arts and we are proud to continue our support of the University Musical Society."
Claes Fornell
Chairman, CFI Group, Inc.
"The University Musical Society is a marvelous magnet for attracting the world's finest in the performing arts. There are many good things in Ann Arbor, but UMS is a jewel. We are all richer because of it, and CFI is proud to lend its support."
Charles E. Crone, Jr.
Ann Arbor Region President, Comerica Bank "Our communities are enriched when we work together. That's why we at Comerica are proud to support the University Musical Society and its tradition of bringing the finest in performing arts to our area."
Fred Shell
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 Conn 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
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
S20,000-S49,999 Cairn Foundation Maxine and Stuart Frankel
Foundation National Dance Project of the
New England Foundation
for the Arts National Endowment for the
Arts The Whitney Fund at the
Community Foundation
for Southeastern Michigan
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,
Vice Chair Kathleen Benton,
Secretary Michael C. Allemang,
Wadad Abed
Carol L. Amster
Lynda W. Berg
D.J. Boehm
Charles W. Borgsdorf
Robert Buckler
Mary Sue Coleman
Hal Davis
Sally Stegeman DiCarlo
Al Dodds
Aaron P. Dworkin
Maxine J. Frankel Patricia M. Garcia Anne Glendon David J. Herzig Christopher Kendall Melvin A. Lester Joetta Mial Lester P. Monts Roger Newton Philip H. Power Todd Roberts
A. Douglas Rothwell Edward R. Schulak John J. H. Schwarz Elite 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. Bollmger Janice Stevens Botsford Paul C. Boylan Carl A. Brauer William M. Broucek Barbara Everitt Bryant Letitia J. Byrd Kathleen G. Charla Leon 5. Cohan Jill A. Con-Peter B. Corr Ronald M. Cresswell Robert F. DiRomualdo James J. Duderstadt David Featherman Robben W. Fleming
David J. Flowers George V. Fornero Beverley B. Geltner William S. Hann Randy J. Harris Walter L. Harrison Deborah 5. 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 Knslov 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 Herzk), Wee Chair Alice Hart. Secretary Betty Byrne. Treasurer Meg Kennedy Shaw, Past Chair
Randa Ajlouny MariAnn Apley Lorie Arbour Barbara Bach Rula Kort Bawardi Poage Baxter Nishta Bhatia Luciana Borbely
Mary Breakey Mary Brown Heather Byrne Janet Callaway Laura Caplan Cheryl Clarkson Wendy Comstock Jean Connell Phelps Connel! Norma Davis Mary Dempsey Mary Ann Faeth Michaelene Farrell Sara Fink Susan Fisher
Kathy Goldberg Joe Grimley Susan Gutow Lynn Hamilton C harlene Hancock Raphael Juarez Jeri 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 Seville
Penny Schreiber Bev Seifofd Alida Sifverman Loretta Skewes Nancy Stanley Karen Stutz Eileen Thacker Janet Torno Amanda Uhle Dody Viola Enid Wasserman Amy Weaver Ellen Woodman Mary Kate Zefenock
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 Atana 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 Joni Warner Kimberley Wright Kathryn Young
Barrier-Free Entrances
For persons with disabilities, all venues have barrier-free entrances. Wheelchair locations vary by venue; visit www.ums.orgtickets or call 734.764.2538 for details. Ushers are available for assistance.
Listening Systems
For hearing-impaired persons, Hill Auditorium, Power Center, and Rackham Auditorium are equipped with assistive listening devices. Earphones may be obtained upon arrival. Please ask an usher for assistance.
Lost and Found
For items lost at Hill Auditorium, Lydia Mendelssohn Theatre, Power Center, or Rackham Auditorium please call University Productions at 734.763.5213. For the Michigan Theater, call 734.668.8397. For St. Francis of Assisi, call 734.821.2111.
Please allow plenty of time for parking as the campus area may be congested. Parking is available in the Church Street, Maynard Street, Thayer Street, Fletcher Street, and Fourth Avenue structures for a minimal fee. Limited street parking is also available. Please allow enough time to park before the performance begins. UMS donors at the Patron level and above ($1,000) receive 10 complimentary park?ing passes for use at the Thayer Street or Fletcher Street structures in Ann Arbor.
UMS offers valet parking service for Hill Auditorium performances in the 0708 Choral Union series. Cars may be dropped off in front of Hill Auditorium beginning one hour before
each performance. There is a $20 fee for this service. UMS donors at the Leader level and above ($3,500-$4,999) are invited to use this service at no charge.
Other recommended parking that may not be as crowded as on-campus structures: Liberty Square structure (formerly Tally Hall), entrance off of Washington Street between Division and State; about a two-block walk from most per?formance venues, $2 after 3 pm weekdays and all day SaturdaySunday. Maynard Street struc?ture, entrances off Maynard and Thompson between William and Liberty, $.80hr, free on Sunday.
For up-to-date parking information, please 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 'atecomers will not miss the performance.
The late-seating break is determined by the artist and will generally occur during a suitable repertory break in the program (e.g., after the first entire piece, not after individual movements of classical works). There may be occasions where latecomers are not seated until intermis?sion, as determined by the artist. UMS makes every effort to alert patrons in advance when we know that there will be no late seating.
UMS tries to work with the artists to allow a flexible late-seating policy for family perform?ances.
Group Tickets
Treat 10 or more friends, co-workers, and family members to an unforgettable performance of live music, dance, or theater. Whether you have a group of students, a business gathering, a college reunion, or just you and a group of friends, the UMS Group Sales Office can help you plan the perfect outing. You can make it formal or casual, a special celebration, or just friends enjoying each other's company. The many advantages to booking as a group include:
Reserving tickets before tickets go on sale to the general public
Discounts of 15-25 for most performances
Accessibility accommodations
No-risk reservations that are fully refundable up to 14 days before the performance
1-3 complimentary tickets for the group organizer (depending on size of group). Complimentary tickets are not offered for performances with no group discount.
For more information, please contact 734.763.3100 or e-mail umsgroupsalesO
Classical Kids Club
Parents can introduce their children to world-renowned classical music artists through the Classical Kids Club. For more information please see page P31.
Members of the UMS African American Arts Advocacy Committee receive discounted tickets to certain performances. For more information please see page P27.
Student Tickets
Discounted tickets are available for University students and teenagers. Information on all UMS University Student Ticketing programs can be found on page P33. Teen Ticket infor?mation can be found on page P31.
Gift Certificates
Available in any amount and redeemable for any of more than 70 events throughout our season, wrapped and delivered with your per?sonal message, the UMS Gift Certificate is ideal for weddings, birthdays, Christmas, Hanukkah, Mother's and Father's Days, or even as a housewarming present when new friends move to town.
UMS Gift Certificates are valid for 12 months from the date of purchase and do not expire at the end of the season. For more information, please visit
If you are unable to attend a concert for which you have purchased tickets, you may turn in your tickets up to 15 minutes before curtain time by calling the Ticket Office. Refunds are not available; however, you will be given a receipt for an income tax deduction.
Ticket Exchanges
Subscribers may exchange tickets free of charge. Non-subscribers may exchange tickets for a $6 per ticket exchange fee. Exchanged tickets must be received by the Ticket Office
(by mail or in person) at least 48 hours prior to the performance. The value of the tickets may be applied to another performance or will be held as UMS Credit until the end of the season. You may also fax a copy of your torn tickets to 734.647.1171. Lost or misplaced tickets cannot be exchanged. UMS Credit for this season must be redeemed by May 9, 2008.
Through a commitment to Presentation, Education, and the Creation of new work, the University Musical Society (UMS) serves Michigan audiences by bringing to our community an ongo-ng series of world-class artists, who represent :he diverse spectrum of today's vigorous and exciting live performing arts world. Over its 128 ears, strong leadership coupled with a devoted ;ommunity has placed UMS in a league of nternationally recognized performing arts pre-.enters. Today, the UMS seasonal program is a eflection of a thoughtful respect for this rich and varied history, balanced by a commitment :o dynamic and creative visions of where the oerforming arts will take us in this new millen?nium. Every day UMS seeks to cultivate, nurture, and stimulate public interest and participation in every facet of the live arts.
UMS grew from a group of local university and townspeople who gathered together for :he study of Handel's Messiah. Led by Professor 4enry Simmons Frieze and conducted by Drofessor Calvin Cady, the group assumed the lame The Choral Union. Their first perform?ance of Handel's Messiah was in December of 1879 and this glorious oratorio has since been performed by the UMS Choral Union annually. As a great number of Choral Union mem?bers also belonged to the University, the University Musical Society was established in December 1880. UMS included the Choral Jnion and University Orchestra, and through?out the year presented a series of concerts fea-:uring 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 ir 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, togethe with their son Philip, wished to make a major gift to the University, and amidst a list of
University priorities "a new theater" was men?tioned. The Powers were immediately interested, lealizing that state and federal governments were unlikely to provide financial support for the construction of a new theater.
Opening in 1971 with the world premiere of The Grass Harp (based on the novel by Truman Capote), the Power Center achieved the seemingly contradictory combination of providing a soaring interior space with a unique level of intimacy. Architectural features include two large spiral staircases leading from ine orchestra level to the balcony and the well-known mirrored glass panels on the exterior. The lobby of the Power Center presently fea-ures two hand-woven tapestries: Modern Tapestry by Roy Lichtenstein and Volutes Arabesque) by Pablo Picasso.
The Power Center seats approximately i ,400 people.
Arbor Springs Water Company is generously providing omplimentary water to UMS artists backstage at the tower Center throughout the 0708 season.
ackham Auditorium Fifty years ago, chamber music concerts in Ann Arbor were a relative rarity, presented in an assortment of venues including University Hall (the precursor to Hill Auditorium), Hill uditorium, and Newberry Hall, the current home of the Kelsey Museum. When Horace H. Rackham, a Detroit lawyer who believed Wrongly in the importance of the study of human history and human thought, died in 1933, his will awarded the University of Michigan the funds not only to build the Horace H. Rackham Graduate School which houses Rackham Auditorium, but also to estab-ish a $4 million endowment to further the development of graduate studies. Even more lemarkable 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.
H m
Fall 2007Winter 2008 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
Saturday, December 1, 2007 through Friday, January 4, 2008
Handel's Messiah 5
Saturday, December 1, 8:00 pm Sunday, December 2, 2:00 pm Hill Auditorium
The Tallis Scholars 23
Thursday, December 6, 8:00 pm St. Francis of Assisi Catholic Church
Youssou N'Dour and the Super Etoile de Dakar 27
Saturday, December 8, 8:00 pm Hill Auditorium
Turtle Island Quartet featuring Leo Kottke 31
Sunday, December 9, 4:00 pm Rackham Auditorium
Emerson String Quartet 35
Friday, January 4, 8:00 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 Wed Andras Schiff: Beethoven Concert 1
5 Fri Andras Schiff: Beethoven Concert 2
6 Sat Orchestra Filarmonica delta Scala
12 Fri Louis Lortie, piano
13 SatDianne Reeves featuring
Romero Lubambo 19 Fri Cudamani: Odalan Bali 20-21 Sat-Sun Pamina Devi:
A Cambodian Magic Flute 24 Wed Spiritual Sounds of Central Asia 25-27 Thu-SatHubbard Street Dance Chicago 30 TueRussian Patriarchate Choir
4 Sun St. Petersburg Philharmonic 8 Thu Madeleine Peyroux
8 Thu Zehetmair String Quartet
9 Fri Caetano Veloso
10 Sat Yo-Yo Ma, cello Kathryn Stott, piano 18 Sun Los Angeles Guitar Quartet
1-2 Sat-Sun Handel's Messiah
6 Thu The Tallis Scholars
8 Sat Youssou N'Dour and The Super Fltoile
9 Sun Leo Kottke and the
Turtle Island String Quartet
4 FriEmerson String Quartet
16 WedJazz at Lincoln Center Orchestra
with Wynton Marsalis: Love Songs of
Duke Ellington
20 Sun Yuja Wang, piano
21 Mon Mos Def Big Band
27 Sun Moiseyev Dance Company
1 FriAssad Brothers' Brazilian Guitar Summit
2 Sat-A Celebration of the Keyboard
8 Fri Chicago Classical Oriental Ensemble
9 SatGuarneri String Quartet and Johannes
String Quartet
10 Sun Wu Man, pipa, and Chinese Shawm Band
14 Thu Christian Tetzlaff, violin
15 FriNoism08: NINA materialize sacrifice
16 SatAhmad Jamal
5 Wed Orion String Quartet and David Krakauer, clarinet
9 Sun Michigan Chamber Players
(complimentary admission)
12 WedLeila Haddad and
Gypsy Musicians of Upper Egypt
13 Thu-SfiAZZ Collective:
A Tribute to Wayne Shorter
14 Fri San Francisco Symphony
21 FriBach's St. Matthew Passion 28-29 Fri-Sat Urban 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 Sat-Lila Downs
18 Fri-Mehr and Sher AN:
Qawwali Music of Pakistan
19 SatBobby McFerrin, Chick Corea, and
Jack DeJohnette
20 Sun Andras Schiff: Beethoven Concert 3
22 Tue Andras Schiff: Beethoven Concert 4
10 SatFord Honors Program: Sir James Galway
and the
Carl and Isabelle
Brauer Fund
Composed by George Frideric Handel
UMS Choral Union
Ann Arbor Symphony Orchestra
Jerry Blackstone, Conductor and Music Director
Sarah Tynan, Soprano
Renata Pokupic, Mezzo-soprano
James Taylor, Tenor
Nathan Berg, Baritone
Edward Parmentier, Harpsichord
Saturday Evening, December 1, 2007 at 8:00 Sunday Afternoon, December 2, 2007 at 2:00 Hill Auditorium Ann Arbor
25th and 26th Performances 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.
The Messiah performances are supported by the Carl and Isabelle Brauer Fund. The 0708 Family Series is sponsored by Toyota.
Media partnership provided by Michigan Radio and Ann Arbor's 107one. Special thanks to Dr. Jerry Blackstone for his pre-performance lectures.
Special thanks to Tom Thompson of Tom Thompson Flowers, Ann Arbor, for his generous contribution of seasonal decorations.
Sarah Tynan and Renata Pokupic appear by arrangement with Intermusica Artists' Management, Ltd, London, UK.
James Taylor appears by arrangement with Colbert Artists Management, New York, NY.
Nathan Berg appears by arrangement with IMG Artists, New York, NY. Large print programs are available upon request.
Arioso Isaiah 40: 1 Isaiah 40:2
Isaiah 40: 3
Isaiah 40: 4
Isaiah 40: 5
Mr. Taylor
Comfort ye, comfort ye my people, saith your God.
Speak ye comfortably to Jerusalem, and cry unto her that her
warfare is accomplished, that her iniquity is pardoned. The voice of him that crieth in the wilderness: Prepare ye the way of
the Lord, make straight in the desert a highway for our God.
Mr. Taylor
Every valley shall be exalted, and every hill and mountain . . .
made low: the crooked . . . straight, and the rough places plain:
And the glory of the Lord shall be revealed, and all flesh shall see it together: for the mouth of the Lord hath spoken it.
Accompanied recitative Mr. Berg
Haggai 2:6 ... thus saith the Lord of hosts: Yet once, ... a little while, and I
will shake the heavens and the earth, the sea and the dry land;
Haggai 2: 7 And I will shake all nations, and the desire of all nations
shall come:. . .
Malachi 3: 1 ... the Lord, whom ye seek, shall suddenly come to his temple,
even the messenger of the covenant, whom ye delight in: behold, he shall come, saith the Lord of hosts.
6 Air
Malachi 3:2
7 Chorus
Malachi 3:3
8 Recitative Isaiah 7: 14
9 Air and Chorus Isaiah 40: 9
Isaiah 60: 1
Ms. Pokupic
But who may abide the day of his coming And who shall stand when he appeareth For he is like a refiner's fire, . . .
. . . and he shall purify the sons of Levi, . . . that they may offer unto the Lord an offering in righteousness.
Ms. Pokupic
Behold, a virgin shall conceive, and bear a son, and shall call his name Immanuel, "God-with-us."
Ms. Pokupic
0 thou that tellest good tidings to Zion, get thee up into the high mountain; O thou that tellest good tidings to Jerusalem, lift up thy voice with strength; lift it up, be not afraid; say unto the cities of Judah: Behold your God!
Arise, shine; for thy light is come, and the glory of the Lord is risen upon thee.
10 Arioso
Isaiah 60:2
Isaiah 60:3
11 Air
Isaiah 9: 2
12 Chorus
Isaiah 9: 6
13 Pifa
14 Recitative Luke 2: 8
15 Arioso Luke 2: 9
16 Recitative Luke 2: 10
Luke 2: 11
Mr. Berg
For behold,... darkness shall cover the earth, and gross darkness the people: but the Lord shall arise upon thee, and His glory shall be seen upon thee.
And the Gentiles shall come to thy light, and kings to the brightness of thy rising.
Mr. Berg
The people that walked in darkness have seen a great light: and they that dwell in the land of the shadow of death, upon them hath the light shined.
For unto us a child is born, unto us a son is given: and the
government shall be upon his shoulder, and his name shall be called Wonderful, Counselor, The Mighty God, The Everlasting Father, The Prince of Peace.
(Pastoral Symphony)
Ms. Tynan
. . . there were . . . shepherds abiding in the field, keeping watch over their flock by night.
Ms. Tynan
And, lo, the angel of the Lord came upon them, and the glory of the Lord shone round about them: and they were sore afraid.
Ms. Tynan
And the angel said unto them, Fear not: for, behold, I bring you good tidings of great joy, which shall be to all people.
For unto you is born this day in the city of David a Saviour, which is Christ the Lord.
17 Arioso Luke 2: 13
18 Chorus Luke 2:14
19 Air
Zechariah 9: 9
Zechariah 9: 10
Ms. Tynan
And suddenly there was with the angel a multitude of the heavenly host praising God and saying.
Glory to God in the highest, and peace on earth, good will toward men.
Ms. Tynan
Rejoice greatly, 0 daughter of Zion; shout, O daughter of
Jerusalem: behold, thy King cometh unto thee: he is the righteous Saviour,...
... and he shall speak peace unto the heathen:...
20 Recitative Isaiah 35: 5
Isaiah 35: 6
21 Air
Isaiah 40: 11
Matthew 11: 28 Matthew 11: 29
22 Chorus
Matthew 11:30
Ms. Pokupic
Then shall the eyes of the blind be opened, and the ears of the
deaf. . .unstopped. Then shall the lame man leap as a hart, and the tongue of the
dumb shall sing:...
Ms. Pokupic and Ms. Tynan
He shall feed his flock like a shepherd: and he shall gather the lambs
with his arm, and carry them in his bosom, and . . . gently lead
those that are with young. Come unto Him, all ye that labour and are heavy laden, and He
will give you rest. Take His yoke upon you, and learn of Him, for He is meek and
lowly of heart: and ye shall find rest unto your souls.
... His yoke is easy, and His burden is light.
Part II
23 Chorus John 1:29
Behold, the Lamb of God, that taketh away the sin of the world! . . .
24 Air
Isaiah 53: 3
Isaiah 50: 6
25 Chorus
Isaiah 53: 4 Isaiah 53: 5
26 Chorus
Isaiah 53:4
27 Arioso
Psalm 22: 7
Ms. Pokupic
He was despised and rejected of men; a man of sorrows, and
acquainted with grief:.. . He gave his back to the smiters, and His cheeks to them that
plucked off the hair: He hid not His face from shame and spitting.
Surely he hath borne our griefs, and carried our sorrows: . . .
... he was wounded for our transgressions, he was bruised for our
iniquities: the chastisement of our peace was upon him; and with
his stripes are we healed.
All we like sheep have gone astray; we have turned every one to his own way; and the Lord hath laid on him the iniquity of us all.
Mr. Taylor
All they that see him laugh him to scorn: they shoot our their lips, and shake their heads, saying:
28 Chorus Psalm 22: 8
He trusted in God that he would deliver him: let him deliver him, if he delight in him.
29 Accompanied recitative Mr. Taylor
Psalm 69: 20 Thy rebuke hath broken his heart; he is full of heaviness: he
looked for some to have pity on him, but there was no man; neither found he any to comfort him.
30 Arioso Mr. Taylor
Lamentations 1: 12 ... Behold and see if there be any sorrow like unto his sorrow . . .
31 Accompanied recitative Mr. Taylor
Isaiah 53: 8
32 Air
Psalm 16: 10
33 Chorus
Psalm 24: 7
Psalm 24: 8 Psalm 24: 9 Psalm 24: 10
34 Recitative Hebrews 1: 5
35 Chorus
Hebrews 1: 6
36 Air
Psalm 68: 18
37 Chorus
Psalm 68: 11
38 Air
Isaiah 52: 7
... he was cut off out of the land of the living: for the transgressions of thy people was he stricken.
Mr. Taylor
But thou didst not leave his soul in hell; nor didst thou suffer thy Holy One to see corruption.
Lift up your heads, 0 ye gates; and be ye lift up, ye everlasting
doors; and the King of glory shall come in. Who is this King of glory The Lord strong and mighty, the Lord
mighty in battle. Lift up your heads, 0 ye gates; and be ye lift up, ye everlasting
doors; and the King of glory shall come in. Who is this King of glory The Lord of hosts, he is the King of
Mr. Taylor
... unto which of the angels said he at any time, Thou art my son, this day have I begotten thee . ..
... let all the angels of God worship him.
Ms. Pokupic
Thou art gone up on high, thou has lead captivity captive: and
received gifts for men; yea, even for thine enemies, that the Lord God might dwell among them.
The Lord gave the word: great was the company of the preachers.
Ms. Tynan
How beautiful are the feet of them that preach the gospel of peace, and bring glad tidings of good things . . .
39 Chorus
Romans 10: 18
40 Air
Psalm 2: 1
Psalm 2:2
41 Chorus
Psalm 2: 3
42 Recitative
Psalm 2:4
43 Air
Psalm 2: 9
44 Chorus
Revelation 19:6
Revelation 11: 15
Revelation 19: 16
Their sound is gone out into all lands, and their words unto the ends of the world.
Mr. Berg
Why do the nations so furiously rage together,... why do the
people imagine a vain thing The kings of the earth rise up, and the rulers take counsel together
against the Lord and his anointed,...
Let us break their bonds asunder, and cast away their yokes from us.
Mr. Taylor
He that dwelleth in heaven shall laugh them to scorn: the Lord shall leave them in derision.
Mr. Taylor
Thou shalt break them with a rod of iron; thou shalt dash them in pieces like a potter's vessel.
Hallelujah: for the Lord God omnipotent reigneth.
... The kingdom of this world is become the kingdom of our
Lord, and of his Christ; and he shall reign for ever and ever. . . . King of Kings, and Lord of Lords.
You are invited to join the Choral Union in singing the "Hallelujah" chorus. Please leave the music at the door when exiting the auditorium. Thank you.
Part III
45 Air
Job 19:25
Job 19: 26 I Cor. 15:20
Ms. Tynan
I know that my redeemer liveth, and that he shall stand at the
latter day upon the earth. And though . . . worms destroy this body, yet in my flesh shall I
see God. For now is Christ risen from the dead,... the first fruits of them
that sleep.
46 Chorus
I Cor. 15:21
I Cor. 15:22
... since by man came death, by man came also the resurrection
of the dead. For as in Adam all die, even so in Christ shall all be made alive.
47 Accompanied recitative Mr. Berg
Cor. 15: 51 Behold, I tell you a mystery; we shall not all sleep, but we shall all
be changed, Cor. 15:52 In a moment, in the twinkling of an eye at the last trumpet:
48 Air
Cor. 15: 52
I Cor. 15: 53
49 Recitative Cor. 15: 54
50 Duet
Cor. 15: 55 I Cor. 15: 56
51 Chorus
Cor. 15: 57
Mr. Berg
... the trumpet shall sound, and the dead shall be raised
incorruptible, and we shall be changed. For this corruptible must put on incorruption, and this mortal must
put on immortality.
Ms. Pokupic
. . . then shall be brought to pass the saying that is written, Death is swallowed up in victory.
Ms. Pokupic and Mr. Taylor
0 death, where is thy sting O grave, where is thy victory The sting of death is sin; and the strength of sin is the law.
But thanks be to God, who giveth us the victory through our Lord Jesus Christ.
52 Air
Romans 8:31 Romans 8:33
Romans 8: 34
Ms. Tynan
If God be for us, who can be against us
Who shall lay anything to the charge of God's elect It is God
that justifieth. Who is he that condemneth It is Christ that died, yea rather, that
is risen again, who is... at the right hand of God, who ...
maketh intercession for us.
53 Chorus
Revelation 5: 12
Revelation 5: 13
. Worthy is the Lamb that was slain and hath redeemed us to God by His blood to receive power, and riches, and wisdom, and strength, and honour, and glory, and blessing.
. Blessing, and honour, . . . glory, and power, be unto Him that sitteth upon the throne, and unto the Lamb for ever and ever.
George Frideric Handel
Born on February 23, 1685 in Halle, Germany
Died on April 14, 1759 in London
George Frideric Handel's sacred oratorio Messiah is without question one of the most popular works in the choralorchestral repertoire today. In what has become an indispensable Christmas tradition, amateur and professional musicians in almost every city and town throughout the country per?form this work as a seasonal entertainment, and are rewarded with the satisfaction of taking part in one of the great communal musical events.
Since the first performances in 1742, genera?tions of musicians have adapted Handel's Messiah to suit the changing tastes of fashion and func?tion. The small ensembles Handel conducted him?self had around 20 singers and an equal number of instrumental players, but even before the end of the 18th century much larger ensembles were performing the work. By the mid-19th century, when the appeal of the spectacle sometimes out?weighed the demands of musical integrity, sing?ers and instrumentalists for a single performance would often number in the several thousands. But the size of the ensemble wasn't the only variable. Mozart re-orchestrated Handel's score in 1789, adding extra parts for woodwinds to give the orchestral writing richer harmonies and a more varied timbre. In addition to Mozart's re-orches?tration, Sir Arthur Sullivan and Eugene Goosens likewise made their own arrangements of the or?chestral parts, updating the work for their respec?tive audiences. And in 1993, a popular recording of excerpts from Messiah titled A Soulful Cel?ebration brought together Stevie Wonder, Quincy Jones, Al Jarreau, the Boys Choir of Harlem, and others in a gospel-style interpretation of Handel's music. The diversity of performance styles and en?thusiastic responses to this oratorio over the cen?turies testify to its immense popularity.
The oratorio as a musical genre originated during the 17th century in the churches and mon?asteries of Italy. In the Oratory (a side chapel found in many consecrated buildings), the theatrical pre?sentation of vocal music on a sacred topic was an adjunct to the liturgy of the Church. But by 1700, oratorios were being performed in private chapels and palaces as a form of entertainment, and had taken on the now-standard characteristics of a sung drama on sacred texts, without staging or costumes.
Handel composed several oratorios early in his career, including some in Italian-Trionfo dei Tempo e delDisinganno and La Resurrezione--and the later English-language works Esther, Deborah, and Athalia. But after the collapse of his operatic ventures in London around 1740, Handel devoted himself to the oratorio as a form in which he could combine his flair for dramatic vocal writing and his experience as a composer of sacred, devotional music. With these later oratorios Handel eventu?ally won back the esteem of the London critics, and secured a phenomenal public following that would ensure his future success and reputation.
The text for Messiah was selected and com?piled from the Authorized (King James) Version of the Bible by Charles Jennens, an aristocrat and musicianpoet of modest talent and exceptional ego. With Messiah, Jennens seems to have out?done himself in compiling a libretto with profound thematic coherence and an acute sensitivity to the inherent musical structure. With the finished li?bretto in his possession, Handel began setting it to music on August 22, 1741, and completed it 24 days later. He was certainly working at white-hot speed, but this didn't necessarily indicate he was in the throes of devotional fervor, as legend has often stated. Handel composed many of his works in haste, and immediately after completing Messiah he wrote his next oratorio, Samson, in a similarly brief time-span.
The swiftness with which Handel composed Messiah can be partially explained by the musi?cal borrowings from his own earlier compositions For example, the melodies used in the two cho?ruses "And He shall purify" and "His yoke is easy" were taken from an Italian chamber duet Handel had written earlier in 1741, "Quel fior che all' alba ride." Another secular duet, "No, di voi non vo' fidarmi," provided material for the famous chorus "For unto us a Child is born," and the delightful "All we like sheep" borrows its wandering melis-mas from the same duet. A madrigal from 1712, "Se tu non lasci amore," was transformed into a duet-chorus pair for the end of the oratorio, "0 Death, where is thy sting," and "But thanks be to God." In each instance, however, Handel does more than simply provide new words to old tunes. There is considerable re-composition, and any fri?volity that remains from the light-hearted secular models is more than compensated for by the new material Handel masterfully worked into each chorus.
Over-enthusiastic "Handelists" in the 19th century perpetuated all sorts of legends regarding the composition of Messiah. An often-repeated story relates how Handel's servant found him sobbing with emotion while writing the famous "Hallelujah Chorus," and the composer claiming, "I did think I did see all Heaven before me and the great God Himself." Supposedly Handel often left his meals untouched during this compositional period, in an apparent display of devotional fast?ing and monastic self-denial. Present-day histori?ans more familiar with Handel's life and religious views tend to downplay these stories. It has been suggested that if Handel did indeed have visions of Heaven while he composed Messiah, then it was only in the same manner in which he visual?ized the Roman pantheon of gods while he com?posed his opera Semele. Handel's religious faith was sincere, but tended to be practical rather than mystical.
Handel was also not a native English-speaker, and examples of awkward text-setting in Messiah demonstrate some idiosyncrasies in his English declamation. He set the word "were" as if it had two syllables, and "surely" with three syllables. In the bass aria, "The trumpet shall sound," Handel originally declaimed "incorruptible" with empha?sis on the second and fourth syllables. While these can be corrected by the editor of the score or the singer in performance, sometimes Handel placed rhythmic accents on the wrong words entirely. Yet they are so familiar to us now that we don't hear them as unusual: "For unto us a Child is born," or
"Come unto Him, ye that are heavy laden."
The first public performance of Messiah took place in Dublin, Ireland, on April 13, 1742. As this was to be a benefit performance for charity, the ladies were asked not to wear hoop dresses, and the men to leave their swords at home, in order to accommodate more people in the hall. Mes?siah was an unqualified success in Dublin; Handel had worked for months preparing his chorus and orchestra, and brought in some of the finest solo singers from England. The alto soloist in particular sang so affectingly that after one aria an audience member exclaimed from his chair, "Woman, for this, be all thy sins forgiven." But when Handel took Messiah to London the following season, it received a chilly reception. Even though King George II attended the first performance at Cov-ent Garden Theatre (and, it is claimed, initiated the tradition of standing for the "Hallelujah Cho?rus"), London audiences found its contemplative texts lacking in drama and narrative action, and it closed after only three performances. Some clergy considered the theater in general a den of iniquity and certainly no place for a work on such a sacred topic (Handel couldn't win--when it was sched?uled to be performed in Westminster Abbey, oth?er members of the clergy declared it sacrilege for a public entertainment to take place in a conse?crated church). And Jennens, the librettist, wasn't entirely pleased with what Handel had done to his texts. After initially voicing his thorough disap?pointment with the work, Jennens later declared Handel's composition "a fine Entertainment, tho'
The UMS Choral Union began performing on December 16, 1879 and has presented Handel's Messiah in annual performances ever since. This weekend's performances mark the UMS Choral Union's 407th and 408th appearances under UMS auspices. This week?end Dr. Blackstone makes his 10th and 11th UMS appearances following his debut leading the Choral Union in performances of Messiah in 2003 at the Michigan Theater.
The Ann Arbor Symphony Orchestra makes its 53rd and 54th UMS appearances this weekend since its 1974 UMS debut. Harpsichordist Edward Parmentier has performed in the annual UMS presentation of Messiah since 1995 and makes his 27th and 28th UMS appear?ances in this weekend's performances.
Nathan Berg retums for his third and fourth UMS appearances since his UMS debut in December 1997. Sarah Tynan, Renata Pokupic, and James Taylor make their UMS debuts this weekend.
not near so good as he might and ought to have done." It wasn't until 1750, when another per?formance for charity was staged at the Foundling Hospital in London, that English audiences took Messiah to their hearts, and yearly performances at the hospital from that time on established the lasting popularity of both the work and its com?poser. Upon Handel's death in 1759, he willed his score and parts for Messiah to the Foundling Hos?pital in a charitable gesture of gratitude.
The tradition of performing Messiah at Christmas began later in the 18th century. Al?though the work was occasionally performed during Advent in Dublin, the oratorio was usually regarded in England as an entertainment for the penitential season of Lent, when performances of opera were banned. Messiah's extended musical focus on Christ's redeeming sacrifice also makes it particularly suitable for Passion Week and Holy Week, the periods when it was usually performed during Handel's lifetime. But in 1791, the Caecil-ian Society of London began its annual Christmas performances, and in 1818 the Handel and Haydn Society of Boston gave the work's first complete performance in the US on Christmas Day--estab?lishing a tradition that continues to the present. The University Musical Society is a direct result of this tradition. In 1879, a group of local Univer?sity and townspeople gathered together to study Handel's Messiah; this group assumed the name "The Choral Union" and, in 1880, the members of the Choral Union established the University Musical Society.
Following the pattern of Italian baroque op?era, Messiah is divided into three parts. The first is concerned with prophecies of the Messiah's coming, drawing heavily from messianic texts in the Book of Isaiah, and concludes with an ac?count of the Christmas story that mixes both Old and New Testament sources. The second part deals with Christ's mission and sacrifice, culminating in the grand "Hallelujah Chorus." The final, shortest section is an extended hymn of thanksgiving, an expression of faith beginning with Job's statement "I know that my Redeemer liveth" and closing with the majestic chorus "Worthy is the Lamb" and a fu-gal "Amen." In its focus on Christ's sacrifice Messi?ah resembles the great Lutheran Passions of Schiitz and Bach, but with much less direct narrative and more meditative commentary on the redemptive nature of the Messiah's earthly mission. Handel
scholar Robert Myers suggested that "logically Handel's masterpiece should be called Redemp?tion, for its author celebrates the idea of Redemp?tion, rather than the personality of Christ."
For the believer and non-believer alike, Han?del's Messiah is undoubtedly a majestic musical edifice. But while a truly popular favorite around the world, Messiah aspires to more than just a reputation as an enjoyable musical event. After an early performance of the work in London, Lord Kinnoul congratulated Handel on the "noble en?tertainment" he had recently brought to the city. Handel is said to have replied, "My Lord, I should be sorry if I only entertained them; I wished to make them better." Certainly Messiah carries an ennobling message to people of all faiths and cre?dos, proclaiming "peace on earth, and goodwill towards men"--a message that continues to be timely and universal.
Program note by Luke Howard.
Jerry Blackstone is Director of Choirs and Chair of the Conducting Department at the University of Michigan School of Music, The?atre & Dance where he conducts the Chamber Choir, teaches conducting at the graduate and un?dergraduate levels, and administers a choral pro?gram of 11 choirs. In February 2006, he won two Grammy Awards ("Best Choral Performance" and "Best Classical Album") as chorusmaster for the
critically-acclaimed Naxos recording of William Bolcom's monumental Songs of Innocence and of Experience. In November 2006, the Chamber Choir under his direction presented a special invited performance at the inaugural na?tional convention of the National Col-
Jerry Blackstone
legiate Choral Organization in San Antonio. Dr. Blackstone was also the recent recipient of the Maynard Klein Lifetime Achievement Award an?nounced at the annual convention of the Michi?gan chapter of the American Choral Directors'
Association this past October.
Dr. Blackstone is considered one of the coun?try's leading conducting teachers, and his students have received first-place awards and been finalists in both the graduate and undergraduate divisions of the ACDA biennial National Choral Conduct?ing Awards competition. US News and World Re?port ranks the graduate conducting programs at the University of Michigan first in the nation. Dr. Blackstone has appeared as festival guest conduc?tor and workshop presenter in 28 states as well as in Hong Kong and in Australia.
In April 2004, Dr. Blackstone was named Conductor and Music Director of the UMS Choral Union, a large chorus of community and university singers that frequently appears with the Detroit Symphony Orchestra and the Ann Arbor Sympho?ny and presents yearly performances of Handel's Messiah.
Choirs prepared by Dr. Blackstone have ap?peared under the batons of Neeme Jarvi, Nicho?las McGegan, Rafael Frubeck de Burgos, James Conlon, and Yitzak Perlman. Professor Blackstone serves as Director of the University of Michigan School of Music, Theatre & Dance Summer Pro?grams for High School Students and Adults, which includes MPulse Ann Arbor, a series of music and performing arts camps for high school students from around the world held on the Ann Arbor campus. He also leads the Michigan Youth En?sembles Program, offering advanced instrumental and choral ensemble opportunities in Ann Arbor during the academic year for talented high school students throughout Michigan.
The young British soprano Sarah Tynan made a striking impact on operatic life while she was still a student, when on very short notice she took on the main soprano role Iphis in Handel's Jephtha in the acclaimed Welsh National Opera production conducted by Paul McCreesh. Her success there led an invitation to join the English National Opera (ENO) Young Singers Pro?gramme, and she is now an ENO Company Princi?pal. Ms. Tynan was born in London and studied at the Royal Northern College of Music and the Royal Academy of Music (RAM) with Penelope Mackay. At the RAM, she was awarded the Queen's Com?mendation for Excellence.
Since joining ENO, her roles have included Tytania in A Midsummer Night's Dream, Papa-gena in Magic Flute, Woodbird in Siegfried, Iphis
in Jephtha, Atalanta in Xerxes, Sister Con?stance in The Car?melites (recorded for Chandos), Yum-Yum in Mikado, Dalinda in Ariodante, and Gia-netta in The Gondo?liers. Opera appear?ances at the RAM include the title role in The Cunning Little Vixen conducted by Sir Charles Macker-ras. Zerlina in Don
Sarah Tynan
Giovanni conducted by Sir Colin Davis, Drusilla in L'incoronazione di Poppea and FeuRossignol in L'Enfant et les sortileges.
Ms. Tynan sings frequently in concerts in?cluding performances of the main oratorio reper?tory throughout Britain and Europe. Past engage?ments include Eleanora in Salieri's Prima la musica and Mile Silberklang in Mozart's Der Schauspiel-dlrektor with the City of London Sinfonia and Richard Hickox for the Mostly Mozart Festival at the Barbican, the Mozart Requiem conducted by Sir Roger Norrington at the Spitalfields Festival, Mahler's Symphony No. 2 with the Netherlands Symphony Orchestra conducted by Jaap van Zwe-den, Messiah with the Halle Orchestra, and a tour of China with the London Philharmonic. She also sang Barbarina in the Chandos "Opera in English" recording of The Marriage of Figaro.
Last season Ms. Tynan sang her first role of Susanna in The Marriage of Figaro for the English National Opera to critical acclaim. Future perfor?mance plans include Megan in James MacMillan's new opera The Sacrifice for Welsh National Opera, her first Sophie in Der Rosenkavalier for English National Opera, Giulietta in Capuleti e I Montec-chi for Opera North and Dalinda in Ariodante, for Opera de Oviedo. Ms. Tynan will also sing in con?certs including La damnation de Faust with BBC National Orchestra of Wales under Thierry Fischer and Pilgrim's Progress with the Philharmonia or?chestra under Richard Hickox.
Croatian mezzo-soprano Renata Pokupic is known internationally through her ac?claimed performances of baroque, classi?cal, and other coloratura-mezzo repertoire as well as solo sonqs. In 2003, she made her successful
debut at the Theatre du Chatelet in Paris, where she sang Anna in Berlioz' Les Troy-ens with Sir John Eliot Gardiner conducting. Her London debut fol?lowed in 2004 during the London Handel Festival, when she sang Dejanira in Han?del's Hercules with Laurence Cummings and the London Han-
Renata Pokupic
del Orchestra. Ms. Pokupic sang the solo part in Bach's Mass in b minor during the BBC Proms in August 2004 with Sir John Eliot Gardiner and joined him and his ensembles, the Monteverdi Choir, and English Baroque Soloists, on their Euro?pean and Far East tour in December 2004 singing Dido in Purcell's Dido and Aeneas.
She performs regularly with Paul McCreesh and the Gabrieli Consort, including performanc?es of Bach's St. John's Passion, Mass in B minor, Christmas Oratorio, and Mozart's Mass in c mi?nor. She has sung across France with Emmanuelle Hai'm and Le Concert d'Astree and in Halle with Alessandro de Marchi.
Ms. Pokupic has appeared in concerts during the De Doelen Festival in Rotterdam, where she performed with Federico Sardelli and Modo Anti-quo in the world premiere of Vivaldi's Montezuma. During the baroque festival in Beaune, she sang with Antonio Florio and Capella della Pieta" de' Tur-chini (Arsace in Partenope), Jeremy Rhorer and Le Cercle de I'Harmonie (Idamante in Idomeneo), and with Ottavio Dantone and Accademia Bizantina (Medoro in Orlando). She also performed during the Prague Spring and Wroclaw Festivals.
Ms. Pokupic holds numerous awards among which are the Le Cercle International des Amis et Mecenes du Chatelet (International Circle of Friends and Patrons of Theatre du Chatelet) "CIAM" award, and "Best Performance" at the Dubrovnik Summer Festival 2004 with the Purcell Quartet. She graduated and obtained her MM from the
Music Academy of Zagreb, where she studied with Zdenka 2abcic-Hesky. Ms. Pokupic holds two first prizes from the 36th Antonin Dvorak International Voice Competition in Karlovy Vary, Czech Repub?lic, as well as two special prizes from the same competition. She reached the finals of the Eighth International Mozart Competition in Salzburg and Competizione dell 'Opera in Dresden.
Future engagements include collaboration with pianists Stephen Kovacevich and Roger Vi-gnoles, performances with Laurence Cummings and London Handel Players during the London Handel Festival, concerts with Jeremy Rorher and Le Cercle de I'Harmonie, Messiah with the Halle Orchestra, Trionfo del Tempo with the Akad-emie fur Alte Musik in Berlin, Irene in Tamerlano at Teatro Real in Madrid under Paul MCreesh, and Cherubino in Le Nozze di Figaro in Beaune and Paris.
With a repertoire ranging from the Renais?sance to the 21st century, tenor James Taylor devotes much of his career to the oratorio and concert literature. One of the most sought after Evangelists in the works of Jo-
hann Sebastian Bach, he has performed in South America, Japan, Israel, the US, and in the great concert halls of Europe.
The 0607 season for Mr. Taylor included the Mozart Mass in c minor led by Helmuth Rilling for both the Toronto and Detroit Symphony orchestras, his debut with the Los
James Taylor
Angeles Philharmonic in the Bach Magnificat led by Bernard Labadie, and a return to Carnegie Hall for the Bach St. Matthew Passion led by Maestro Rilling as part of the annual Carnegie Hall Choral Conductors Workshop. In May 2005, the Yale In?stitute of Sacred Music and Yale School of Music announced the appointment of Mr. Taylor in the Program in Early Music, Song, and Chamber En?semble, as Associate Professor of Voice.
Highlights of previous seasons include The Creation with the Cleveland Orchestra at Sever?ance Hall, Mozart's Requiem with the Detroit Symphony and the St. Paul Chamber Orchestra, and Bach's Mass in b minor with the Pittsburgh Symphony. He appeared at Chicago's Grant Park singing Haydn's Mass in Time of War, and was re?engaged by the Cleveland Orchestra for perfor?mances of Franz Schmidt's The Book of the Seven Seals. In 1997, he made his Vienna Musikverein debut to great critical acclaim in the St. Matthew Passion.
Song recitals play an increasing role in Mr. Taylor's career. Recent appearances include a joint recital of American songs with soprano Julie Kauf-mann, an evening of English lute songs with re?nowned lutenist Paul O'Dette at the Oregon Bach Festival, and a program of Schubert and Britten in Paris. A recital program dedicated to American composers at NDR Hannover earned high critical praise.
A native of Houston, Mr. Taylor attended Texas Christian University as a student of Arden Hopkin. Upon graduating in 1991 with a degree in Vocal Music Education, he was awarded a Ful-bright Scholarship to the Hochschule fur Musik in Munich where he graduated in 1993 with a "Meis-terklassendiplom." While studying in Munich, Mr. Taylor sang for the Munich Opera Studio; he went on to perform at the Theatre de la Monnaie in Brussels and the Staatstheater in Stuttgart.
James Taylor can be heard on over 30 re?cordings. New releases include the Mozart Requi?em with the Saint Paul Chamber Orchestra led by Andreas Delfs on Limestone Records, Beethoven's Missa Solemnis with the Nashville Symphony on the Naxos label, and the rarely-heard Baroque opera Ariadne by Johan Georg Conradi with the Boston Early Music Festival led by Paul O'Dette on ArkivMusik.
Born in Saskatchewan, Canada, bass-bari?tone Nathan Berg began vocal studies in Canada and the US, France, and finally at the Guildhall School of Music and Drama in Lon?don, where he studied with Vera Rozsa and won the Gold Medal for Singers. A winner of prizes in the Royal Over-Seas League, Peter Pears, Kathleen Ferrier, and Walther Gruner Lieder Competitions,
Mr. Berg's musicality and artistry continues to receive internation?al critical acclaim.
With repertoire ranging from Bach and Handel to Mahl?er and Verdi, he has traveled extensively to perform with such conductors as Davis, Slatkin, Masur, Boulez, Harding, and Tilson-Thomas. Mr. Berg has
Nathan Berg
performed with numerous orchestras around the world including the Los Angeles Philharmonic, Chicago Symphony, Montreal Symphony, the Or?chestra of the Age of Enlightenment, the National Symphony, the Rias Kammerchor, the Academy of Ancient Music, Les Arts Florissants, St. Louis Sym?phony, and the San Francisco Symphony Orches?tra. At the Proms in London he has performed with the English Concert and Trevor Pinnock and with the BBC Symphony Orchestra under Belohlavek.
Other concert engagements have included Beethoven's Symphony No. 9 at the Tanglewood Festival (Boston Symphony), the Hollywood Bowl (Los Angeles Philharmonic), with the National Symphony in Washington, and with the Montreal Symphony; Mussorgsky's Songs and Dances of Death with the Philharmonia Orchestra and Esa-Pekka Salonen; Mozart's Requiem in a debut performance with Kurt Masur and the New York Philharmonic Orchestra; and Handel's Messiah for his debut with the Philadelphia Orchestra under Nicholas McGegan, and with the New York Phil?harmonic under Sir Neville Marriner.
Operatic roles have included the role of Ar-gante in Rinaldo at the Bayerische Staatsoper in Munich and the title role in Le Nozze di Figaro for New York City Opera and the Netherlands Opera. Other recent engagements include Leporello in Don Giovanni for Austin Lyric Opera in Texas and in Moscow, and Marcello in La Boheme for Ed?monton Opera.
Mr. Berg is also a prolific recitalist and, work?ing with eminent pianists such as Graham John?son, Malcolm Martineau, Julius Drake, Roger Vi-gnoles, and Martin Katz, has given recitals at the Wigmore Hall, Edinburgh Festival, Musee d'Orsay
in Paris, the Blackheath Concert Halls, the Aix-en-Provence Festival, and at the Lincoln Center in New York.
Mr. Berg's extensive discography includes Handel's Messiah and Purcell's Dido and Aeneas (Harmonia Mundi), Mozart's Requiem (Erato), Dvorak's Stabat Mater with Robert Shaw and the Atlanta Symphony; and Bach's Mass in b minor with Boston Baroque.
Edward Parmentier, Professor of Music at the U-M School of Music (Harpsichord, Early Music Ensemble), taught workshops at U-M last summer on Fundamentals of Ham-
sichord Performance and Repertoire and on the English Suites and two-part inven?tions of J.S. Bach. He gave harpsichord recitals at Redeemer Lutheran Church in St. Clair Shores and at the University of Iowa and performed several times with U-M faculty colleagues Jeffrey Ly-man, Nancy Ambrose
Edward Parmentier
King, and Amy Porter. He also gave a duo-recital in Italian Baroque works with U-M faculty mem?ber and violinist Aaron Berofsky.
In 2007, Mr. Parmentier organized and ran an outreach program for young pianists called Michi?gan Harpsichord Saturday with the participation of harpsichord students. He plans to repeat this program again in March 2008. He also lectured on Baroque performance practice and composi?tion for the Ann Arbor Piano Teachers Association and lectured, taught performance classes, and adjudicated at the Baroque Festival in Portland, Oregon.
Throughout its 128-year history, the UMS Choral Union has performed with many of the world's distinguished orchestras and conductors.
Based in Ann Arbor under the aegis of the University Musical Society, the 175-voice Choral Union is known for its definitive performances of large-scale works for chorus and orchestra. Four?teen years ago, the Choral Union further enriched that tradition when it began appearing regularly with the Detroit Symphony Orchestra (DSO). The chorus has recorded Tchaikovsky's The Snow Maiden with the orchestra for Chandos, Ltd.
Led by Grammy Award-winning Conductor and Music Director Jerry Blackstone, the UMS Choral Union was a participant chorus in a rare performance and recording of William Bolcom's Songs of Innocence and of Experience in Hill Au?ditorium in April 2004 under the baton of Leon?ard Slatkin. Naxos released a three-disc set of this recording in October 2004, featuring the Choral Union and U-M School of Music ensembles. The recording won four Grammy Awards in 2006, including "Best Choral Performance" and "Best Classical Album." The recording was also selected as one of The New York Times "Best Classical Mu?sic CDs of 2004."
The 0607 season included further collabo?rations with the DSO: Mahler's Symphony No. 2 (Rafael Frubeck de Burgos, conductor) and John Adams's On the Transmigration of Souls (John Adams, conductor). Other performance highlights included Shostakovich's Symphony No. 13 ("Babi Yar") with the Kirov Orchestra of St. Petersburg (Valery Gergiev, conductor), the Verdi Requiem with the Ann Arbor Symphony (Arie Lipsky, con?ductor), and the 128th annual performances of Handel's Messiah in Hill Auditorium in December (Jerry Blackstone, conductor).
The chorus also worked with the DSO in the 0506 season, on Beethoven's Symphony No. 9, Mahler's Symphony No. 3, and a concert per?formance of Rossini's opera Tancredi. Additional performances included the Vaughan Williams Sea Symphony with the U-M School of Music's Sym?phony Orchestra conducted by Jerry Blackstone, and Shostakovich's Symphony No. 2 with the Kirov Orchestra of St. Petersburg, conducted by Valery Gergiev.
to Robert and Bunny Carlson on their 50th Consecutive UMS Messiah Performance!
For Robert and Bunny Carlson, "The Christmas season doesn't begin until we hear Messiah at UMS." They've made the trip from Mount Clemens to Ann Arbor each year for the past 50 years, and the concert means a great deal to them and their family. "We started bringing the kids when they were four or five, and they grew up on Messiah dur?ing the holiday season. I refuse to ever buy a recording of it... Messiah to me is the University, is UMS, is Hill Auditorium. I don't want anything to detract from our experience each year." From conductors Lester McCoy to Donald Bryant to Thorn Sheets to Jerry Blackstone... from the University Symphony to the Interlochen Arts Academy Orchestra to the Detroit Symphony to the Ann Arbor Symphony... from Ara Berberian, renowned bass in the 1960s to David Daniels, today's world-famous countertenor... they've seen it all, and look forward to future performances. Upon hearing his first Messiah performance, Mr. Carlson told his wife "that given the choice of being blind or deaf, I would rather be blind, because I was so moved." We at UMS extend our gratitude for their 50 years of dedicated patronage.
This year marks the Ann Arbor Symphony Orchestra's (A2SO) 79th year of exceptional music making that involves the community, fires its imagination, and inspires the next genera?tion of listeners. In 1941 Joseph Maddy (founder of Interlochen Music Camp) conducted this "mom and pop" orchestra of committed and talented amateur musicians.
Since 1986, the A2SO has been a fully pro?fessional orchestra, first under the baton of Carl St. Clair, followed by Samuel Wong. Over 275 in?dividuals applied to succeed Maestro Wong, and through the diligent work of the A2SO Musicians, Board, and active feedback from the community, Arie Lipsky was the unanimous choice to lead this orchestra.
Maestro Lipsky's distinguished and inspired music making treats audiences to thrilling perfor?mances. This past season under Lipsky's leader?ship, the A2SO has been favorably compared to the Leipzig Gewandhaus Orchestra, the Detroit Symphony Orchestra, and the Boston Symphony. On September 29, 2007, an expanded A2SO dem?onstrated true "community involvement" when it joined forces with over 250 singers from six area high schools and the distinguished men's chorus,
Measure for Measure. The glorious sounds of this ensemble soared to the highest reaches of Hill Auditorium under the guidance of Maestro Lip-sky in a program featuring the works of Richard Wagner. In October, the A2SO recorded the first track for its first CD on the Naxos label: American composer Paul Fetler's Second Violin Concerto. The CD will be distributed during the A2SO's 80th anniversary season.
Each carefully prepared season features time-honored classics, a variety of less familiar works by the great masters, plus a bouquet of accessible new works by modern composers, including the premiere of a new work by an emerging U-M stu?dent composer. This season also marks the second musical commission which features an Ann Arbor children's author's book being set to music. The Orchestra was heard over National Public Radio in November 2004, performing Once Upon a Castle, a commission created by internationally-known Ann Arborite Michael Daugherty for the A2SO's 75th anniversary.
Ann Arbor Symphony Orchestra
Arie Lipsky, Music Director and Conductor Mary Steffek Blaske, Executive Director
Violin I
Kathryn Votapek, Concertmaster
Stephen B. Shipps Concertmaster Chair Yi-Ting Kuo
Ruth Merigian Adams Chair Linda Etter
Linda Etter Violin Chair Karen Jenks
Kim, Darlene, and Taylor Eagle Violin Chair Daniel Stachyra
Sarah and Jack Adelson Violin Chair Kathryn Stepulla Val Jaskiewicz
Thomas H. and Mary Steffek Blaske Violin Chair Wendy Zohar
Violin II
Barbara Sturgis-Everetf
A2 Principal Second Violin Chair Honoring
Anne Gates and Annie Rudisill David Lamse
Abraham Weiser Violin Chair Sharon Quint
Brian K. Etter Memorial Violin Chair Jeannette Jang Anne Ogren Xiaojing Pu Trina Stoneham Cyril Zilka
Kathleen Grimes'
Tim and Leah Adams Principal Viola Chair Barbara Zmich Antione Hackney Julianne Zinn Carolyn Tarzia
Carolyn Tarzia Viola Chair
Sarah Cleveland'
Sundelson Endowed Principal Cello Chair Mimi Morris-Kim
Weiblen Cello Chair Eileen Brownell
Marijean Quigley-Young Cello Chair Sabrina Lackey
Gregg Emerson Powell'
Mercantile Bank of Michigan Principal Bass Chair Robert Rohwer Richard Edwards
Kristen Beene'
Gilbert Omenn Principal Oboe Chair Stephanie Shapiro
English Horn
Kristin Reynolds
Katherine Evans'
E. Daniel Long Principal Bassoon Chair Nathan Zeisler Christine Marsh Prince
Susan Nelson
David Ammer
David S. Evans III Principal Trumpet Chair Jonathan Poland
James Lancioni'
= Principal
Gregg Emerson Powell, Personnel Manager Emily Perryman Bugala, Librarian Jim Wright, Operations Manager
UMS Choral Union
Jerry Blackstone, Conductor and Music Director
Jason Harris, Assistant Conductor Nancy K. Paul, Librarian
Jean Schneider and Scott VanOrnum, Accompanists Donald Bryant, Conductor Emeritus
Kathleen Operhall, Chorus Manager
athryn Borden
Ann Marie Borders
Jamie Bott
Mary Bowman
Debra Joy Brabenec
Ann K. Burke
Carol Callan
Susan F. Campbell
Antonia Chan
Young Cho
Cheryl D. Clarkson
Joy Collman
Elizabeth Crabtree
Marie Ankenbruck Davis
Carrie Deierlein
Catherine Dupuis
Jennifer Freese
Kathleen Gage
Keiko Goto
Karen Isble
Alana Kirby
Etsuko Koyama
Allison Lamana
Sally Lawton
Karla Lopez-Beslay
Loretta Lovalvo
Katherine Lu
Linda Selig Marshall
Toni Marie Micik
Ann Ophoff
Ann Orwin
Nancy K.Paul
Sara J. Peth
Margaret Dearden Petersen
Marie Phillips
Julie Pierce
Carmen Price
Vera Sacharin
Erin L. Scheffler
Mary A. Schieve
Linda Smith
Elizabeth Starr
Jennifer Stevenson
Sue Ellen Straub
Ashley Talsma
Virgina A. Thome-Herrmann
Jane VanSteenis
Barbara Hertz Wallgren
Dr. Rachelle Barcus Warren Margie Warrick Barbara J. Weathers Mary Wigton Abigail Wolfe Linda Kaye Woodman Karen Woolams Kacie Wooster Kathleen Young
Paula Allison-England Joan Arnold Olga Astapova Marjane L. Baker Lauren Banach Carol Bamhart Dody Blackstone Katherine Brokaw Lorraine Buis Anna Chung Rebecca Cohen Jeannette Faber Marilyn Finkbeiner Norma Freeman Grace Gheen Siri Gottlieb Anna Gustitus Kat Hagedorn Brianne Hawes Lynn Heberlein Carol Kraemer Hohnke Laura Kaplan Josephine Kasa-Vubu Katherine Klykylo Jessica Lehr Jean Leverich Emily Liddell Carolyn Loh Fran Lyman Karla K Manson Patricia Kaiser McCloud Jennifer McFarlane-Harris Beth McNally Marilyn Meeker Carol Milstein Caroline E. Mohai Catherine P. Morgan, OP. Mary Morse
Kathleen Operhall Sherrill Root Joy Schroeder Cindy Shindledecker Susan Sinta Beverly N. Slater Hanna Song Meredith Sorenson Katherine R. Spindler Gayle Beck Stevens Mara Terwilliger Ruth A. Theobald Carrie Throm Barbara Trevethan Barbara Tritten Cheryl Utiger Alice VanWambeke Iris Wei
Mary Beth Westin Sandra K. Wiley Rebecca Wiseman Susan Wortman Stephanie Zangrilli
Michael I. Ansara
Gary Banks
Fr. Timothy J. Dombrowski
Jason Cloen
John W. Etsweiler III
Steven Fudge
Roy Glover
Matthew Gray
Arthur Gulick
Jason Harris
Steve Heath
Bob Klaffke
Choongwoo Ko
Mark A. Krempski
Adrian Leskiw
Richard Marsh
AT. Miller
Steve Overton
David Schnerer
Carl Smith
Joshua Smith
John Vovak
Vincent Zuellig
Seth Aylesworth
Sam Baetzel
William Baxter
Robert Boardman
David Bowen
Jeff Clevenger
Michael Coster
John Dryden
Don Faber
Kenneth A. Freeman
Philip J. Gorman
James Head
John H. Kusmiss
Lawrence Lohr
Charles Lovelace
William Malone
Edward Maki-Schramm
Joseph D. McCadden
Gerald Miller
Michael Peterson
Michael Pratt
James Cousins Rhodenhiser
Renaudo Robinson
Donald Sizemore
Jeff Spindler
Robert Stawski
John Paul Stephens
Robert Stevenson
William Stevenson
Robert Strozier
Steve Telian
Terril O. Tompkins
Thomas Trevethan
John F. Van Bolt
Diaan Van der Westhuizen
James Williston
Michael Zeddies
Barbara Furin Sloat
The Tallis Scholars
Peter Phillips, Director
Teresa Bonner, Soprano Janet Coxwell, Soprano Patrick Craig, Alto Caroline Trevor, Alto George Pooley, Tenor
Julian Stacker, Tenor Nicholas Todd, Tenor Christopher Watson, Tenor Donald Greig, Bass Robert Macdonald, Bass
Jean Lheritier
Giovanni Pierluigi da Palestrina
Jean Mouton Thomas Crecquillon Josquin Des Prez Jacobus Gallus Gallus Gallus
Thursday Evening, December 6, 2007 at 8:00 St. Francis of Assisi Catholic Church Ann Arbor
Poetry in Music for the Virgin Mary
Nigra Sum
Missa Nigra sum
Sanctus and Benedictus
Agnus Dei I and II
Quaeramus cum pastoribus Quaeramus cum pastoribus Pater noster Pater noster Mirabile mysterium Omnes de Saba
27th Performance of the 127th Annual Season
Choral Music Series
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
This performance is supported by Barbara Furin Sloat. Media partnership provided by WRCJ 90.9 FM.
Special thanks to Jim King of King's Keyboard House, Ann Arbor, for his assistance with tonight's concert.
In North America, The Tallis Scholars are managed by International Arts Foundation, New York, NY.
The Tallis Scholars record for Gimell Records.
Please visit The Tallis Scholars website at
Large print programs are available upon request.
Notes on this Evening's Program
Tonight's first half unites one of Palestrina's 53 parody masses with the Lheritier motet on which it is based. Of these 53 masses, 31 were based on the music of other composers, and the majority of these were Franco-Flemish. Perhaps Palestrina, that paragon of Italian musical perfection, was thus acknowledging his indebted?ness to, or at least his fondness for, the Franco-Flemish school.
Jean Lheritier represents the generation of Renaissance Franco-Flemish composers bridg?ing the gap between Josquin and Palestrina. Al?though biographical detail is typically scant, Lheri?tier was a native of Northern France and could well have been a pupil of the celebrated Josquin. The majority of the information we have about him comes from his travels in Italy in 1506: first to Ferrara, in the service of Alfonso d'Este, and thereafter to Rome, Mantua, Verona and possi?bly Venice (a volume of his motets was published there in 1555). Based on what has survived, he seems principally to have composed motets char?acterized by smooth, flowing lines and the use of clear consistent imitation.
Lheritier's five-part (SATTB) motet Nigra sum sets words from the Song of Solomon, that curi?ously ambiguous biblical text describing the love of King Solomon and the Sulamitess. Whether taken as purely sensuous love poetry or fervent allegory, composers over the centuries have had rich pickings from the Song, and Lheritier seems to have been particularly taken with it, setting Ni?gra sum at least twice more (a four-part and a six-part version also survive). It is interesting to com?pare Lheritier's use of the text in his motet with Palestrina's in his own Nigra sum motet: where the latter uses a good chunk of the actual text, Lheritier sets but three lines, the last two of which are a kind of paraphrase, explaining the striking opening statement "Nigra sum sed Formosa" (I am black but comely). It is also worth noting that nigra here does not mean black in the sense we might understand it today: in the canonical text, the woman explains that her skin has been dark?ened by the sun, for her brothers forced her to work outside in the vineyards.
The opening line of the text also perfectly de?scribes Lheritier's motet: a "dark" brooding open?ing beginning in the tenor, the pace slow, before the music gathers momentum and becomes more "shapely" as Palestrina-esque lines weave in and out of the textures.
The Missa Nigra sum was not published until 1590, though written much earlier. In Peter Phil?lips' liner notes to The Tallis Scholars' recording of the work, he makes the point that Palestrina used his source (namely Lheritier's motet) quite whole?sale, tinkering about with it very little: indeed, many of the mass's movements begin by quot?ing the opening of the motet, giving the mass an overall cohesion.
The two composers who open the second half are also key, though relatively unknown, fig?ures in the Franco-Flemish musical scene of the fif?teenth and sixteenth centuries. Jean Mouton was, like Lheritier, famed for his motets (of which over 100 survive), and for being (as teacher of Adrian Willaert) one of the grandfathers of the Venetian school. We know fairly little of his early life, be?sides his being from the North East of France and becoming a priest. By 1500, he was choirmaster at Amiens cathedral. His fortunes then seemed to rise, for from around 1509 to the end of his life he was the principal composer at the French court. Quaeramus cum pastoribus shows a style akin to Josquin, though perhaps more texturally and rhyth?mically regular. The motet opens canonically with lovely narrative exposition: we are transported to holy night in the company of the first worshippers. The first refrain of "Noe" (Noel) is almost antipho-nal, being passed between the two pairs of upper and lower voices. After a pause, there follows a dramatic question and answer session with some nice word-painting: the vision of Jesus in the man?ger elicits fanfare-like jubilation; the sound of the angels' song is represented by more elaborate part-writing in the upper voices. Later portions of the piece are sober and reflective, befitting the words that hint at prophecy and loss.
Thomas Crecquillon exhibits a similarly re?fined and poised style. Like Mouton and Lheritier, he seems to have been a Northern Frenchman. Unlike his contemporaries, he remained there (and in the Netherlands) all his life, never mak?ing the journey to Italy. In setting the same text, he has gone for the same "key," but produced a more elaborate, florid affair in six parts. He, too, brings out the pictorial qualities of the Medieval Latin poem, though perhaps slightly less markedly than does Mouton.
With Jacobus Gallus (variously known as Ja?cob Handl or Jacob Handl-Gallus), we take a bit of chronological and stylistic leap to the other half of the 16lh century. Unlike his Franco-Flemish forebears, we can be quite certain that Gallus was
born on July 3, 1550 in Reifnitz, Carniola (now Ribnica) in Slovenia. He traveled throughout the empire, for a time living at Melk (in lower Aus?tria), Vienna and finally Prague, where he died on July 18, 1591. He seems to have been quite at home writing in the more traditional imitative manner of the Franco-Flemings (as evinced by his smaller works Mirabile mysterium and Omnes de Saba), whilst at the same time making full use of the current Venetian polychoral style (in his larger works for double-choir, like Pafer Noster). Having obtained the right to have his music printed, he embraced this relatively new medium wholeheart?edly and printed a multi-volume Opus Musicum, including 16 mass settings, 2 passions and 374 motets covering the liturgical year.
Pater Noster is fine example of Gallus going for the Venetian vogue. It is in eight parts, pitting four upper voices against the four lower voices. With the canonic opening in the upper two parts and the subsequent sonorous homophonic episodes, he al?most seems to be marrying the older style with the new. It is a rousing setting of the Lord's Prayer, and ends with a wonderfully florid Amen.
The five-part Mirabile mysterium takes us into rather different territory. From the imitative opening bars, with their intense and extraordinary chromaticism, the atmosphere of mystery is im?mediately and pungently evoked. It is not difficult to believe that Gallus was enjoying the punning potential of the text to the full: apart from the mysterium, there is the innovantur (for he was certainly being novel) and then the rather more rhythmically complicated last few bars--around the word divisionem...
Finally, the five-part Omnes de Saba, perhaps one of his most popular works. After the fanfare opening, the talk of gold and incense is more re?flective, before exuberance takes over once more in praise of God: indeed, the jubilation almost overflows in the "Alleluia" with wonderful rising and falling scales and a classic "over-running" final cadence, where the sopranos and second tenors come to rest on a wholesome B-flat, whilst the other parts keep going for another two bars.
The Tallis Scholars were founded in 1973 by their director, Peter Phillips. Through their recordings and concert performances, they have established themselves as the leading expo?nents of Renaissance sacred music throughout the
The Tallis Scholars
world. The ensemble is renowned for their purity and clarity, allowing every detail of the musical lines to be heard through exceptional tuning and blend.
The Tallis Scholars perform in both sacred and secular venues, giving around 70 concerts each year all around the world. In April 1994 the group enjoyed the privilege of performing in the Sistine Chapel to mark the final stage of the com?plete restoration of the Michelangelo frescoes, broadcast simultaneously on Italian and Japanese television. In 1998 they celebrated their 25th An?niversary with a special concert in London's Na?tional Gallery, premiering a John Tavener work written for the group and narrated by Sting. A further performance was given with Sir Paul Mc?Cartney in New York in 2000. Plans for 2007 in?clude tours of Australia, Japan, Europe, and North and South America as well as festival and concert performances throughout the world.
In recent years, they have performed in Germany, Spain, Italy, the Concertgebouw in the Netherlands, the Cite de la Musique in Par?is, throughout the US, Japan, China, Australia, Singapore, and at many UK venues including Sym?phony Hall, Bridgewater Hall, Wigmore Hall, Lon?don's South Bank Centre and the Royal Albert Hall for the BBC Proms, where they appeared in July 2007 before an audience of over 5000. Concerts in 2006 included their debuts in Iceland, Ravinia and Tanglewood, alongside their second appear?ance at the Mostly Mozart Festival in New York.
2007 marked their debut at the Edinburgh Festival as well as a return to Moscow.
The group continues to commission living composers and gave the world premieres of two works written for 40 voices, have thee by the hand, O Man by Robin Walker and When the wet wind sings by Errollyn Wallen. In January 2006, they premiered Sir John Tavener's Tribute to Cava-fy (the full realization of In the Month of Athyr, the work he wrote for their 25th anniversary), nar?rated by Vanessa Redgrave.
Recordings by The Tallis Scholars have at?tracted many awards throughout the world. In 1987 their recording of Josquin's Missa La sol fa re mi and Missa Pange lingua received Gramophone magazine's "Record of the Year" award, still the only recording of early music ever to win this cov?eted award. Two of their most recent discs, featur?ing the music of John Browne and Francisco Guer?rero, have received exceptional reviews, the former winning the Early Music nomination at the annual Gramophone Awards in 2005. It was also nomi?nated for a Grammy. The group's second DVD video was released in 2003; made in collaboration with BBC television and entitled Playing Elizabeth's Tune, it focuses on the life and works of William Byrd and features performances of the sacred mu?sic of Elizabeth I's favorite composer, filmed in the beautiful surroundings of Tewkesbury Abbey. This has recently received a unique five-star listing in the French music magazine. Diapason.
eter Phillips has made an impressive if un?usual reputation for himself in dedicating his life's work to the research and perfor-
mance of Renaissance polyphony. Having won a scholarship to Oxford in 1972, Mr. Phillips studied Renaissance music with David Wul-stan and Denis Arnold, and gained experience in conducting small vo?cal ensembles, already experimenting with the
Peter Phillips
rarer parts of the repertoire. He founded The Tal-lis Scholars in 1973, with whom he has now ap?peared in 1450 concerts and made over 50 discs, encouraging interest in polyphony all over the world. As a result of his work, through concerts, recordings, magazine awards, publishing editions
of the music, and writing articles, Renaissance music has come to be accepted for the first time as part of the mainstream classical repertoire.
Apart from The Tallis Scholars, Mr. Phillips continues to work with other specialist ensem?bles. Among others he has appeared with the Collegium Vocale of Ghent, broadcasting live on French radio from the Saintes festival; the Vox Vo?cal Ensemble of New York; and Musix of Buda?pest. Mr. Philips also works extensively with the BBC Singers with whom he has broadcast live on BBC Radio Three. He gives numerous master-classes and choral workshops every year around the world and is also Artistic Director of The Tal?lis Scholars Summer School--UKand US-based choral courses dedicated to exploring the heritage of Renaissance choral music, and developing a performance style appropriate to it as pioneered by The Tallis Scholars. 2007 marks the first Sum?mer School in Sydney, Australia. Mr. Phillips has recently been appointed Director of Music at Mer-ton College, Oxford, where he will set up a new Choral Foundation in 2008.
In addition to conducting, Peter Phillips is well known as a writer. For many years he has contributed a regular music column (as well as one on cricket) to The Spectator. In 1995 he be?came the owner and Publisher of The Musical Times, the oldest continuously-published music journal in the world. His first book, English Sa?cred Music 1549-1649, was published by Gimell in 1991, while his second. What We Really Do, an unblinking account of what touring is like, along?side insights about the make-up and performance of polyphony, was published in 2003.
In 2005, Mr. Phillips was made a Chevalier de I'Ordre des Arts et des Lettres by the French Min?ister of Culture, a decoration intended to honor individuals who have contributed to the under?standing of French culture in the world. In 2006, his song-cycle for contralto Four Rondeaux by Charles d'Orleans was premiered in the Guggen?heim, New York, to critical acclaim.
Tonight's performance marks The Tallis Scholars' sixth UMS appear?ance. The ensemble made their UMS debut in April 1996 at St. Francis of Assisi Catholic Church.
Youssou N'Dour
and the
Super Etoile de Dakar
Youssou N'Dour, Lead Vocals Mamadou Mbaye, Lead Guitar Pape Omar Ngom, Guitar El Hadji Faye, Percussion Assane Thiam, Talking Drum Ablaye Lo, Drums Moustapha Faye, Keyboards Habib Faye, Bass and Keyboards Birame Dieng, Backing Vocals
Saturday Evening, December 8, 2007 at 8:00 Hill Auditorium Ann Arbor
Tonight's selections will be announced by the artists from the stage and will be performed with no intermission.
28th 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, Ann Arbor's 107one, and Michigan ChronicleFront Page.
Special thanks to Alhousseynou Ba and the Senegalese Association of Michigan for their participation in this residency.
Youssou N'Dour and The Super Etoile appear by arrangement with International Music Network.
Large print programs are available upon request.
With his new album Rokku Mi Rokka (Give and Take), Senegalese Youssou N'Dour continues the journey deep in?side the traditions of his country that began with the release of Nothing's In Vain and the Grammy-winning Egypt, the two albums now considered his most remarkable achievements to date. More than 25 years into a career that scaled heights once unimaginable for African music, he is still setting the pace for all artists in West Africa.
"What keeps me passionate about music is the freedom I have," he says. "The freedom to use different sounds and find different vibes. I started my professional life interpreting Cuban music, then I sang mbalax and pop, and I think that if I had stayed in one style I would have got a little tired. But, you know, I also have a reputation for bringing something new to the world outside
Born in 1959, Mr. N'Dour first achieved fame as a 12-year-old who sang at religious ceremonies; by 16 he was a de facto star, singing with one of the most popular bands of the 1970s, Etoile De Dakar. In the 1980s, as leader of the Super ftoile, he developed the mbalax form of African music. It was developed as a blend of the country's traditional griot percussion and praise-singing with Afro-Cuban arrangements and flavors which made "the return trip" from the Caribbean to West Africa in the 1940s, 50s and 60s and have flourished in West Africa ever since. Beginning in the mid-1970s, the re?sulting mix was modernized with a gloss of more complex indigenous Senegalese dance rhythms, roomy and melodic guitar and saxophone solos, chattering talking-drum solilo?quies and, on occasion, Sufi-inspired Muslim religious chant. This created a new music which was at tums nos?talgic, restrained, stately, celebra?tory, explosively syncopated, and indescribably funky. As it emerged from this period of fruitful musical turbulence, mbalax would eventu?ally find in Youssou N'Dour the per?former who has had more to do with its shaping than any other individual.
"The problem for some people is that mbalax is a complex music. If you don't know our language, Wolof, or our culture, you will get confused, you won't understand the references. So I had to take a decision to make it easy for people to under?stand me. I want to communicate with every?body."
With the global hit single "7 Seconds," Mr. N'Dour achieved his goal of reaching out to the whole world. "It opened doors for me and for my music," he smiles, "It was a magical oppor?tunity." But with the planet waiting for another "7 Seconds," he turned his back on making pop records and drew his new audience into the world of traditional Senegalese music (on Nothing's In Vain, released in 2002) and spirituality (on Egypt, a collaboration with the Fathy Salama Orchestra, released in 2004).
Youssou N'Dour
On Rokku Mi Rokka, he continues his adven?tures in traditional music, but with a twist. "The music and inspiration on this album are from the north, from the desert, from parts of the country that border on Mali and Mauritania. People from those countries will know and understand this music as well as people who come from the center of Senegal."
"Some people might think Senegalese music means mbalax, which is Wolof, the most impor?tant language in the country, everybody speaks it. But all my life I have been saying that this is not the only music we have in Senegal, we have a wide range of sounds and rhythms. When it came to writing the songs for this album, I wanted to use different sounds.
"Sometimes you will hear a little blues on the album, a little reggae, a bit of Cuba. In Africa, we get excited when we hear these rhythms, be?cause we feel them, they are ours, but they left Africa with the slaves a long time ago. Rokku Mi Rokka means 'You give me something, I give you something' and that's the message of the album: we have received a lot from the developed world, but remember that we brought a lot, too."
It's this interaction between two worlds that intrigues Mr. N'Dour in 2007. Last year, he appeared in his first Hollywood movie, play?ing the freed slave Olaudah Equiano in the film Amazing Grace, which told the story of Wil?liam Wilberforce's efforts to abolish slavery. "When I read Equiano's autobiography, I un?derstood that he and I are trying to do a lot of the same things. A lot of the African story about the abolition of slavery remains untold."
In 2005, he was the sole African to sing on the London stage of Live 8, where he performed "7 Seconds" with Dido before taking a helicop?ter to appear at the Cornwall concert, and then a plane to the Paris show. But if Live 8 cemented Mr. N'Dour's position as the most important Afri?can musician of his time, there have been growing rumors that he considering moving into politics. "No, I don't need to be a politician. A lot of prob?lems in Africa are caused by people getting impor?tant political positions when they are not experi?enced politicians. I'm involved injustice, in human rights: what I'm doing is more than politics and I'm doing my best while following my passion, my music."
And so, in 2006, Youssou returned to Xippi Studios. "We recorded about 20 songs and then
we had to decide how to mix them. It's crazy, but Africans like the sound of keyboards and modern instruments, the rest of the world wants Africa's traditional instruments, but audiences in Africa won't react to the music unless we use modern instruments. The only thing both audiences like is lots of space for my voice. I have to mix the songs not to sell, but to deliver them to different audi?ences, so there is an African version and one for the rest of the world."
To ensure the necessary authenticity in the songs he was writing, Youssou sought out Bah Mody, one of the north's most popular singers. "Next year, I'm going to help him record his own album, I really want people to hear what he can do. We had this great feeling going between us, the direction we took is the result of real teamwork."
For the music, Mr. N'Dour returned to the band he helped form a quarter of a century ago, the Super F_toile, and old friends Habib Faye (bass), Babacar "Mbaye Dieye" Faye (percussion), and Papa Oumar Ngom (guitar), who have been part of his journey for more than 20 years. "They are not from the north, but they are Senegalese, they understand exactly what is happening in the north, the south and the center. What I believe is that the instruments are not the important thing. What matters is the expression. I can choose from a lot of great musicians when I record, but these guys un?derstand how to express what I am looking for."
"Music is a language, maybe the first lan?guage, and I use it to deliver a message because people can hear it and understand it first, quicker than if they waited for a newspaper. I sing about reality, about my society, which is more than just Senegal or Africa. I sing about the world."
This evening's performance marks Youssou N'Dour's second appear?ance under UMS auspices. Mr. N'Dour made his UMS debut in November 2005 with Fathy Salama's Cairo Orchestra in a presentation of Egypt--a collabora?tion between West African and Egyptian musicians. Tonight marks The Super Etoile's UMS debut.
Turtle Island Quartet
Leo Kottke
Guitar and Vocals
David Balakrishnan, Violin, Baritone Violin Mads Tolling, Violin Jeremy Kittel, Viola Mark Summer, Cello
Sunday Afternoon, December 9, 2007 at 4:00 Rackham Auditorium Ann Arbor
A Solstice Celebration: The Festival of Lights
This afternoon's program will be announced by the artists from the stage and will contain an intermission.
29th 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.
Media partnership provided by WEMU 89.1 FM and Metro Times.
The Turtle Island Quartet appears by arrangement with Baylin Artists Manage?ment, Doylestown, PA.
Leo Kottke appears by arrangement with Monterey Peninsula ArtistsParadigm, Monterey, CA.
Large print programs are available upon request.
A Note on this Afternoon's Program
This collaboration honors the musicians' ances?tral roots in a series of concerts showcasing the music of the Jewish and Hindu traditions of the Festival of Lights. From the songs of Chanukah, to the music of India's Dewali, to the old English carols and Scottish reels of the 16th century, the concert explores (with a hip, modern twist) the timeless music that has been an integral part of winter holiday celebrations for centuries.
The artists will choose selections from the following:
World Turning (Fleetwood Mac)
Rings (Leo Kottke)
Chanukah, Oh Chanukah (traditional Jewish)
In Christ There Is No East Or West (John Fahey)
Jot Se Jot Jagake Chalo (Laximant Pyarelal, India)
Wonderland By Night (Bert Kaempfert)
Thin Ice (Variations on Vivaldi's "Winter")
Linus and Lucy (Vince Guaraldi)
Silent NightAll Blues
(traditional Austrian I Miles Davis) Winter In Cairo (based on the "Arab Dance"
movement from Tchaikovsky's
Nutcracker Suitej Arms Of Mary (Ian Sutherland) Bringing in the Sheaves (Horace Clarence
Boyer, gospel)
Christmas Day I'Da Mornin' (traditional Scottish) Summer's Growing Old (Leo Kottke)
Its name derived from creation mythology found in Native American Folklore, the Turtle Island Quartet, since its inception in 1985, has been a singular force in the creation of bold, new trends in chamber music for strings. Winner of the 2006 Grammy Award for "Best Classical Crossover Recording of the Year," Turtle Island fuses the classical quartet esthetic with contem?porary American musical styles, and by devising a performance practice that honors both, the state of the art has inevitably been redefined. Yo-Yo Ma has proclaimed Turtle Island to be "a unified voice that truly breaks new ground--authentic and pas?sionate--a reflection of some of the most creative music-making today."
The Quartet's birth was the result of violin?ist David Balakrishnan's brainstorming explora?tions and compositional vision while writing his master's thesis at Antioch University West. The
Turtle Island Quartet
journey has taken Turtle Island through forays into folk, bluegrass, swing, be-bop, funk, R&B, new age, rock, hip-hop, as well as music of Latin America and India...a repertoire consisting of hundreds of ingenious arrangements and origi?nals. It has included over a dozen recordings on labels such as Windham Hill, Chandos, Koch, and Telarc; soundtracks for major motion pictures; TV and radio credits such as the Today Show, All Things Considered, Prairie Home Companion, and Morning Edition; feature articles in People and Newsweek magazines; and collaborations with famed artists such as clarinetist Paquito D'Rivera, The Manhattan Transfer, pianists Billy Taylor and Kenny Barron, the Ying Quartet, and the Parsons Dance Company.
Another unique element of Turtle Island is their revival of venerable improvisational and com?positional chamber traditions that have not been explored by si'ing players for nearly 200 years. At the time of Haydn's apocryphal creation of the string quartet form, musicians were more akin to today's saxophonists and keyboard masters of the jazz and pop world--improvisers, composers, and arrangers. Each Turtle Island member is accom?plished in these areas of expertise as well as having extensive conservatory training as instrumentalists.
One result of this dedication can be seen in Turtle Island's phenomenal international appeal, particularly in Europe where chamber music re?mains a vital facet of life. What was once termed "alternative" chamber music now firmly inhabits the mainstream. Turtle Island members refine their skills through unusual and endemic "re-com?positions" of works by the old masters, through the development of repertory by some of today's cutting-edge composers, through performances and recordings with major symphonic ensembles, and through a determined educational commit?ment. Turtle Island Quartet promises to be a string quartet for the 21st century.
Try and Stop Me. The title of Leo Kottke's new album encapsulates the spirit of the man himself--profoundly original, a little cantankerous perhaps, a deep-talking Midwest?ern raconteur whose quick wit is matched by his astounding virtuosity on the six and 12-string gui?tars. For the past three decades, Mr. Kottke has been indefatigable in his pursuit of a unique musi?cal vision that has placed him among the foremost acoustic guitar stylists of our time.
Longtime Kottke devotees have learned to expect the unexpected. Try and Stop Me is no ex?ception. It is the most improvisational record the legendary guitarist has ever recorded. Usually a meticulous pre-planner, Mr. Kottke threw all pre?conceived notions to the wind when he entered Studio M near his home in Minneapolis.
"Over time, the importance of improvisation for me has increased," he says. "I used to think that it was nothing worth hearing." Among the factors that helped thaw Mr. Kottke's longstand?ing reluctance to "jam out" was the making of Clone, his 2002 duet record with bassist Mike Gordon of Phish.
Mr. Kottke's unusual taste in cover material also helps, as always, to push the envelope. Among other things, there's the guitarist's remarkably
lyrical reading of the '50s kitsch pop standard, "Mock?ingbird Hill," pop?ularized by singer Patti Page. And the album closes with his interpretation of the '40s labor movement rabble rouser, "The Banks of Marble." While all the other songs on the disc are solo acoustic, this one
Leo Kottke
eatures Mr. Kottke's floorboard-rumbling bari-:one vocal style and the backing of Los Lobos-old friends from way back. "Doing that song was a sentimental journey for me," says Mr. Kottke. "It was [folk singing legend] Pete Seeger's recording of 'The Banks of Marble' that first got me excited about the 12-string guitar many years ago."
Mr. Kottke's ability to embrace folk idioms and pop melodies as readily as he assimilates jazz and classical influences makes him unique among
guitar virtuosi. For all its technical brilliance, wicked syncopation, and harmonic sophistication, his mu?sic is eminently accessible. At heart he's a populist. This has been abundantly clear ever since the gui?tarist's 1969 debut, 12 String Blues, recorded live at a Minneapolis folk club. Mr. Kottke's 1971 major label debut, Mudlark, and seminal Six and 12-String Guitar (1972) announced the arrival of a major new voice in acoustic guitar instrumental music.
Classic Kottke albums like Chewing Pine (1975), Balance (1979), Time Step (1983), My Father's Face (1989), Great Big Boy (1991), Pecu-liaroso (1993), and One Guitar, No Vocals (1999) have consistently won over new fans while con?tinuing to surprise and delight longtime aficiona?dos. Over the years, Mr. Kottke has worked in the studio and shared concert stages with everyone from Lyle Lovett, John Fahey, T-Bone Burnett, and Rickie Lee Jones, to Paco de Lucia, Pepe Romero, John Williams, John McLaughlin, and Joe Pass.
"My music is maybe hard to categorize," Mr. Kottke allows. "It doesn't fit conveniently into the bins at record stores. That works for me, though...I don't rise and fall with trends. Most listeners seem to have room for this stuff. It's been great that way."
Tonight's performance marks Leo Kottke's second UMS appearance following his UMS debut in March 1994 as a member of the Guitar Summit along with Paco Pena and Pepe Romero presented at Rackham Auditorium.
This is the Turtle Island Quartet's UMS debut.
Gil Omenn and
Martha Darling
Emerson String Quartet
Philip Setzer, Violin (First on Janacek and Bart6k) Eugene Drucker, Violin (First on Saariaho and Sheng) Lawrence Dutton, Viola David Finckel, Cello
Kaija Saariaho
Bright Sheng Bela Bartok
Friday Evening, January 4, 2008 at 8:00 Rackham Auditorium Ann Arbor
String Quartet No. 2
Andante Adagio Moderato Allegro
Terra Memoria
String Quartet No. 5
String Quartet No. 3
Prima parte: Moderato
Seconda parte: Allegro
Recapitulazione della prima parte: Moderato
Coda: Allegro molto
'Co-commissioned for the Emerson String Quartet by the State University of New York at Stony Brook, Stanford University, and the University Musical Society at the University of Michigan.
ith 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.
Tonight's performance is supported by Gil Omenn and Martha Darling.
Media partnership provided by WGTE 91.3 FM and Observer & Eccentric newspapers.
The Emerson String Quartet appears by arrangement with IMG Artists and records exclusively for Deutsche Grammophon.
Large print programs are available upon request.
String Quartet No. 2, "Intimate Letters" (1928)
Born July 3, 1854 in Hukvaldy, Moravia
Died August 12, 1928 in Moravska Ostrava
In his 70s, LeoS Janafek was younger at heart than many people half his age. Many of his greatest works were written at a point in life when other composers slow down, if they don't stop working altogether. This late efflorescence had a lot to do with an encounter in 1917 that changed Janacek's life forever. The composer, who had just begun to emerge from many years of artistic neglect with the sensational Prague premiere of his opera Jenufa, met a young woman named Kamila Stoss-lovS at a spa in Moravia. He was 63, she 26. They were both married--she had two young children. Janiek fell passionately in love. Rejuvenated by his feelings for Kamila, he completed, in the space of a decade, four operas, two piano concertos, the Sinfonietta, the Glagolitic Mass and two string quartets. The second of these, Listy duv$rne (Inti?mate Letters), which Janaf ek originally wanted to call "Love Letters," is the most direct reflection of this remarkable relationship, in which correspon?dence played a major part. There are more than 700 surviving letters from JanSiek to Stosslova (published in Czech in 1990 and in English four years later)--an amazing group of documents that, in the words of translator and editor John Tyrrell, "go to the heart of Janacek's inner life and...contain a great love story."
However, the four musical letters contained in the quartet's four movements go to emotional regions that words can never reach. This is music of uncommon intensity. Just as a person in love can't find rest, so the music keeps changing tem?pos and instrumental textures in a totally unpre?dictable, yet by no means illogical, way.
ianatek wrote this quartet in January and February of 1928. His original plan was to re?place the viola in the quartet by the Baroque viola d'amore (viola of love). This later turned out to be impractical and the regular string-quartet scor?ing was retained, but the viola part often carries special meaning and plays many extremely impor?tant solos. The very first time it enters (after an energetic opening motif played by the other three instruments), it plays pianissimo and sul ponticello (near the bridge)--resulting in a special, mysteri?ous timbre. The two contrasting themes of the opening (do they represent two people in a rela-
tionship) will undergo their respective, individual evolutions in the course of the movement. Some?times they are stated with blunt simplicity; other times, they are developed with great sophistica?tion. At the end of the movement, the viola takes over the energetic opening theme in a passionate "Allegro." Once the viola has concluded, the first violin plays it again, at half speed, as a grandiose final gesture.
The second movement opens with a tender melodic figure played, once more, by the viola. In the course of the movement, this figure will be heard in a great many different harmonizations and instrumentations, now expressive and myste?rious, now sweeping and powerful. At one point, the first four notes of the melody are turned into a rapid accompaniment figure, set against the same melody, played in a powerful fortissimo and in slow motion. Then, as an utter contrast, a playful, folk-like tune appears, and tums from folk-dance to lament in a matter of seconds. The recapitula?tion is combined with a surprise return of the twin motifs from the first movement. In the words of the eminent Janafek scholar Jaroslav Vogel, the movement ends "in a loud, festive [manner] and a mood of solemn thanksgiving."
The third movement starts like a lyrical inter?mezzo, with all four instruments playing in harmo?ny in the same rhythm. The idyll is soon disrupted by a more agitated second theme, which appears in many forms, in changing tempi and different registers. Finally it is stated with extreme force by the first violin at the top of its range. Janafek told Kamila that this movement was "very cheerful and then dissolved] into a vision which would re?semble your image, transparent, as if in the mist." The first theme retums and, surprisingly, takes on the agitated rhythmic quality of the second--the two people in a relationship are affecting and in?fluencing one another. A pianissimo recall of the second theme, and a few sudden fortissimo mea?sures, end the movement.
Like the third movement, the finale opens with a theme of deceptive simplicity, this time a vigorous folk-dance; once more, the initial mood is disrupted by episodes in turn dramatic and pain?fully nostalgic. In the middle of the movement, the second violin plays a fiery cadenza made up of trills; the trills are then transformed into nervous figurations that remain present for the rest of the movement. The folk-dance reappears but is not allowed to bring about a "resolution": the quartet
is left curiously open as it ends on a strong dis?sonance. The love between Janaek and Stosslova was not to find fulfillment on this earth.
Janaek died suddenly on August 12, 1928, without having heard a public performance of the quartet. But on June 27, he listened to the members of the Moravian String Quartet play it through for him. That day he wrote to Kamila:
Those cries of joy, but what a strange thing, also cries of terror after a lullaby. Exaltation, a warm declaration of love, imploring; untamed longing. Resolution, relentlessly to fight with the world over you. Moaning, confiding, fearing. Crush?ing everything beneath me if it resisted. Standing in wonder before you at our first meeting. Amazement at your appearance; as if I had fallen to the bottom of a well and from that very moment I drank the water of that well. Confusion and high-pitched song of victory. "You've found a woman who was destined for you." Just my speech and just your amazed silence. Oh, it's a work as if carved out of living flesh. I think that I won't write a more pro?found and a truer one.
Program note by Peter Laki.
Terra Memoria (2007)
Kaija Saariaho
Born October 14, 1952 in Helsinki, Finland
Kaija Saariaho is currently living in Paris. She com?posed Terra Memoria in 2007 on commission from The Carnegie Hall Corporation, and it was premiered by the Emerson String Quartet at Car?negie Hall in New York City on June 17, 2007. The score bears a dedication "for those departed."
While she was growing up, Saariaho was so drawn to visual imagery that she imagined she might seek a career as a painter or designer. But she veered instead toward music, studying at Hel?sinki University and the Sibelius Acadamy. There she was a pupil of Paavo Heininen, the composer, teacher, and musicologist who was emerging as an eminence grise behind Finland's ascent in the international musical avant-garde. Following her graduation, in 1981, she worked with Brian Fer-
neyhough and Klaus Huber at the Hochschule fur Musik in Freiburg. She developed an interest in the developments of Gerard Grisey and Tristan Murail in the field of musique spectrale, a French move?ment featuring individual sounds as the model for composition, and in 1982 she installed herself in Paris, where she has lived ever since. She has become involved in electronic composition at the Institut de Recherche et de Coordination Acous-tiqueMusique (IRCAM, the musical technology center headed by Pierre Boulez).
During the 1980s she often found inspiration for her compositions in the physical phenomena of nature: the refraction of light (in Verblendun-gen, 1982-84, her first major work), the Aurora Borealis (Lichtbogen, 1986), the opposed charac?teristics of matter in the states of geological crys?tal and smoke (Du cristal...a la fumee, 1988-89). Much of her music at that time seemed monolith?ic, yet its surface was typically enlivened by scur?rying detail, by intricate variations of sound that traced busy patterns through the texture of the large orchestra. In the 1990s (and on into the new century) her music took on an increasingly lyrical flavor as her basic outlook evolved. Recent works, including her operas L'Amour de loin (2000; it earned her the coveted Grawemeyer Award in 2003) and Adriana Mater (2006), have basked in luxurious expanses of unabashed sensuousness.
Saariaho has provided this comment about Terra Memoria:
Terra Memoria is my second piece for string quartet, the first being Nymphea, which was written in 1987.
Twenty years have passed since Nym?phea and my musical thinking has evolved much in that time, but my initial interest in string instruments has remained as vivid as ever. I love the richness and sen?sitivity of the string sound and, in spite of my spare contribution to the genre, I feel when writing for a string quartet that I'm entering into the intimate core of musical communication.
The piece is dedicated "for those de?parted." Some thoughts about this: we continue remembering the people who are no longer with us; the material--their life--is "complete," nothing will be added to it. Those of us who are left behind are constantly reminded of our experiences
together: our feelings continue to change about different aspects of their personal?ity; certain memories keep on haunting us in our dreams. Even after many years, some of these memories change, some remain clear flashes which we can relive.
These thoughts brought me to treat the musical material in a certain manner; some aspects of it go through several distinctive transformations, whereas some remain nearly unchanged, clearly recognizable.
The title Terra Memoria refers to two words which are full of rich associations: to earth and memory. Here earth refers to my material, and memory to the way I'm working on it.
Program note by James M. Keller.
String Quartet No. 5, "The Miraculous" (2007)
Bright Sheng
Born December 6, 1955 in Shanghai
String Quartet No. 5, written between March and July 2007, was co-commissioned for the Emer?son String Quartet by the State University of New York at Stony Brook, Stanford University, and the University Musical Society at the University of Michigan. It was premiered by the Emerson String Quartet on October 18, 2007. The work is dedi?cated to the Emerson String Quartet.
The subtitle of String Quartet No. 5, "The Miraculous," is inspired by two sources. Firstly, it is quite unusual to hear a string quartet in which each member is not only a splendid virtuoso, but also a passionate and superb musician. That was the thought that went through my mind when I first heard them in the summer of 1983 at Aspen Music Festival where I was a student, new in this country. Throughout its two-and-a-half decades, the Emerson's performances have become greatly more profound; yet they have not lost any of their passion and virtuosity.
The second inspiration comes from Bela Bartbk's Miraculous Mandarin Suite, which I con?ducted in early 2007. Although I was always fond of the work, it was only when I was preparing to conduct it did I truly appreciate what Bartbk at?tempted to achieve musically. On the one hand, I do not agree with Bartbk's almost-racist interpre?tation of what he saw as a "miraculous Mandarin."
On the other hand, I marvel at Bart6k's composi?tion with its swift change of images and constant varying of tempi--in many sections, which add up to more than two-thirds of the work, almost every measure is in a different tempo. While writing this piece, I asked myself if I could achieve more or less the same "miraculous" effect without imitating Bartok's devices.
String Quartet No. 5 is based on two very different musical motifs, like two strangers from different cultural backgrounds who meet and be?come fast lovers. Throughout their courtship, nei?ther of them changes but they get to know and understand each other on a much deeper level. Most importantly, they learn to happily live with each other.
Program note by Bright Sheng.
String Quartet No. 3 (1927)
Bela Bart6k
Born March 25, 1881 in Nagyszentmiklos,
Hungary (now Sinnicolau Mare, Romania) Died September 26, 1945 in New York
The string quartets of Bela Bartbk have long been recognized as one of the peaks of 20th-century chamber music. In these six masterworks, Bartbk created a classical sense of harmony and balance using entirely new and non-classical means--an achievement to which few of his contemporaries can lay claim.
Tonight's quartet has been seen as the acme of Bartok's modernism (along with Bart6k's fourth quartet, though this was written one year later). In fact, it may well be that at first hearing, the listen?er's attention is engaged by the highly advanced harmonic and rhythmic idiom of these works. Yet for all its "modernity," the quartet is full of refer?ences (sometimes veiled, sometimes more overt) to folk music. Bart6k's strategy consists in using only one parameter of his folk sources at a time: he will either quote a typical pentatonic cadence from Hungarian folk music (G-C-A) without the rest of the tune, or use a symmetrical melodic structure derived from folk music but filled out by markedly non-folkloric pitch material. In this way, the traditional and non-traditional elements of his style are fused in a seamless unity.
The String Quartet No. 3 is in a single move?ment but is divided into four clearly demarcated
segments. A slow Prima parte and a fast Secon?da parte are followed by a varied recapitulation of Part I and a Coda based on Part II. The Prima parte is a masterful example of "organic growth": a complex and variegated movement arises from two or three tiny motifs that are themselves in?terrelated. One of the most important moments comes at the end of the section, where these tiny motifs coalesce into a long, pentatonic musical phrase (played by the second violin and the viola). The Seconda parte brings together a string of themes in various dance meters, both symmetri?cal and asymmetrical. The dance becomes more and more excited; the themes are developed in contrapuntal imitation, almost as if the dancers tripped over one another. The end of the section was best characterized by Kapati in his book Bar-tok's Chamber Music. "The composer's 'scalpel' continues to strip off the thematic and motivic lay?ers--penetrating right down to the 'skeleton' of the themes." This is followed by the return of the slow tempo (Ricapitulazione delta prima parte) in which the short motifs of the work's opening are "reconfigured" to form a completely new musical entity. Finally, the Coda presents the main themat?ic material of the Seconda parte in a condensed version, culminating in a climactic ending.
Program note by Peter Laki.
Renowned for its insightful performances, dynamic artistry, and technical mastery, the Emerson String Quartet has amassed an impressive list of achievements over three decades: a brilliant series of recordings exclu?sively documented by Deutsche Grammophon since 1987, eight Grammy Awards including two for "Best Classical Album," an unprecedented honor for a chamber music group, three Gramo?phone Awards, and frequent performances in major concert halls throughout the world. The ensemble is lauded globally as a string quartet that approaches both classical and contemporary repertoire with equal mastery and enthusiasm. The currrent season includes over 80 world?wide engagements, with a particular focus on Europe. In late August and early September, the quartet made appearances at the festivals of Gstaad, Salzburg, Schwarzenberg, Merano, As-cona, Copenhagen, Cologne, and Stockholm. The quartet retums to Europe throughout the season for a three-concert series at London's Wigmore Hall, another three-concert series at London's Queen Elizabeth Hall, a two-concert series at Vi?enna's Konzerthaus, its first appearance at Cite de la Musique in Paris, and a pair of concerts at the Teatro della Pergola in Florence, with additional concerts in Spain, Austria, France, the UK, Ger?many, and Italy. The Quartet's North American
Emerson String Quartet
tours include stops in San Francisco, Stanford, Portland, Dallas, Philadelphia, Ann Arbor, Santa Barbara, Los Angeles, San Diego, Vancouver, Scottsdale, Savannah, and Houston. The Quartet continues its residency at the Smithsonian Institu?tion in Washington DC, now in its 28th sold-out season, and appears in New York with pianist Gil?bert Kalish for Lincoln Center's Great Performers and with pianist Yefim Bronfman at Carnegie Hall. The Emerson String Quartet serves as quartet-in-residence at Stony Brook University, where, in addition to chamber music coaching throughout the academic year, they have con?ducted intensive string quartet workshops in 2004 and 2006 with plans for a third festival in 2009. The Quartet has also overseen three pro?fessional training workshops at Carnegie's Weill Music Institute. In March 2004 the Quartet was named the 18th recipient of the 2004 Avery Fish?er Prize--another first for a chamber ensemble.
Formed in 1976, the Emerson String Quartet took its name from the American poet and phi?losopher Ralph Waldo Emerson. Violinists Eugene Drucker and Philip Setzer alternate in the first chaii position and are joined by violist Lawrence Duttor and cellist David Finckel. Since January 2002, they have performed while standing--the cellist plays or a podium--and incorporates this practice in all ap pearances. The Quartet is based in New York City.
Tonight's performance marks the Emerson String Quartet's 13th ap?pearance under UMS auspices. The Quartet made their UMS debut in March 1989.
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.-.......II
nities for students and members of the 11 Tr
University community to further appreciate the m ' ' '
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 F_toile
Jazz at Lincoln Center Orchestra: Love Songs
of Duke Ellington
Celebration of the Keyboard
Ahmad Jamal
SFJAZZ Collective: A Tribute to Wayne
Urban Bush WomenCompagnie Jant-Bi:
Les ecailles de la memoires (The scales of
Bobby McFerrin, Chick Corea and
Jack Dejohnette
Please call 734.615.0122 or email for more information.
UMS has one of the largest K--12 education ini?tiatives in the state of Michigan. Designated as a "Best Practice" program by ArtServe Michigan and the Dana Foundation, UMS is dedicated to making world-class performance opportunities and professional development activities available to K-12 students and educators.
UMS Youth
0708 Youth Performance Series
These world-class daytime performances serve pre-K through high school students. The 0708 season features special youth presentations of Shen Wei Dance Arts, Pamina Devi: A Cambodian Magic Flute, Sphinx Competition Honors Concert, Chicago Classical Oriental Ensemble, Wu Man and the Chinese Shawm Band, SFJAZZ Collective, and Urban Bush WomenCompagnie Jant-Bi. Tickets range from $3-6 depending on the performance and each school receives free curriculum materials.
Teacher Workshop Series
UMS is part of the Kennedy Center Partners in Education Program, offering world-class Kennedy Center workshop leaders, as well as workshops designed by local arts experts, to our community. Both focus on teaching educa?tors techniques for incorporating the arts into classroom instruction.
K-12 Arts Curriculum Materials
UMS creates teacher curriculum packets, CDs, and DVDs for all of the schools participating in UMS's Youth Education Program. UMS curricular materials are available online at no charge to all educators. All materials are designed to connect the curriculum via the Michigan State Benchmarks and Standards.
Teacher Appreciation Month!
March 2008 has been designated UMS Teacher Appreciation Month. All teachers will be able to purchase tickets for 50 off at the venue on the night of the performance (subject to availability). Limit of two tickets per teacher, per event. Teachers must present their official school I.D. when purchasing tickets. Check out the UMS website at for March events!
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
idfQ&ffcl Ford Motor Company Fund s="k and Community Services
Michigan Council for Arts and Cultural Affairs University of Michigan
Arts at Michigan
Bank of Ann Arbor
Kathy Benton and Robert Brown
Borders Group, Inc.
The Dan Cameron Family Foun?dationAlan and Swanna Saltiel
CFI Group
Chamber Music America
Doris Duke Charitable Foundation
DTE Energy Foundation
The Esperance Family Foundation
JazzNet Endowment
Masco Corporation Foundation
Michigan Economic Development Corporation
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
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 UJvUTnion wWvgg'"-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 oerforming 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 Aorking at UMS, please call 734.615.1444.
Student Advisory Committee
As an independent council drawing on the diverse membership of the University of Michigan community, the UMS Student Advisory Committee works to increase student interest and involvement in the various pro?grams offered by UMS by fostering increased communication between UMS and the student community, promoting awareness and accessi?bility of student programs, and promoting the student value of live performance. For more information or to participate on the Committee, please call 734.615.6590.
Join us for camaraderie, fine cuisine, and musical insights at the Prelude Dinners before these performances. For reservations and information, please call 734.764.848g
Fri, Sept 28, 5:30 pm, Alumni Center Shen Wei Dance Arts
Speaker: Kenneth G. Lieberthal
Sat, Oct 6, 5:30 pm, Rackham Building Filarmonica delta Scala Speaker: Martin Katz
Fri, Oct 12,5:30 pm, Hill Auditorium Krystian Zimerman
Speaker: Logan Skelton
Thurs, Oct 25,5:30 pm, Power Center Hubbard Street Dance Chicago
Speaker: Jim Vincent
Sun, Nov 4, 2007,5 pm, Rackham Building St. Petersburg Philharmonic
Speaker: Beth Genne
Sat, Nov 10,5:30 pm, Rackham Building Yo-Yo Ma and Kathryn Stott
Speaker: Anthony Elliott
Wed, Jan 16,5:30 pm, Hill Auditorium Jazz at Lincoln Center Orchestra
Speaker: Ellen Rowe
Sat, Feb 2,5:30 pm, Rackham Building A Celebration of the Keyboard
Speaker: Arthur Greene
Sat, Febr 9,5:30 pm, Rackham Building Guamerijohannes String Quartets
Speaker: William Bolcom
Thurs, Feb 14,5:30 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 de Mayo
Saturday, May 3,2008,7 PM Hosts: Jean and Arnold Kluge
If These Walls Could Talk Saturday, May 17,2008,6-8 PM Hosts: Sue and Jim Kern
Rhythms of the Night
Friday, May 30, 2008,6-9 PM Host: Newcombe Clark
There are many ways to support the efforts of UMS, all of which are critical to the success of our season. We would like to welcome you to the UMS family and involve you more closely in our exciting programming and activities. This can happen through corporate sponsorships, business advertising, individual donations, or through volunteering. Your financial investment andor gift of time to UMS allows us to continue connecting artists and audiences, now and into the future.
When you advertise in the UMS program book you gain season-long visibility among ticket buyers while enabling an important tradition of providing audiences with the detailed program notes, artist biographies, and program descrip?tions that are so important to the performance experience. Call 734.764.6833 to learn how your business can benefit from advertising in the UMS program book.
As a UMS corporate sponsor, your organization comes to the attention of an educated, diverse and growing segment of not only Ann Arbor, but all of southeastern Michigan. You make possible one of our community's cultural treas?ures, and also receive numerous benefits from your investment. For example, UMS offers you a range of programs that, depending on your level of support, provide a unique venue for:
Enhancing corporate image
Cultivating clients
Developing business-to-business relationships
Targeting messages to specific demographic groups
Making highly visible links with arts and education programs
Recognizing employees
Showing appreciation for loyal customers
For more information, please call 734.647.1176.
We could not present our season without the invaluable financial support of individual donors. Ticket revenue only covers half of the cost of our performances and educational events. UMS donors help make up the differ?ence. If you would like to make a gift, please fill out and mail the form on page P40 or call 734.647.1175.
UMS Advisory Committee
The UMS Advisory Committee is an organiza?tion of over 70 volunteers who contribute approximately 7,000 hours of service to UMS each year. The purpose of the Advisory Committee is to raise funds for UMS's nationally-acclaimed arts education program through the events listed below. In addition, Advisory Committee members and friends provide assis?tance in ushering at UMS youth performances and assist in various other capacities through?out the season. Meetings are held every two months and membership tenure is three years. Please call 734.647.8009 to request more information.
Delicious Experiences
These special events are hosted by friends of UMS. The hosts determine the theme for the evening, the menu, and the number of guests they would like to entertain. It's a wonderful way to meet new people!
Ford Honors Program and Gala May 10, 2008
This year's program will honor renowned flutist James Galway as he receives the UMS Distinguished Artist award. Following the program and award presentation, the UMS Advisory Committee will host a gala dinner to benefit UMS Education programs. Please call 734.647.8009 for more information.
On the Road with UMS
Last September, over 300 people enjoyed an evening of food, music, and silent and live auc?tions, netting more than $80,000 to support UMS educational programs. This year's event was held on September 14. Look for informa?tion at about On the Road in the 0809 season.
UMS Ushers
Without the dedicated service of UMS's Usher Corps, our events would not run as smoothly as they do. Ushers serve the essential functions of assisting patrons with seating, distributing pro?gram books, and providing that personal touch which sets UMS events apart from others.
The UMS Usher Corps is comprised of over 500 individuals who volunteer their time to make your concert-going experience more pleasant and efficient. Orientation and training sessions are held each fall and winter, and are open to anyone 18 years of age or older. Ushers may commit to work all UMS perform?ances in a specific venue or sign up to substi?tute for various performances throughout the concert season.
If you would like information about becoming a UMS volunteer usher, contact our Assistant Ticketing Manager, Front of House, Suzanne Davidson, at 734.615.9398 or e-mail
July 1, 2006-August 1, 2007
Thank you to those who make UMS programs and presentations possible. The cost of presenting world-class performances and education programs exceeds the revenue UMS receives from ticket sales. The difference is made up through the generous support of individuals, corporations, foundations, and government agencies. We are grateful to those who have chosen to make a difference for UMS! This list includes donors who made an annual gift to UMS between July 1, 2006 and August 1, 2007. Due to space constraints, we can only list those who donated $250 or more. Every effort has been made to ensure the accuracy of this list. Please call 734.647.1175 with any errors or omissions. Listing of donors to endowment funds begins on page P46.
$100,000 or more
Doris Duke Charitable Foundation
Ford Motor Company Fund
Michigan Council for Arts and Cultural Affairs
Michigan Economic Development Corporation
Pfizer Global Research & Development:
Ann Arbor Laboratories University of Michigan Health System
DTE Energy
DTE Energy Foundation
Esperance Family Foundation
Northwest Airlines
The Power Foundation
Borders Group
Cairn Foundation
Brian and Mary Campbell
CFI Group, Inc.
Charles H. Gershenson Trust
Detroit Auto Dealers Association Charitable
Foundation Fund
Maxine and Stuart Frankel Foundation Kaydon Corporation KeyBank Robert and Pearson Macek
Masco Corporation
National Dance Project of the New England
Foundation for the Arts National Endowment for the Arts Gilbert Omenn and Martha Darling Larry and Beverly Price ProQuest
Dennis and Ellie Serras Toyota Technical Center The Whitney Fund at the Community
Foundation for Southeastern Michigan Ann and Clayton Wilhite
$10,000-$ 19,999
Michael Allemang and Janis Bobrin
AMGEN Foundation, Inc.
The Ann Arbor News
Arts at Michigan
Arts PresentersMetLife Foundation Award for Arts
Access in Underserved Communities Bank of Ann Arbor
Linda and Maurice Binkow Philanthropic Fund Carl and Isabelle Brauer Fund Chamber Music America Charter One Bank Concord Music GlaxoSmithKline Foundation David and Phyllis Herzig LaSalle Bank Charlotte McGeoch Mrs. Robert E. Meredith Donald L. Morelock
THE MOSAIC FOUNDATION (of R. & P. Heydon) NEA Jazz Masters on Tour
Jane and Edward Schulak
Barbara Furin Sloat
University of Michigan Credit Union
Universal Classics Group
Marina and Bob Whitman
Paulett Banks
Edward Surovell RealtorsEd and
Natalie Surovell Carl and Charlene Herstein Miller Canfield Paddock and Stone P.LC. 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 (Catherine 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 Powertrairt-
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 0. 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
Lesh 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
Carofyn 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. Conhn
Phelps and Jean Connell
Jim and Connie Cook
Jane Wilson Coon and A. Rees Midgley
Kathleen Crispell and Tom Porter
Judy and Bill Crookes
Patricia Garcia and Dennis A. Dahlmann
Julia Donovan Darlow and John O'Meara
Susan T. Darrow
Charles W. and Kathleen P. Davenport
Hal and Ann Davis
Sally and Larry DiCarlo
Andrzej and Cynthia Dlugosz
Jack and Alice Dobson
Molly Dobson
Heather and Stuart Dombey
John Dryden and Diana Raimi
Aaron Dworkin and Afa Sadykhly
Jack and Betty Edman
Joan and Emil Engel
David and Jo-Anna Featherman
Dede and Oscar Feldman
Yi-Tsi M. and Albert Feuerwerker
Susan A. Fisher
Susan Fisher and John Waidley
Robben Fleming
Esther Floyd
James W. and Phyllis Ford
Forrest Family Fund
Dan and Jill Francis
Leon and Marcia Friedman
Enid H. Galler
Prof. David M. Gates
Thomas and Barbara Gelehrter
Karl and Karen Gotting
Cozette T. Grabb
Elizabeth Need ham 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 Melvm A. Lester MD Carolyn and Paul Lichter Jean E. Long
John and Cheryl MacKrell Cathy and Edwin Marcus Ann W. Martin and Russ Larson Marilyn Mason Natalie Matovinovic Mary and Chandler Matthews Judythe and Roger Maugh Carole J. Mayer Raven McCrory W. Joseph McCune and
Georgiana M. Sanders Griff and Pat McDonald Mercantile Bank of Michigan Merrill Lynch
Henry D. Messer and Carl A. House Paul Morel
Alan and Sheila Morgan Melmda and Bob Morris Cyril Moscow Nustep, Inc. Maryten S. Oberman Marysia Ostafin and George Smillie Mohammad and
J. Elizabeth Othman Donna Parmelee and
William Nolting Bertram and Elaine Pitt Peter and Carol Polvenm Richard and Mary Price Produce Station Mrs. Gardner C. Quarton Donald Regan and
Elizabeth Axelson Maria and Rusty Restuccia Kenneth J. Robinson Nancy and Doug Roosa Rosalie Edwards
Vibrant Ann Arbor Fund Doris E. Rowan Craig and Jan Ruff
Norma and Dick 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 Liina M. Wallin Harvey and Robin Wax W. Scott Westerman, Jr. Dr. and Mrs. Max V. Wisgerhof It 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 Conn Wayne and Melinda Colquitt Arnold and Susan Coran
Joan S. Crawford
Peter C. and Lindy M. Cubba
John G. and Mary R. Curtis
Roderick and Mary Ann Daane
Robert and Joyce Damschroder
Norma and Peter Davis
Ellwood and Michele Derr
Linda Dmtenfass and Ken Wisinski
Cynthia M. Dodd
Robert J. and Kathleen Dolan
Dallas C. Don
Gavin Eadie and Barbara Murphy
James Eng and Patricia Randle
Stefan and Ruth Fajans
Elly and Harvey Falit
Irene Fast
Margaret and John Faulkner
Sidney and Jean Fine
Carol Finerman
Clare M. Fingerle
Herschel and 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 Gasloli
Beverly Gershowitz
Ronald Gibala and Janice Grichor
Paul and Suzanne Gikas
Zita and Wayne Gillis
Amy and Glenn Gottfried
Dr. John and Renee M. Greden
Anna and Robert Greenstone
Ingrid and Sam Gregg
Arthur W. Gulick, MD
Don P. Haefner and
Cynthia J. Stewart Tom Hammond
Martin D. and Connie D. Harris Susan Harris Alfred and Therese Hero Herb and Dee Hildebrandt Peter Hinman and Elizabeth Young Sun-Chien and Betty Hsiao Ralph and Del Hulett Ann D. Hungerman Thomas and Kathryn Huntzicker Eugene and Margaret Ingram INviA Medical Imaging Solutions Stuart and Maureen Isaac Mark S. and Madolyn Kaminski Christopher Kendall and
Susan Schilperoort Rhea K. Kish Paul and Dana Kissner Hermine Roby Klingler Regan Knapp and John Scudder Michael J. Kondziolka and Mathias-
Phihppe Florent Badin Dr. and Mrs. Melvyn Korobkin Rebecca and Adam Kozma Barbara and Ronald Kramer Dr. and Mrs. Gerald Krause Jane Laird
Marilyn and Dale Larson John K. Lawrence and
Jeanine A. De Lay Mary Rabaut LeFauve Richard LeSueur Myron and Bobbie Levine Ken and Jane Lieberthal Marilyn and Martin Undenauer E. Daniel and Kay M. Long Frances Lyman Bngitte and Paul Maassen Pam MacKintosh Nancy and Philip Margolis Susan E. Martin and Randy Walker Olivia Maynard and Olof Karlstrom Margaret E. McCarthy Margaret and Harris McClamroch Dr. Paul W. McCracken Joanna McNamara and Metvin Guyer
James M. Miller and
Rebecca H. Lehto Myrna and Newell Miller Ben 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. Towler Jeff and Lisa Tulin-Sifver Dr. Sheryl S Ulm and
Dr. Lynn T. Schachinger Steven and Christina Vantrease Shirley Verrett
Drs. Bill Lee and Wendy Wahl Elizabeth and David Walker Enid Wasserman Carol Weber
Angela Welch and Lyndon Welch Iris and Fred Whitehouse Leslie C.Whitfield Sally M. Whiting Reverend Francis E. Williams Robert J. and Anne Marie Willis Lawrence and Mary Wise James and Gail Woods Dr. and Mrs. Clyde Wu Mayer and Joan Zald
Dorit Adler
Thomas and Joann Adler Family Foundation Helen and David Aminoff Anonymous
Bert and Pat Armstrong
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. Eriing Blondal Bengtsson
Rodney and Joan Bentz
Dr. Rosemary R. Berardi
Sandra L. and Stanley Bies
llene and William Btrge
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 Chien
Kwang and Soon Cho
Reginald and Beverly Ciokajlo
Theodore and Jean Conn
Edward and Anne Comeau
Minor J. Coon
Cliff and Kathy Cox
Malcolm and Juanita Cox
Lloyd and Lois Crabtree
Clifford and Laura Craig
Merle and Mary Ann Crawford
Mary C. Crichton
Connie D'Amato
Timothy and Robin Damschroder
Sunil and Merial Das
Art and Lyn Powrie Davidge
Ed and 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 Ounifon
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
Or. 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 Goodkin Enid M. Gosling and
Wendy Comstock
Mr. and Mrs. Charles and Janet Goss James W. and Maria J. Gousseff Michael Gowing
Mr. and Mrs. Christopher L Graham Martha and Larry Gray Jeffrey B. Green Daphne and Raymond Grew Mark and Susan Griffin Werner H. Grilk Bob and Jane Grover Robin and Stephen Gruber Anna Grzymala-Busse and
Joshua Berke Ken and Margaret Guire H&R Block Foundation George and Mary Haddad M. Peter and Anne Hagiwara Walt and Charlene Hancock Naomi Gottlieb Harrison and Theodore Harrison DOS 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 Samueison and Joel Howell Mabelle Hsueh Harry and Ruth Huff Heather Hurlburt and Darius Sivm 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 Katbfteisch 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 Lachowia
Kathy and Timothy Laing
Neal and Anne Laurance
Laurie and Robert LaZebnik
David Lebenbom
John and Theresa Lee
Sue Leong
Melvyn and Joan Levitsky
Jacqueline H. Lewis
Don and Erica Lindow
Michael and Debra Lisull
Michael Charles Litt
Dr. Daniel Little and
Dr. Bernadette Lint2
Rod and Robin Little
Dr. and Mrs. Lennart H. Lofstrom
Julie M. Loftin
Naomi E. Lohr
Stephanie and Richard Lord
Charles P. and Judy B. Lucas
Martin and Jane Maehr
Mefvin and Jean Manis
Manpower, Inc. of Southeastern Michigan
Ken and Lynn Marko
W. Harry Marsden
Laurie McCauley and Jessy Grizzle
Peggy McCracken and Doug Anderson
Liam T. McDonald
James A. Mclntosh
James H. Mclntosh and Elaine K. Gazda
Bill and Ginny McKeachie
McNaughton & Gunn, Inc.
Frances McSparran
Nancy A. and Robert E. Meader
Gerlinda S. Melchion PhD
Warren and Hilda Merchant
Sara Meredith and James Chavey
Liz and Art Messiter
John and Fei Fei Met2ler
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 Marnie Reid and Family Alice Rhodes Betty Richart Constance Rinehart Riverbend Condominium Jack and Aviva Robinson
Jonathan and Anala Rodgerc
Dr. Susan M. Rose
Jean R Rowan
Bob and Susan Rowe
Rosemarie Rowney
Carol D. Rugg and
Richard K. Montmorency Michael and Kimm Sarosi Stephen J. and Kim Rosner Saxe Jochen and Helga Schacht Frank J. Schauerte David and Marcia Schmidt Leonard Segel Harriet Seiin Robert D. Shannon Matthew Shapiro and Susan Garetz David and Elvera Shappirio Jean and Thomas Shope Patricia Shu re 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 Ua 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 Arvan and Katharine Uhle Susan B. Ullrich Dr. Samuel C. and Evelyn Ursu Hugo and Karla Vandersypen Mary Vandewiele
Andrea and Douglas Van Houweling Michael Van Tassel Dr. and Mrs. Edward P. Van Wesep Drs. Harue and Tsuguyasu Wada Jack Wagoner Virginia Wait
Thomas and Mary Wakefield Charles R. and Barbara H. Wallgren Shaomeng Wang and Ju-Yun Li Jo Ann Ward John M. Weber Deborah Webster and
George Miller
Mr and Mrs. Larry Webster Jack and Jerry Weidenbach Lisa and Steve Weiss John, Carol and Ian Welsch Mary Ann Whip pie 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
S10.000-S 19,999
Kathy Benton and Robert Brown
Robert and Pearson Macek
Estate of Melanie McCray
James and Nancy Stanley Mary Vanden Belt
Herb and Carol Amster
Joan Akers Binkow
CFI Group, Inc.
Richard and Carolyn Lineback
Susan B. Ullrich
Mrs. Robert E. Meredith
Marina and Bob Whitman
Ann and Clayton Wilhite
Michael Allemang and Janis Bobrin
Essel and Menakka Bailey
Charles and Linda Borgsdorf
Jean W. Campbell
Barbara Mattison Carr
Jean and Ken Casey
Jane Wilson Coon and A. Rees Midgley
Patricia Garcia and Dennis Dahlmann
Macdonald and Carolin Dick
Molly Dobson
Jack and Betty Edman
Charles and Julia Eisendrath
Dede and Oscar Feldman
James and Chris Froehlich
Dr. Sid Gilman and Dr. Carol Barbour
Paul and Anne Glendon
Susan and Richard Gutow
David W. and Kathryn Moore Heleniak
Debbie and Norman Herbert
Carl and Charlene Herstein
Gloria and Bob Kerry
Jill Latta and David Bach
Lawrence and Rebecca Lohr
Nancy and Philip Margolis
Natalie Matovinovic
W. Joseph McCune and
Georgiana M. Sanders Melinda and Bob Morris Elizabeth and Robert Oneal Mark and Susan Orringer Mrs. Charles Overberger (Betty) Steve and Tina Pollock Jeffrey and Huda Karaman Rosen Corliss and Dr. J.C. Rosenberg Prudence and Amnon Rosenthal Nancy W. Rugani Frances U. and Scott K. Simonds Mac and Rosanne Whitehouse Jeanne and Paul Yhouse Jay and Mary Kate Zelenock
Jerry and Gloria Abrams
Mrs. Bonnie Ackley
Bernard and Raquel Agranoff
Barbara A. Anderson and John H. Romani
Lynne A. Aspnes
John U. Bacon
Daniel and Barbara Balbach
Gary Beckman and Karla Taylor
Jack Bill? and Sheryl Hirsch
David and Martha Bloom
Mimi and Ron Bogdasarian
Paul Boylan
Carl A. Brauer, Jr.
Robert and Victoria Buckler
John and Janis Burkhardt
Letitia J. Byrd
Carolyn M. Carty and Thomas H. Haug
Jack Cederquist and Meg Kennedy Shaw
Dr. Kyung and Young Cho
Donald and Astrid Cleveland
Katharine Cosovich
George and Connie Cress
Mary C. Crichton
Neeta Delaney and Ken Stevens
Nicholas and Elena Delbanco
Macdonald and Carolin Dick
Judy and Steve Dobson
Hal and Ann Doster
Michele Eickholt and Lee Green
Charles N. and Julie G. Ellis
Stefan and Ruth Fajans
Gerald B. and Catherine L. Fischer
Jeanne and Norman Fischer
Esther Floyd
Lucia and Doug Freeth
Marilyn L. Friedman
Bart and Cheryl Frueh
Tavi Fulkerson
Joyce and Steve Gerber
Jack and Kathleen Glezen
Tom and Katherine Goldberg
Bob Green
Lewis R. and Mary A. Green
Linda and Richard Greene
Walt and Charlene Hancock
Carol I. Harrison
Alice and Clifford Hart
Joyce and John Henderson
I. 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 fill 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
JTie 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
7ie 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 Ay la & Company John u. Bacon Bailey. Banks & Biddle Bana Salon and Spa Bob and Wanda Bartlett Joseph W. Becker Gary Beckman Bellanina Day Spa Kathy Senion and Robert Brown Yehonatan Berick Lynda Berg Berry Goldsmiths The Betty Brigade Nishta Bhatia
Maurice and Linda Binkow Jerry Blackstone Bloomfield Gourmet Shoppe Blue Nile
Boychoir of Ann Arbor Enoch Brater
Beth BruceThe Carlisle Collection Sob Buckler Jim Bumstein
Patty ButzkeOrbit Hair Design Cafe Zola Cake Nouveau Lou and Janet Callaway Camp Michigania Mary CampbellEveryday Wines Nathan C apian Casey's Tavern Cass Technical High School Cesar Chavez High School Mignonette Cheng Cherry Republic TheChippewa Club Mark Hague Deb Clancy Coach Me Fit Cote 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 Juhe Ellison Equilibrium Espresso Royale Mary Ann Faeth Fantasy Forest
Jo-Anna and David Featherman Susan Filipiak Ucal Finley
Susan Fisher and John Waidley Kristin Fontichiaro Frame Factory Fran Coy Salon Sara Frank
Maxine and Stuart Frankel Traianos Gagos Deborah Gabrion Zvi Gitelman Glass Academy LLC Anne Glendon Kaihy 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 Kathryn Moore Helemak Carl and Chariene 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 Reinhan Realtors 25 Donaldson and Gunther, DDS 32 Edward Surovell Realtors 25 Edwards Brothers 22
arbara Hodgdon
he Homestead Bed and Breakfast
long Hua
lowell Nature Center
!arol and Dan Huntsbarger
The Moveable Feast juanaworks itegrated Architecture iward Bound Yoga uhe's Music ?nagining America Mohammad Issa Andrew Jennings lercy and Stephen Kasle leg Kennedy Shaw ien's Flower Shops Cerrytown Concert House 'atty and David Kersch man Khagani (enneth Kiesler om and L12 Knight Cnit A Round Yarn Shop Cnit Pickers oan Knoertzer jayle LaVictoire .ynnae Lehfeldt .ori Lentini-Wilbur Richard LeSeuer Jobbie and Myron Levine .ewis Jewelers aren I mdenberg .ogan An American Restaurant ?teanor Lord Stephanie Lord Martin and Jane Maehr Manachi Especial de Alma Martha Cook Residence Hall Marygrove 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 of Golf
Jeff MoreAshley's Restaurant Morgan and York Mosaic Youth Theater Motawi Tileworks Vince Mountain Louis Nagel The Neutral Zone John Neville-Andrews M. Haskell and Jan Barney Newman Sarah and Dan Nicoh Tom OgarMerrill Lynch Opus One Marysia Ostafin Pacific Rim by Kana Paesano's Restaurant
Gilmore Festival 30 Honigman Miller Schwartz and
Conn LLP 34 Howard Cooper Imports 4 IATSE 20 Iris Cleaners-39 Jaffe Rain Heuer and Weiss 20 Kellogg Eye Center16 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 Mamie 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 Shafie
Shaman Drum Bookshop Nelson Shant2 Piano Service Bright Sheng George Shirtey John Shultz Photography Silkmoons Susan Sitver-Fink Loretta Skewes Tim and Marie Slottow Andrea Smith Mandisa Smith Elizabeth Southwkk Cynthia Sowers The Spa at Liberty Peter Sparling Rick Sperling Sphinx Organization Jim and Nancy Stanley St. Anne's Church in Detroit Bennett Stein Stonebridge Golf Club Cindy Straub Ed and Natalie Surovell
Edward Surovell Realtors Sweet Gem Confections Swing City Dance Studio Ten Thousand Villages Tom Thompson Flowers Liz Toman Trader Joe'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 Medicine
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 Programs
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 Dance
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 District
Enid Wasserman
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 WilliamsHoak
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 the following organizations:
Ann Arbor Area Convention &
Visitors Bureau
Ann Arbor Chamber of Commerce Arts Alliance of the Ann Arbor Area ArtServe Michigan Association of Performing Arts
Chamber Music America International Society for the
Performing Arts Mam Street Area Association Michigan Association of Community
Arts Agencies
National Center for Nonprofit Boards State Street Association Think Local First
Connecting I
f Performing I

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