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UMS Concert Program, Wednesday Jan. 16 To 27: University Musical Society: Winter 2008 - Wednesday Jan. 16 To 27 --

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University Musical Society
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Season: WINTER 2008
University Of Michigan, Ann Arbor

university musical society
Winter 08 University of Michigan Ann Arbor 2 Letters from the Presidents 5 Letter from the Chair
UMSLeadership 6 UMS Corporate and Foundation Leaders 14 UMS Board of DirectorsNational Council SenateAdvisory Committee 15 UMS StaffTeacher Advisory Committee
UMSlnfo 17 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 37 Individual Donations P39 UMS Volunteers 41 Annual Fund Support 46 Annual Endowment Support P48 UMS Advertisers
Cover: Urban Bush Women and Compagnie Jant-Bi perform Les ecailles de la mtmoire (The scales of memory) at the Power Center on Friday, March 28 and Saturday, March 29, 2008.
Welcome to this performance of 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 that is distinctive nationally in several ways:
UMS has commissioned more than 50 new works since 1990, demonstrating its commit?ment to supporting creative artists in all disciplines. Two of these UMS commissions featured this term are works by renowned U-M composers: MacArthur Fellow Bright Sheng's String Quartet No. 5 for the Emerson String Quartet on January 4 and Pulitzer Prize-winning William Bolcom's Octet for Double Quartet for the Guarneri and Johannes String Quartets on February 9.
In the past three seasons, 54 of UMS pre?sentations have featured artists making their UMS debuts, a measure of UMS's commit?ment to new and emerging artists, and 55 have featured artists from outside the United States, highlighting UMS's belief that artistic expression can foster greater understanding and appreciation of diverse cultures. In con?junction with the University's ChinaNow Theme Year, UMS presents pianist Yuja Wang on January 20 and pipa player Wu Man on February 10, each in their UMS debut per?formance.
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. One of the most notable partnerships for UMS this season is with our School of Music, Theatre & Dance. Together they have brought the renowned contemporary chamber music ensemble
eighth blackbird to the campus on four occasions during which the group has worked with hundreds of students on campus and in the community. Their residency culminates in their UMS debut performance on April 10.
UMS is the only university-related presenter in the nation to have been honored by both the Wallace Foundation with its Excellence Award and the Doris Duke Charitable Foundation with its Leading College and University Presenter Award in the inaugural year of both endowment programs, a measure of the esteem with which UMS is regarded in the presenting field.
Thank you for attending this UMS perform?ance. Please join us for other UMS events and for performances, exhibitions, and cultural activ?ities 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 and click on "Museums and Cultural Attractions."
Mary Sue Coleman
President, University of Michigan
Welcome! It's great to have you with us at this UMS performance. I hope you enjoy the experience and will come to more UMS events between now and May 10 when we close our 200708 season with our annual Ford Honors Program. This year's program features a recital by flutist James Galway followed by a wonderful dinner organized by our Advisory Committee. You'll find all of our performances listed on page 2 of your program insert.
Our Fall Season included 31 performances featuring artists and ensembles representing 19 countries around the world. Wherever possible, we like to create opportunities for our audience members to meet the artists. Here is a sampling of photos from several of the events from the Fall Season:
Above: (Clockwise from top left)
Cellist Yo-Yo Ma backstage at Hill Auditorium with 8-year-old fan Forrest Flesher, whose mother Carol Gagliardi had painted a portrait of the cellist
Cambodian dancers from the Pamina Devi performance with a young fan at the Meet & Greet in the Power Center Lobby
Canadian tenor Ben Heppner with concert sponsors Maurice and Linda Binkow at the Filarmonica della Scala afterglow on the Hill Mezzanine
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
Singer Dianne Reeves at the NETWORK reception hosted by Habte Dadi and Almaz Lessanework at the Blue Nile restaurant
Hungarian pianist Andres Schiff in the Green Room at Rackham Auditorium with Ann Arbor piano teacher Natalie Matovinovic and two of her students
Breakin' Curfew curators from Ann Arbor's teen center. The Neutral Zone, following a presentation to UMS staff
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
UMS Leadership
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 bril?liant 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 spe?cial. 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 per?formances for patients, families, and visitors spon?sored by our Gifts of Art program, or therapies such as harmonica classes for pulmonary patients or music relaxation classes for cancer patients, we've seen firsthand the power of music and performance. That's why we are proud to support the University Musical Society's ongoing effort to bring inspiration and entertainment to our communities."
Douglass R. Fox
President, Ann Arbor Automotive "We at Ann Arbor Automotive are pleased to support the artistic variety and program excellence given to us ' by the University Musical Society."
Laurel R. Champion
Publisher, The Ann Arbor News "The people at The Ann Arbor News are honored and pleased to partner with and be supportive of the University Musical Society, which adds so much depth, color, excite?ment, and enjoyment to this incredible community."
Timothy G. Marshall
President and CEO, Bank of Ann Arbor "A commitment to the community can be expressed in many ways, each different and all appropriate. Bank of Ann Arbor is pleased to continue its long term support of the University Musical Society by our sponsorship of the 0708 season."
Habte Dadi
Manager, Blue Nile Restaurant 'At the Blue Nile, we believe in giving back to the community that sustains our business. We are proud to support an organization that provides such an important service to Ann Arbor."
George Jones
President and CEO, Borders Group, Inc. "Borders embraces its role as a vital, contributing member of the community that reaches out to connect with people. We know that what our customers read, listen to, and watch is an integral part of who they are and who they aspire to be. Borders shares our community's passion for the arts and we are proud to continue our support of the University Musical Society."
Claes Fornell
Chairman, CFI Group, Inc.
'The University Musical Society is a marvelous magnet for attracting the world's finest in the performing arts. There are many good things in Ann Arbor, but UMS is a jewel. We are all richer because of it, and CFI is proud to lend its support."
Charles E. Crone, Jr.
Ann Arbor Region President, Comerica Bank 'Our communities are enriched when we work together. That's why we at Comerica are proud to support the University Musical Society and its tradition of bringing the finest in performing arts to our area."
Fred Shell
Wee President Corporate and Government Affairs, DTE Energy
"The DTE Energy Foundation is pleased to support exemplary organizations like UMS that inspire the soul, instruct the mind, and enrich the community."
Edward Surovell
President, Edward Surovell Realtors
"Edward Surovell Realtors and its 300 employees and sales asso?ciates are proud of our 20-year relationship with the University Musical Society. We honor its tradition of bringing the world's leading performers to the people of Michigan and setting a standard of artistic leadership recognized internationally."
Leo Legatski
President, Elastizell Corporation of America "Elastizell is pleased to be involved with UMS. UMS's strengths are its programming--innovative, experimental, and pioneering--and its education and outreach programs in the schools and the community."
Kingsley P. Wootton
Plant Manager, GM Powertrain Ypsilanti Site "Congratulations on your 129th season! Our community is, indeed, fortunate to have an internationally renowned musical society. The extraordinary array of artists; the variety, breadth and depth of each season's program; and the education and community component are exceptional and are key ingredients in the quality of life for our community, region, and state. It is an honor to contribute to UMS!"
Carl W. Herstein
Partner, Honigman Miller Schwartz and 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 organization."
Thomas B. McMullen
President, Thomas B. McMullen Co., Inc. "I used to feel that a U-M-Ohio State football ticket was the best ticket in Ann Arbor. Not anymore. UMS provides the best in educational and artistic entertainment."
Robert R. Tisch
President, Tisch Investment Advisory "Thank you, Ann Arbor, for being a wonderful community in which to live, raise a family, and build a successful business."
Tom Thompson
Owner, Tom Thompson Flowers
"Judy and I are enthusiastic participants in the UMS family. We appreciate how our lives have been elevated by this relationship."
Yasuhiko "Yas" Ichihashi
President, Toyota Technical Center "Toyota Technical Center is proud to support UMS, an organization with a long and rich history of serving diverse audiences through a wide variety of arts programming."
Robert K. Chapman
Chairman and Chief Executive Officer, United Bank & Trust 'At United Bank & Trust, we believe the arts play an impor?tant role in evolving the quality of life and vibrancy of the community. So it is with great pleasure that United supports the University Musical Society and the cultural excellence they provide to our area."
Jeff Trapp
President, University of Michigan Credit Union 'Thank you to the University Musical Society for enriching our lives. The University of Michigan Credit Union is proud to be a part of another great season of performing arts."
Susan Bellinson
Director of Marketing and Community Relations, Whole Foods "Whole Foods Market is delighted to support the University Musical Society. Our city is most fortunate to be the home of this world-class organization!"
UMS gratefully acknowledges the support of the following foundations and government agencies.
$100,000 or more
Doris Duke Charitable
Foundation Michigan Council for Arts
and Cultural Affairs Michigan Economic
Development Corporation The Wallace Foundation
Anonymous DTE Energy Foundation Esperance Family Foundation The Power Foundation
Cairn Foundation Maxine and Stuart Frankel
Foundation National Dance Project of the
New England Foundation
for the Arts National Endowment for the
Arts The Whitney Fund at the
Community Foundation
for Southeastern Michigan
Chamber Music America
Arts Midwest Performing Arts
Fund Issa Foundations
S1,000-S4,999 Eugene and Emily Grant
Family Foundation Martin Family Foundation THE MOSAIC FOUNDATION
(of R. & P. Heydon) Millman Harris Romano
Foundation Sarns Ann Arbor Fund
UNIVERSITY MUSICAL S 0 C I E T Y of the University of Michigan
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 Al Dodds Aaron P. Dworkin Maxine J. Frankel
Patricia M. Garcia Anne Glendon David J. Herzig Christopher Kendall Melvin A. Lester Joetta Mial Lester P. Monts Roger Newton Philip H. Power Todd Roberts A. Douglas Rothwell
Edward R. Schulak John J. H. Schwarz Ellie Serras Joseph A. Sesi Anthony L. Smith Cheryl L. Soper Michael D. VanHemert
Chris Genteel, Board Fellow
Clayton E. Wilhite, Chair John Edman Janet Eilber
Eugene Grant Charles Hamlen David Heleniak
Toni Hoover Judith Istock Zarin Mehta
Herbert Ruben Russell Willis Taylor
UMS SENATE (former members of the UMS Board of Directors)
Robert G. Aldrich Herbert S. Amster Gail Davis Barnes Richard S. Berger Maurice 5. Binkow Lee C. Bollinger Janice Stevens Botsford Paul C. Boylan Carl A. Brauer William M. Broucek Barbara Everitt Bryant Letitia J. Byrd Kathleen G. Charla Leon S. Cohan Jill A. Corr Peter B. Corr Ronald M. Cresswell Robert F. DiRomualdo Cynthia Dodd James J. Duderstadt David Featherman
Robben W. Fleming David J. Flowers George V. Fornero Beverley B. Geltner William S. Hann Randy J. Harris Walter L. Harrison Deborah S. Herbert Norman G. Herbert Peter N. Heydon Toni Hoover Kay Hunt Alice Davis Irani Stuart A. Isaac Thomas E. Kauper David B. Kennedy Gloria James Kerry Thomas C. Kinnear Marvin Krislov F. Bruce Kulp Leo A. Legatski
Earl Lewis Patrick B. Long Helen B. Love Judythe H. Maugh Paul W. McCracken Rebecca McGowan Barbara Meadows Alberto Nacif Shirley C. Neuman Jan Barney Newman Len Niehoff Gilbert S. Omenn Joe E. O'Neal John D. Paul Randall Pittman John Psarouthakis Rossi Ray-Taylor John W. Reed Richard H. Rogel Prudence L. Rosenthal Judy Dow Rumelhart
Maya Savarino Ann Schriber Erik H. Serr Harold T. Shapiro George I. Shirley John O. Simpson Herbert Sloan Timothy P. Slottow Carol Shalita Smokier Jorge A. Solis Peter Sparling Lois U. Stegeman Edward D. Surovell James L. Telfer Susan B. Ullrich Eileen Lappin Weiser B. Joseph White Marina v.N. Whitman Clayton E. Wilhite Iva M. Wilson Karen Wolff
Andrea Smith, Chair Phyllis Herzig, Vice Chair Alice Hart, Secretary Betty Byrne, Treasurer Meg Kennedy Shaw, Past Chair
Randa Ajlouny ManAnn 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 Conneil Norma Davis Mary Dempsey Mary Ann Faeth Michaelene Farrell Sara Fink Susan Fisher
Kathy Goldberg Joe Grimley Susan Gutow Lynn Hamilton Charlene Hancock Raphael Juarez Jen Kelch Jean Kluge Pam Krogness Julaine LeDuc Mary LeDuc Joan Levitsky Eleanor Lord Judy Mac Jane Maehr
Joanna McNamara Jeanne Merlanti Liz Messiter Kay Ness Sarah Nicoli Thomas Ogar Betty Palms Allison Poggi Lisa Psarouthakis Paula Rand Wendy Moy Ransom Stephen Rosoff Swanna Saltiel Agnes Moy Sams Jamie Saville
Penny Schreiber Bev Seiford Alida Silverman Loretta Skewes Nancy Stanley Karen Stutz Eileen Thacker Janet Torno Amanda Uhle Dody Viola Enid Wasserman Amy Weaver Ellen Woodman Mary Kate Zelenock
Kenneth C. Fischer, President Luciana Borbely, Assistant to the
President John B. Kennard, Jr., Director of
Administration Beth Gilliland, Gift ProcessorIT
Patricia Hayes, Senior Accountant John Peckham, Information Systems
Choral Union
Jerry Blackstone, Conductor and
Music Director
Jason Harris, Assistant Conductor Kathleen Operhall, Chorus Manager Nancy K. Paul, Librarian Jean Schneider, Accompanist Scott VanOrnum, Accompanist Donald Bryant, Conductor Emeritus
Susan McClanahan, Director Susan Bozell, Manager of
Corporate Support Rachelle Lesko, Development
Assistant 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
EducationAudience Development
Ben Johnson, Director Bree Juarez, Education and
Audience Development Manager Mary Roeder, Residency
Coordinator Omari Rush, Education Manager
MarketingPublic Relations
Sara Billmann, Director Jim Leija, Public Relations Manager Mia Milton, Marketing Manager Erika Nelson, Assistant Marketing Manager
Douglas C. Witney, Director Emily Avers, Production Operations
Director Jeffrey Beyersdorf, Technical
Michael J. Kondziolka, Director Mark Jacobson, Programming
Manager Carlos Palomares, Artist Services
Coordinator Claire C. Rice, Associate
Programming Manager
Ticket Services
Nicole Paoletti, Manager Sally A. Cushing, Ticket Office
Associate Suzanne Davidson, Assistant Ticket
Services Manager, Front-of-
House Coordinator
Jennifer Graf, Assistant Ticket
Services Manager Karen Jenks, Group Sales
Coordinator Parmiss Nassiri-Sheijani, Ticket
Office Assistant Sara Sanders, Assistant Front-of-
House CoordinatorTicket Office
Assistant Stephanie Zangrilli, Ticket Office
Associate Dennis Carter, Bruce Oshaben,
Brian Roddy, Head Ushers
Catherine Allen Gabriel Bilen Greg Briley Caleb Cummings Elizabeth Dengate Vinal Desai Amy Fingerle Jonathan Gallagher Eboni Garrett-Bluford Charlie Hack William Hubenschmidt Max Kumangai-McGee Michael Lowney Ryan Lundin Michael Michelon Leonard Navarro Meg Shelly Ian Sinclair Andrew Smith Trevor Sponseller Liz Stover Robert Vuichard Julie Wallace Marc Zakalic
Abby Alwin Fran Ampey Robin Bailey Greta Barfield Joey Barker Alana Barter Judy Barthwell Rob Bauman Brita Beitler Elaine Bennett Ann Marie Borders Sigrid Bower Marie Brooks Susan Buchan
Deb Clancy Leslie Criscenti Karen Dudley Saundra Dunn Johanna Epstein Susan Filipiak Katy Fillion Delores Flagg Joey Fukuchi Jeff Gaynor Joyce Gerber Jennifer Ginther Bard Grabbe Walter Graves
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
3arrier-Free Entrances
-or persons with disabilities, all venues have oarrier-free entrances. Wheelchair locations ary by venue; visit www.ums.orgtickets or call 734.764.2538 for details. Ushers are available for assistance.
istening Systems
For hearing-impaired persons, Hill Auditorium, Power Center, and Rackham Auditorium are aquipped with assistive listening devices. Earphones may be obtained upon arrival. ?lease ask an usher for assistance.
ost 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.
lease allow plenty of time for parking as the :ampus area may be congested. Parking is available in the Church Street, Maynard Street, fhayer 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.
_atecomers will be asked to wait in the lobby until seated by ushers. Most lobbies have been outfitted with monitors andor speakers so that latecomers will not miss the performance.
The late-seating break is determined by the artist and will generally occur during a suitable repertory break in the program (e.g., after the first entire piece, not after individual movements of classical works). There may be occasions where latecomers are not seated until intermis?sion, as determined by the artist. UMS makes every effort to alert patrons in advance when we know that there will be no late seating.
UMS tries to work with the artists to allow a flexible late-seating policy for family perform?ances.
Group Tickets
Treat 10 or more friends, co-workers, and family members to an unforgettable performance of live music, dance, or theater. Whether you have a group of students, a business gathering, a college reunion, or just you and a group of friends, the UMS Group Sales Office can help you plan the perfect outing. You can make it formal or casual, a special celebration, or just friends enjoying each other's company. The many advantages to booking as a group include:
Reserving tickets before tickets go on sale to the general public
Discounts of 15-25 for most performances
Accessibility accommodations
No-risk reservations that are fully refundable up to 14 days before the performance
1-3 complimentary tickets for the group organizer (depending on size of group). Complimentary tickets are not offered for performances with no group discount.
For more information, please contact 734.763.3100 or e-mail umsgroupsalesO
Classical Kids Club
Parents can introduce their children to world-renowned classical music artists through the Classical Kids Club. For more information please see page P31.
Members of the UMS African American Arts Advocacy Committee receive discounted tickets to certain performances. For more information please see page P27.
Student Tickets
Discounted tickets are available for University students and teenagers. Information on all UMS University Student Ticketing programs can be found on page P33. Teen Ticket infor?mation can be found on page P31.
Gift Certificates
Available in any amount and redeemable for any of more than 70 events throughout our season, wrapped and delivered with your per?sonal message, the UMS Gift Certificate is ideal for weddings, birthdays, Christmas, Hanukkah, Mother's and Father's Days, or even as a housewarming present when new friends move to town.
UMS Gift Certificates are valid for 12 months from the date of purchase and do not expire at the end of the season. For more information, please visit
If you are unable to attend a concert for which you have purchased tickets, you may turn in your tickets up to 15 minutes before curtain time by calling the Ticket Office. Refunds are not available; however, you will be given a receipt for an income tax deduction.
Ticket Exchanges
Subscribers may exchange tickets free of charge. Non-subscribers may exchange tickets for a $6 per ticket exchange fee. Exchanged tickets must be received by the Ticket Office
(by mail or in person) at least 48 hours prior to the performance. The value of the tickets may be applied to another performance or will be held as UMS Credit until the end of the season. You may also fax a copy of your torn tickets to 734.647.1171. Lost or misplaced tickets cannot be exchanged. UMS Credit for this season must be redeemed by May 9, 2008.
Through a commitment to Presentation, Education, and the Creation of new work, the University Musical Society (UMS) serves Michigan audiences by bringing to our community an ongo?ing series of world-class artists, who represent the diverse spectrum of today's vigorous and exciting live performing arts world. Over its 128 years, strong leadership coupled with a devoted community has placed UMS in a league of internationally recognized performing arts pre?senters. Today, the UMS seasonal program is a reflection of a thoughtful respect for this rich and varied history, balanced by a commitment to dynamic and creative visions of where the performing arts will take us in this new millen?nium. Every day UMS seeks to cultivate, nurture, and stimulate public interest and participation in every facet of the live arts.
UMS grew from a group of local university and townspeople who gathered together for the study of Handel's Messiah. Led by Professor Henry Simmons Frieze and conducted by Professor Calvin Cady, the group assumed the name The Choral Union. Their first perform?ance of Handel's Messiah was in December of 1879 and this glorious oratorio has since been performed by the UMS Choral Union annually. As a great number of Choral Union mem?bers also belonged to the University, the University Musical Society was established in December 1880. UMS included the Choral Union and University Orchestra, and through?out the year presented a series of concerts fea?turing local and visiting artists and ensembles.
Since that first season in 1880, UMS has expanded greatly and now presents the very best from the full spectrum of the performing arts--internationally renowned recitalists and orchestras, dance and chamber ensembles, jazz and world music performers, and opera and theater. Through educational endeavors, commissioning of new works, youth programs, artist residencies, and other collaborative proj?ects, UMS has maintained its reputation for quality, artistic distinction, and innovation. UMS now hosts over 50 performances and more than 125 educational events each season. UMS has flourished with the support of a generous community that this year gathers in five differ?ent Ann Arbor venues.
The UMS Choral Union has likewise expanded their charge over their 128-year history. Recent collaborations have included the Grammy Award-winning recording of William Bolcom's Songs of Innocence and of Experience, as well as performances of John Adams's On the Transmigration of Souls with the Detroit Symphony Orchestra and Shostakovich's Symphony No. 13 ("Babi Yar") with the Kirov Orchestra of St. Petersburg.
While proudly affiliated with the University of Michigan, housed on the Ann Arbor campus, and a regular collaborator with many University units, UMS is a separate not-for-profit organi?zation that supports itself from ticket sales, corporate and individual contributions, founda?tion and government grants, special project support from U-M, and endowment income.
Hill Auditorium
After an 18-month $38.6-million dollar renova?tion overseen by Albert Kahn Associates, Inc. and historic preservation architects Quinn EvansArchitects, Hill Auditorium re-opened to the public in January 2004. Originally built in 1913, renovations have updated Hill's infra?structure and restored much of the interior to its original splendor. Exterior renovations include the reworking of brick paving and stone retaining wall areas, restoration of the south entrance plaza, reworking of the west barrier-free ramp and loading dock, and improvements to landscaping.
Interior renovations included the creation of additional restrooms, the improvement of barrier-free circulation by providing elevators and an addition with ramps, the replacement
of seating to increase patron comfort, introduc?tion of barrier-free seating and stage access, the replacement of theatrical performance and audio-visual systems, and the complete replacement of mechanical and electrical infra?structure systems for heating, ventilation, and air conditioning.
Hill Auditorium seats 3,575.
Michigan Theater
The historic Michigan Theater opened January 5 1928 at the peak of the vaudevillemovie palace era. Designed by Maurice Finkel, the 1,710-seat theater cost around $600,000 when it was first built. As was the custom of the day, the theater was equipped to host both film and live stage events, with a full-size stage, dressing rooms, an orchestra pit, and the Barton Theater Organ. At its opening, the theater was acclaimed as the best of its kind 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 200C
Power Center
The Power Center for the Performing Arts grew out of a realization that the University of Michigan had no adequate proscenium-stage theater for the performing arts. Hill Auditorium was too massive and technically limited for most productions, and the Lydia Mendelssohn Theatre was too small. The Power Center was built to supply this missing link in design and seating capacity.
In 1963, Eugene and Sadye Power, together with their son Philip, wished to make a major gift to the University, and amidst a list of
Lniversity priorities "a new theater" was men-toned. The Powers were immediately interested, realizing that state and federal governments were unlikely to provide financial support for t ie construction of a new theater.
Opening in 1971 with the world premiere of The Grass Harp (based on the novel by "ruman Capote), the Power Center achieved the seemingly contradictory combination of providing a soaring interior space with a inique level of intimacy. Architectural features i iclude two large spiral staircases leading from the orchestra level to the balcony and the well-known mirrored glass panels on the exterior. The lobby of the Power Center presently fea-tjres two hand-woven tapestries: Modern 'tapestry by Roy Lichtenstein and Volutes (Arabesque) by Pablo Picasso.
The Power Center seats approximately ,400 people.
Arbor Springs Water Company is generously providing omplimentary water to UMS artists backstage at the lower Center throughout the 0708 season.
jckham Auditorium fifty years ago, chamber music concerts in Ann Arbor were a relative rarity, presented in an assortment of venues including University Hall (the precursor to Hill Auditorium), Hill Auditorium, and Newberry Hall, the current iiome of the Kelsey Museum. When Horace H. Rackham, a Detroit lawyer who believed strongly in the importance of the study of luman 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 nouses Rackham Auditorium, but also to estab-ish a $4 million endowment to further the development of graduate studies. Even more
emarkable than the size of the gift is the fact :hat neither he nor his wife ever attended the Jniversity 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.

Winter 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
Wednesday, January 16 through Sunday, January 27, 2008
Jazz at Lincoln Center Orchestra 5
with Wynton Marsalis
Wednesday, January 16, 8:00 pm Hill Auditorium
Yuja Wang 9
Sunday, January 20, 4:00 pm Hill Auditorium
Mos Def Big Band 15
Monday, January 21, 7:30 pm Hill Auditorium
Moiseyev Dance Company 19
Sunday, January 27, 6:00 pm Hill Auditorium
Winter 2008
4 Fri Emerson String Quartet
16 WedJazz at Lincoln Center Orchestra with Wynton Marsalis: Ellington Love Songs
20 Sun Yuja Wang, piano
21 Mon Mos Def Big Band: Tribute to
Detroit's J Dilla 27 Sun Moiseyev Dance Company
1 FriAssad Brothers' Brazilian Guitar
2 SatA Celebration of the Keyboard
8 FriChicago Classical Oriental Ensemble
9 SatGuarneri String Quartet and Jo-
hannes String Quartet
10 Sun Wu Man, pipa, and Chinese
Shawm Band
14 Thu Christian Tetzlaff, violin
15 Fri Noism08: NINA materialize sacrifice
16 SatAhmad Jamal
5 WedOrion String Quartet and
David Krakauer, clarinet 9 Sun Michigan Chamber Players (complimentary admission)
12 WedLeila Haddad and
Gypsy Musicians of Upper Egypt
13 Thu SFJAZZ Collective:
A Tribute to Wayne Shorter
14 FriSan 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 Fri Brad Mehldau Trio
5 SatChoir of King's College, Cambridge 10 Thueighth blackbird
12 SatLila Downs 18Fr-Mehr and Sher Ali: 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
Pfizer Global Research
and Development
Jazz at Lincoln Center Orchestra with Wynton Marsalis
Wynton Marsalis, Music Director, Trumpet
Sean Jones, Trumpet
Ryan Kisor, Trumpet
Marcus Printup, Trumpet
Vincent R. Gardner, Trombone
Christopher Crenshaw, Trombone
Elliot Mason, Trombone
Walter Blanding, Tenor and Soprano Saxophones, Clarinet
Victor Goines, Tenor and Soprano Saxophones, Bb and Bass Clarinets
Sherman Irby, Saxophones
Ted Nash, Alto and Soprano Saxophones, Clarinet
Joe Temperley, Baritone and Soprano Saxophones, Bass Clarinet
Dan Nimmer, Piano
Carlos Henriquez, Bass
AN Jackson, Drums
Wednesday Evening, January 16, 2008 at 8:00 Hill Auditorium Ann Arbor
Tonight's program will include love songs written and made famous by Duke Ellington. The band will also draw on other repertoire from the jazz canon including tunes by jazz luminaries and new and original music by members of the Jazz at Lincoln Center Orchestra.
Selections will be announced by the artists from the stage and will be performed with one intermission.
31st Performance of the 129th Annual Season
14th Annual Jazz 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 sponsored by Pfizer Global Research and Development: Ann Arbor Laboratories. Special thanks to David Canter, Senior Vice President of Pfizer, for his continued and generous support of UMS.
Special thanks to Ellen Rowe, Associate Professor and Chair of Jazz Piano and Improvisation Studies, U-M School of Music, Theatre & Dance, for her participa?tion in tonight's Prelude Dinner.
Media partnership provided by WEMU 89.1 FM, WDET 101.9 FM, Ann Arbor's 107one, Michigan ChronicleFront Page, and Metro Times.
The Steinway piano used in this evening's concert is made possible by William and Mary Palmer and by Hammell Music, Inc., Livonia, Michigan.
The Jazz at Lincoln Center Orchestra appears by arrangement with Ted Kurland Associates.
Large print programs are available upon request.
The Jazz at Lincoln Center Orchestra (JLCO), composed of 15 of today's finest jazz soloists and ensemble players, has been the Jazz at Lincoln Center resident orchestra for over 13 years. Featured in all aspects of Jazz at Lincoln Center's programming, the remarkably versatile JLCO performs and leads educational events in New York, across the US, and around the world; in concert halls, dance venues, jazz clubs, public parks, river boats, and churches; and with sym?phony orchestras, ballet troupes, local students, and an ever-expanding roster of guest artists.
Education is a major part of Jazz at Lincoln Center's mission and its educational activities are coordinated with concert and JLCO tour program?ming. These programs, many of which feature JLCO members, include the celebrated Jazz for Young PeopleSM family concert series, the Essen?tially Ellington High School Jazz Band Competition & Festival, the Jazz for Young People? Curriculum, educational residencies, workshops, and concerts for students and adults worldwide. Jazz at Lincoln Center educational programs reach over 100,000 students, teachers, and general audience mem?bers.
Under Music Director Wynton Marsalis, the JLCO spends over a third of the year on tour. The big band performs a vast repertoire, from rare historic compositions to Jazz at Lincoln Center-commissioned works, including compositions and arrangements by Duke Ellington, Count Basie, Thelonious Monk, Mary Lou Williams, Billy Strayhorn, Dizzy Gillespie, and Benny Goodman, and new commissions by Joe Henderson, Wayne Shorter, Joe Lovano, Chico O'Farrill, Marcus Rob?erts, and Geri Allen, as well as current and former JLCO members Wynton Marsalis, Wycliffe Gor?don, Ted Nash, and Ron Westray. Guest conduc?tors have included Benny Carter, John lewis, Ray Santos, Paquito D'Rivera, Gerald Wilson, and Lo-ren Schoenberg.
Over the last few years, the JLCO has per?formed collaborations with many of the world's leading symphony orchestras, including the New York Philharmonic, the Russian National Orches?tra, the Berlin Philharmonic Orchestra, the Boston, Chicago, and London Symphony Orchestras, and the Orchestra Esperimentale in Sao Paolo, Brazil.
Along with regular appearances on the Pea-body Award-winning weekly radio show Jazz at Lincoln Center Radio, JLCO has appeared on sev-
eral XM Satellite Radio live broadcasts and seven Live From Lincoln Center broadcasts, carried by PBS stations nationwide; most recently on Octo?ber 18, 2004 during the grand opening of Jazz at Lincoln Center's new home, Frederick P. Rose Hall, and on September 17, 2005 during Jazz at Lincoln Center's Higher Ground Benefit Concert. The ben?efit concert raised money for the Higher Ground Relief Fund, established by Jazz at Lincoln Center and administered through the Baton Rouge Area Foundation to benefit New Orleans musicians and music industry-related enterprises impacted by Hurricane Katrina. JLCO was also featured an episode of Great Performances entitled "Swingin' with Duke: Lincoln Center Jazz Orchestra with Wynton Marsalis," and on a BET Jazz weekly series called Journey with Jazz at Lincoln Center, featuring performances by the JLCO around the world.
To date, 11 recordings featuring the JLCO with Wynton Marsalis have been released and internationally distributed, including the soon-to-be-released Congo Square (2007).
For more information on Jazz at Lincoln Cen?ter, please visit
Wynton Marsalis, Artistic Director of Jazz at Lincoln Center, was born in New Orleans in 1961. Mr. Marsalis began his classical training on trumpet at age 12 and soon began playing in local bands of diverse genres. He entered The Juilliard School at age 17 and joined Art Blakey and the Jazz Messengers. Mr. Marsa?lis has recorded more than 30 jazz and classical recordings which have won him nine Grammy Awards. In 1983, he became the first and only art?ist to win both classical and jazz Grammy Awards in the same year and repeated this feat in 1984 Mr. Marsalis's rich body of compositions includes Sweet Release; Jazz: Six Syncopated Movements; Jump Start; CitMovementGriot New York; At the Octoroon Balls; In This House, On This Morning; and Big Train. In 1997, Mr. Marsalis became the first jazz artist to be awarded the prestigious Pu?litzer Prize in music for his oratorio Blood on the Fields, which was commissioned by Jazz at Lincoln Center. Following Hurricane Katrina, Mr. Marsalis co-wrote a composition called Congo Square with Ghanaian drummer Yacub Addy and dedicated the piece to his native New Orleans. The Jazz at
Jazz at Lincoln Center Orchestra with Wynton Marsaiis
Lincoln Center Orchestra, in collaboration with Yacub Addy's group Odadaa!, premiered Congo Square on April 23, 2006 in New Orleans and per?formed the piece on tour from Florida to New York. Mr. Marsalis is also an internationally-respected teacher and spokesman for music education and has received honorary doctorates from dozens of universities and colleges throughout the US. He conducts educational programs for students of all ages and hosts the popular Jazz for Young Peo?pleO concerts produced by Jazz at Lincoln Center. He has also written four books, most recently Jazz ABZ, in collaboration with Phil Schapp, and illus?trated by poster artist Paul Rogers.
In 2001, Mr. Marsalis was appointed Mes?senger of Peace by Mr. Kofi Annan, Secretary-General of the United Nations, and he has also been designated cultural ambassador to the US by the US State Department through their Culture-Connect program. Mr. Marsalis serves on Lieuten?ant Governor Landrieu's National Advisory Board for Culture, Recreation, and Tourism, a national advisory board created to rebuild Louisiana's tour?ism and cultural economies. He has also been named to the Bring New Orleans Back Commis?sion, New Orleans Mayor C. Ray Nagin's initiative
to help rebuild New Orleans culturally, socially, economically, and uniquely for every citizen. He helped lead the effort to construct Jazz at Lincoln Center's new home--Frederick P. Rose Hall--the first education, performance, and broadcast fa?cility devoted to jazz, which opened in October 2004.
This evening's performance marks the Jazz at Lincoln Center Orches?tra's 11th UMS appearance since their debut in 1994.
Wynton Marsalis has appeared 12 times under UMS auspices, both with the Orchestra and in other ensemble configu?rations, including the presentation of his Pulitzer Prize-winning oratorio, Blood on the Fields, in February 1997 at Hill Audito?rium. Mr. Marsalis made his UMS debut in January 1996 with the Lincoln Center Jazz Orchestra.
Yuja Wang
Gyorgy Ligeti Franz Liszt
Beta Bartok
Alexander Scriabin
Maurice Ravel
Sunday Afternoon, January 20, 2008 at 4:00 Hill Auditorium Ann Arbor
Piano Etude No. 4 Piano Etude No. 10
Sonata in b minor, S. 178
Allegro Andante Fugato Allegro-Prestissimo
Movements played attaca (without pause).
Sonata for Piano, Sz. 80-BB. 88
Allegro moderato Sostenuto e pesante Allegro molto
Sonata No. 2 in g-sharp minor. Op. 19
Andante Presto
La Valse
32nd Performance of the 129th Annual Season
129th Annual Choral Union Series
The photographing or sound recording of this recital or possession of any device for such photo?graphing or sound record?ing is prohibited.
This performance is supported in part by Dennis and Ellie Serras.
Media partnership provided by WGTE 91.3 FM, Observer & Eccentric newspapers, and WRCJ 90.9 FM.
Special thanks to Wei Shen, Tzy-Wen Gong, Ann Arbor Piano Teacher's Guild, Angela Wu, Don Mollock, Schoolcraft College, Chinese Women's Association, and U-M School of Music, Theatre & Dance for their participation in this residency.
The Steinway piano used in this afternoon's concert is made possible by William and Mary Palmer and by Hammell Music, Inc., Livonia, Michigan.
Special thanks to Tom Thompson of Tom Thompson Flowers, Ann Arbor, for his generous contribution of floral art for this afternoon's concert.
Yuja Wang appears by arrangement with Opus 3 Artists, New York, NY.
Large print programs are available upon request.
Piano Etude No. 4 ("Fanfares," 1985) Piano Etude No. 10 ("The Sorcerer's
Apprentice," 1994) Gyorgy Ligeti Born May 28, 1923 in Diciosanmartin
(now Tirnaveni), Romania Died June 12, 2006 in Vienna
Ligeti's 18 piano etudes are among the most ex?citing additions to the piano repertoire in the last 20 years. Here one of the greatest composers of the second half of the 20th century synthesized several decades of artistic evolution, from the Bartbkian tradition through the avant-garde of the 1960s and finally back to his Hungarian roots. Along the way, Ligeti's art had been enriched by such important external stimuli as African music (especially Pygmy), polyphony, the player-piano music of Conlon Nancarrow, and the mathemati?cal theory of fractals. Diverse as these sources may seem, they all share the idea of extreme complex?ity arising from extremely simple building blocks.
Ligeti was particularly interested in poly-rhythms, that is, the simultaneous presence of rhythmic patterns that evolve independently from one another. Needless to say, the realization of such multi-layered structures poses enormous challenges for the pianist; the reward lies in the order and unity that emerges from textures that may initially appear to be utterly chaotic.
The playful original title of the fourth etude had been "Bartoque"--in fact, Ligeti took a Bar?tbkian idea as his point of departure and ran with it. The idea is the so-called "Bulgarian rhythm" as found, for example, in Bartbk's Six Bulgarian Dances. What Bartbk called Bulgarian rhythm in?volved the alternation of rhythmic groups of twos and threes in a very fast tempo. Ligeti set this quick "one-two-three one-two one-two-three" rhythm against other asymmetrical configurations, com?bining it all with a rapidly changing succession of chords. As Richard Steinitz remarks in his book on Ligeti, these chords are all triads, consonant in themselves, but generally unrelated to one an?other. At the rate of approximately 175 chords per minute, they create what Ligeti called "consonant atonality." According to Steinitz, the magical ef?fect of the etude results from "the dance of upper partials [overtones] above so many triadic roots." Eventually, some fanfare-like figures crystallize from these "super-Bulgarian" rhythms and "su-
per-tonal" developments, inspiring the final title of the etude.
The etude "Der Zauberlehrling" (The Sor?cerer's Apprentice) makes reference to the fa?mous poem by Goethe that had earlier inspired the popular symphonic Scherzo by Paul Dukas. This time, however, the young magician seems in total control: the image has more to do with the playful sleight-of-hand of a prodigy in the occult sciences (pre-Harry Potter, of course). Initially a study in trill-like figurations, the piece gradually takes possession of the entire keyboard and ex?pands in melodic range and textural diversity until the final virtuoso flourish which confirms the suc?cessful completion of the magic trick.
Sonata in b minor, S. 178 (1852-53)
Franz Liszt
Born October 22, 1811 in Doborjan, Hungary
(now Raiding, Austria) Died July 31, 1886 in Bayreuth
Among the great composers of the 19th century, few were subject to such antagonistic impulses as Franz Liszt. Quite possibly the greatest virtuoso pi?anist of the century, Liszt also aspired to be a revo?lutionary composer and, if that were not enough, was compelled by his religious feelings to take holy orders and become an abb6 (a priest with?out actual pastoral duties at a church). A native of Hungary who identified strongly with that coun?try even though he did not speak its language, he remained a lifelong wanderer, sojourning at vari?ous times in Paris, Geneva, Weimar, Rome, and Budapest, at home everywhere and nowhere.
In his monumental sonata for piano, Liszt managed to reconcile many of these conflicting tendencies and create a work that was revolution?ary in design, virtuosic in execution, and deeply spiritual in content. As in his cycle of symphonic poems written around the same time, Liszt united all the different characters of the multi-movement sonata or symphonic form in a single movement of extended proportions. The recurrence of a num?ber of fundamental themes guaranteed organic unity while the contrasting tempi and characters provided diversity.
The sonata opens hesitatingly, with a slow descending scale that will become a constant element throughout the work. The heroic main
theme soon follows; its brilliant development leads into a melody marked "grandioso" (a hymn-like tune accompanied by massive blocks of chords). In the first of several dramatic shifts, the music tums from heroic to introspective and lyrical, yet the melodic material is the same as before (the difference is in tempo, dynamics, and accompani?ment). These two fundamental characters contin?ue to alternate, but they are continually enriched and developed with each new recurrence. On the dramatic side, we hear a set of brilliant variations on the main theme, interrupted by the power?ful "grandioso" motive. A doleful recitative calls into question the heroism of the entire passage, and the music gradually calms down to an an?dante sostenuto with an aria-like new theme. The mood, however, soon becomes more passionate, and the heroic theme retums in the shape of a fugue, with a countersubject consisting of rapid, short notes that give it a slightly satirical edge. This section, which incorporates the descending scales of the introduction, leads to a re-statement of the "grandioso" motive, even more powerful than before. At the end of a breath-taking stretta (final section in a faster tempo), the "grandioso" theme retums yet another time, as the emotional high point of the entire work. But the final word belongs to the lyrical-introspective "personality" in this drama of characters: the andante sostenuto aria is recalled, followed by an extremely quiet re?statement of the main theme, as if to suggest that the conflict is over. The descending scales from the opening are heard again, followed by a few ethereal chords. After what seemed like a voyage through a whole pianistic and emotional universe, the last note is a single, barely audible, short "B" in the extreme low register of the piano.
Liszt dedicated his sonata to Robert Schu?mann, who many years earlier had dedicated his Fantasy in C Major, Op. 17 to Liszt. By the time of this belated response, the relations of the two men had cooled, and the dedication, as one com?mentator put it, "was received with embarrass?ment." Yet neither dedication was a coincidence: both works being crucially important in the re?spective composers' oeuvres, it is understandable that they should have been chosen to honor a highly respected colleague.
Sonata for Piano, Sz. 80-BB. 88 (1926)
Bela Bart6k
Born March 25, 1881 in Nagyszentmiklos,
Hungary (now Sinnicolau Mare, Romania) Died September 26, 1945 in New York
For most of his life, Bart6k pursued three paral?lel activities, each of which might have been enough for a full-time occupation: composition, piano performance and teaching, and folk-music research. The way these three activities cross-pol?linated is evident in Bart6k's sonata for solo piano. The Beethovenian sonata idea, with which Bart6k had grown up, is realized here through a musi?cal idiom infused with elements of the folk music which the composer had been studying for almost 20 years at the time the piece was written.
The year 1926 marked the beginning of Bar-t6k's mature compositional period: he had written little in the preceding three years, but produced several major works that year, all of them involv?ing his own instrument. In the Piano Concerto No. 1, the suite Out of Doors, and the present Sonata, Bartbk explored the percussive qualities of the pi?ano, developed his special brand of chromaticism (use of all 12 tones of the scale), and articulated an entire artistic philosophy born out of the spirit of folk music. Instead of quoting any specific folk songs, Bart6k, who had analyzed and transcribed thousands of field recordings, extracted typical melodic tums from this vast corpus and placed them in new harmonic contexts. In so doing, he created a unique synthesis between the formerly disparate worlds of art and folk music.
The first movement opens with some pow?erful ostinato (stubbornly returning) rhythms and an extremely brief melody consisting of an ascending scale fragment of only three notes. By inverting, expanding, and contracting this simple motif, Bart6k devised a new approach to sonata form in which the traditional succession of first and second theme, development section, and re?capitulation are observed, yet everything is uni?fied by a relentless pulse of eighth-notes and the three-note motif.
Similar ideas--repeated notes and ascending scale fragments--underlie the second movement as well, but the character of the music this time is predominantly heavy and static. Yet a slow evo?lutionary process does get gradually underway, culminating in a fortissimo restatement of the
three-note motif, after which the music subsides and retums to the desolate repeated notes of the beginning.
The main theme of the last movement fol?lows the melodic outline typical of a particular group of Hungarian folksongs, but Bart6k gave it a highly original rhythmic shape. This melody functions as a Rondo theme, but three of the Rondo's episodes are also derived from it as variations. These episodes significantly alter the character of the theme by introducing various new rhythmic and ornamental ideas, each evok?ing a different style of folk-music performance, in turn vocal and instrumental. (Originally, Bart6k planned to include an extended bagpipe episode in this movement; this was later cut and became the "Musettes" movement of the piano suite Out of Doors.)
Sonata No. 2 in g-sharp minor. Op. 19
(1892-97) Alexander Scriabin Born January 6, 1872 in Moscow Died April 27, 1915 in Moscow
A prodigious piano student at the Moscow Con?servatory, Alexander Scriabin started composing as a teenager. His earliest works were preludes, etudes, and mazurkas strongly influenced by Chopin, but very soon he found his personal voice, stretching the boundaries of the Romantic idiom and arriving, before his untimely death at 43, at the very threshold of atonality.
The second of his 10 piano sonatas is also called "Sonata-Fantasy" as it opens with a dreamy "Andante" whose theme is interrupted by rests, creating the illusion of a free improvisation. The movement tums out to be in sonata form, but the thematic material has a loose, lyrical quality with extensive rubato (departures from a strict metric beat) and even polyrhythms where the accents of the right and left hands do not coincide--antici?pating the much more complex use Ligeti would make of the same principle 100 years later. A fur?ther surprise is that the movement doesn't end in the same key in which it began: frequently modu?lating after the initial g-sharp minor, it reaches its final cadence in E Major.
It is left to the second and last movement, a "Presto" in perpetual motion, to restore the
tonal balance. To the rapid triplet figurations of the beginning, Scriabin added a soaring, passion?ate melody in the second half of the movement, approaching that state of ecstasy to which he would devote, a few years later, one of his most celebrated compositions {The Poem of Ecstasy).
Maurice Ravel
Born March 7, 1875 in Ciboure,
Basses-Pyrenees, France Died December 28, 1937 in Paris
Dance was always an important source of inspira?tion for Ravel. Works as different as Pavane fora Dead Princess, Le Tombeau de Couperin, Menuet sur le nom d'Haydn, Habanera, and of course Bolero, all incorporate dance rhythms of one sort or another.
Ravel was particularly fascinated by the waltz. In 1906, he started planning a large waltz-fantasy he wanted to call Wien (Vienna)--this is the work that, many years later, materialized as La Valse. As he wrote to his friend Jean Marnold in February 1906,
What I'm undertaking at the moment is not subtle: a grand waltz, a sort of homage to the memory of the great Strauss--not Richard, the other one, Johann. You know of my deep sympa?thy for these wonderful rhythms, and that I value the joie de vivre expressed by the dance far more deeply than the Franckist puritanism.
This project remained unfinished for a long time. During World War I, Ravel, an ardent French patriot voluntarily involved in military duties, could not bring himself to work on a composition named for an enemy capital. When he returned to it after war's end in 1920, the piece had be?come very different from the original conception. By that time, the Hapsburg Empire, whose old-world atmosphere Johann Strauss's great waltzes had symbolized, had collapsed. Therefore, Ravel's homage to the waltz took a decidedly tragic turn.
La Valse--as the piece was called in its final version--is unique among Ravel's dance-inspired
works by virtue of its larger proportions. It is much more than a dance; it is also a reflection about dance: the representation of its birth, its life, and its apotheosis, as Ravel himself had said.
Ravel had the following paragraph printed in the score:
At first the scene is dimmed by a kind of swirling mist, through which one discerns, vaguely and intermittently, the waltzing couples. Little by little the vapors disperse, the illumination grows brighter, revealing an immense ball?room filled with dancers: the blaze of the chandeliers comes to full splendor. An Imperial court about 1855.
Like the great Strauss waltzes (On the Beau?tiful Blue Danube, for example), La Valse is really a whole set of waltzes, with a number of melo?dies following one another in close successsion. Yet Ravel takes the waltz melodies on a dramatic journey Strauss never dreamt of. The sky darkens gradually and one of the tender little strains is stirred up to a state of hysteria. The tempo ac?celerates, the dissonances become harsher and harsher. The next-to-the-last measure contains four quarter-notes instead of three--that's how far we have gotten from the original idea of the waltz. As one commentator has written, "The fi?nal two measures....are surely meant to symbol?ize the destruction of the past represented by the waltz....Three-quarter time...had become a casu?alty, too."
La Valse is best known in the orchestral ver?sion; yet Ravel's own piano arrangement is no less effective, if only for the extreme virtuoso demands placed on the pianist.
At age 20, Yuja Wang has already es?tablished herself as one of the most sig?nificant artists of her generation. Born in Beijing in 1987, Ms. Wang was drawn to piano at the age of six when she began studying music in China. She eventually enrolled at the Central Conservatory of Music (Beijing) and won prizes in many regional competitions within China, as well as competitions in Spain and Germany. In 2001 she won first prize in the Junior Group of the Seil-er International Piano Competition, and won third prize-winner and was the recipient of the Special
Yuja Wang
Jury Award at the First Japan Sendai International Music Competition.
Ms. Wang's first performances with major North American orchestras began in 2005. In February her career had a major leap forward when the National Arts Centre Orchestra asked her to replace Radu Lupu at the last moment and perform Beethoven's Piano Concerto No. 4, con?ducted by Pinchas Zukerman. Ms. Wang was im?mediately re-engaged to perform Chopin's Piano Concerto No. 7.
Her career entered a new phase in 2006 as she made her debut with the New York Philhar?monic; the Houston, San Francisco, and Chicago Symphonies; and the NHK Symphony Orchestra in Japan. Ms. Wang first performed with New York at the Vail Festival in July 2006 and then again joined the orchestra in Tokyo with Lorin Maazel conducting, performing Liszt's Piano Concerto No. 1. In September, she performed Ravel's Piano
Concerto in G Major with the San Francisco Sym?phony, Michael Tilson Thomas conducting, and returned in April 2007 to perform Beethoven's Piano Concerto No. 2 with Charles Dutoit. Ms. Wang collaborated further with Dutoit at both the Chicago and NHK symphonies where she made her debuts performing Prokofiev's Piano Concerto No. 2.
In January 2007, Ms. Wang toured to Leeds, UK and the Netherlands with the St. Petersburg Philharmonic and Maestro Yuri Temirkanov per?forming Tchaikovsky's Piano Concerto No. 7. In May she returned to China to perform with both the China Philharmonic (Beijing) and the Guang?zhou Symphony. She made her first recital tour in Germany in October 2006.
Ms. Wang has attended three Morningside Music Bridge summer programs (1999-2001) at Calgary's Mount Royal College. In the summers of 2002 and 2003 she worked with renowned piano pedagogue John Perry at the Aspen Music Festi?val, where she won the concerto competition in her first year of attendance. She is a regular par?ticipant at the Santa Fe Chamber Music Festival.
For the past four years Ms. Wang has attended The Curtis Institute of Music in Philadelphia as a student of Gary Graffman. In September 2005, she received the prestigious 2006 Gilmore Young Artist Award.
!his afternoon's recital marks Yuja Wang's UMS debut.
and the
U-M Office of
Multicultural Initiatives
Mos Def Big Band
Monday Evening, January 21, 2007 at 7:30 Hill Auditorium Ann Arbor
airbus to reffiarsj
Tonight's music will be announced by the artists from the stage and will be performed without intermission.
33rd 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.
Tonight's performance is co-presented with the U-M Office of Academic Multi?cultural Initiatives. Special thanks to Dr. John Matlock and Theda Gibbs for their contributions to tonight's concert tribute.
Special thanks to Maureen Yancey and the entire Yancey family, and to Egon Al-lapat and Stones Throw Records for their participation in tonight's concert tribute to James Yancey.
Special thanks to all of the Detroit-based MCs and producers who continue to define Detroit hip-hop through their own music and through their collaborations with J Dilla during his lifetime.
Special thanks to the members of the J Dilla Tribute Planning Committee for their commitment and dedication to tonight's concert tribute.
A portion of the proceeds from tonight's concert tribute will be donated to the J Dilla Foundation.
The Steinway piano used in this evening's concert is made possible by William and Mary Palmer and by Hammell Music, Inc., Livonia, Michigan.
Mos Def Big Band appears by arrangement with Garden Grown Entertainment Gold Medal Music.
Large print programs are available upon request.
Regarded as one of hip-hop's most intro?spective and insightful artists, Mos Def has shaped a career that transcends music genres and artistic media. A child of hip-hop's Golden Era, the native Brooklynite spent his child?hood imbedded in the culture surrounding him as well as absorbing knowledge from across the artistic spectrum.
With the release of Universal Magnetic (1996) Mos became an underground favorite in the hip-hop world, leading to his legendary col?laboration with Talib Kweli. The two formed Black Star whose debut album, Mos Def and Talib Kweli Are...Black Star, would become one of the most critically acclaimed hip-hop albums of all time. Mos followed that release with his 1999 solo de?but. Black On Both Sides, which was certified gold and credited by critics as bringing hip-hop back to its soapbox roots.
As with his music, Mos has demonstrated insight and passion with his acting career, appear?ing in Spike Lee's Bamboozled, MTV's Carmen: A Hip Hopera, 2002's critically acclaimed Monster's Ball, Showtime, and the 2002 romantic comedy Brown Sugar, for which he received an NAACP Image Award nomination. In addition Mos has served as the host, music supervisor, and co-ex?ecutive producer for the HBO series Def Poetry, which returned for its sixth season in 2007. He
has also served as a writer, producer, and actor on the MTV sketch-comedy series Lyricist Lounge. Mos completed his Broadway debut in 2002 in the Tony-nominated, Pulitzer Prize-winning, Topdog I Underdog. Mos re-teamed with Topdog playwright Suzan Lori Parks and director George Wolfe for the off-Broadway play, Fucking A, for which he was awarded an Obie Award.
In 2003, Mos Def starred in Paramount Pic?tures' The Italian Job, alongside Ed Norton, Mark Wahlberg, and Charlize Theron. Mos Def starred opposite Alan Rickman in the critically acclaimed HBO movie Something the Lord Made, for which he has received nominations for an Emmy, Golden Globe, NAACP, and Golden Satellite Award.
In 2004, Mos Def released his highly an?ticipated and critically acclaimed sophomore solo release. The New Danger (Geffen Records). The album was met with praise from both critics and fans alike, with Rolling Stone giving it 4 Stars and hailing the album as "Ghetto rock and righteous hip-hop from dazzlingly talented Def" and the New York Daily News proclaimed "No one is do?ing more to change our notion of how hip-hop can sound." The first single, "Sex, Love and Mon?ey" earned Def a 2005 Grammy nomination for "Best AlternativeUrban Performance." Mos Def's latest album, True Magic (Goodtree MediaGef-fen Records), was released in December 2006.
Currently, Mos Def is working on an array of new film, book, and television projects. The artist recently completed filming fie Kind, Rewind directed by Michel Gondry in which he starred alongside Jack Black. The film was shot in New Jersey and is set to be released in 2008. Mos Def is also working on the production of a book called Black, 2.0 by Mos Def. The work, a heavily illus?trated and innovatively designed compendium of significant moments and movements, artifacts and icons of the past 35 years of black culture, is slated to be published in Fall 2008.
Frequently and rightly placed in the same context as DJ Premier, Pete Rock, and Kanye West, Jay Dee (aka J Dilla) built and sus?tained a high standing as a producer's producer while maintaining a low profile. When Pharrell Williams appeared on BET's 706 & Park in 2004, he declared that Jay Dee was his favorite pro?ducer and told an audibly stumped crowd thai
Mil-. Def
lay Dee (aka J Dilla)
Photo by B-Plus
it had probably never heard of the man. At the time, Jay Dee had been active for well over a de?cade and had netted enough beats--including the Pharcyde's "Runnin'," De La Soul's "Stakes Is High," Common's "The Light," and several oth?ers with production teams the Ummah and the Soulquarians--to be considered an all-time great. Alternately known as J Dilla, or just Dilla, he nev?er produced a mainstream smash and, in many cases, his presence has to be confirmed with a liner notes scan. (And even then, that might not help; he occasionally went uncredited.) He never marked his territory like Just Blaze or Jazze Pha, and he never hogged the mike like P. Diddy. He let his music--and its followers--do the talking. Rather than provide immediate (or fleeting) thrills, he was hooked on working the subconscious as much as the neck muscles. He was so focused on his work that it took a severe toll on his health.
Born and raised on the east side of Detroit, Dilla--James Yancey--was forced by his parents to become involved with music; he was a record fanatic at a young age, absorbing funk, rap sin?gles, and jazz albums. He learned to play cello, keyboards, trumpet, and violin, but drums got to him like nothing else. He tried his hand at produc?ing tracks on a tape deck by using the pause and record buttons, then took up MCing. In 1988, he formed Slum Village with Pershing High School friends Baatin and T3.
In 1992, Amp Fiddler, a session keyboard?ist who had worked with Prince, Parliament, and Enchantment, taught Dilla how to use the MPC drum machine. To say that Dilla was a quick study would be an understatement. Fiddler introduced his protege to A Tribe Called Quest's Q-Tip, who heard some of Slum Village's material, liked it, and helped get the word out. In 1996 alone, he worked with Busta Rhymes, De La Soul, and the
Pharcyde, all the while playing a major role in the Ummah with Q-Tip and AN Shaheed Muhammad. (He did extensive work on Tribe's last two al?bums.) Before long, hardcore hip-hop fans began to know Dilla for his steady wobble, which was unfailingly musical and rich in detail--shuffling high-hats, oddly placed handclaps, and spacious drum loops with drastically reshaped samples of tracks both obscure and obvious.
Through the remainder of the '90s, Dilla qui?etly racked up more output, including Janet Jack?son's "Got 'til It's Gone" (for which he did not receive credit). During the producer's steady rise, Slum Village remained a priority; Fantastic, Vol. 2 and fiesf Kept Secret were released within weeks of each other in 2000. However, the producer would only contribute a few tracks to the group from then on as his schedule became increasingly tight. As a core member of the Soulquarians, Dilla worked on Common's Like Water for Chocolate, D'Angelo's Voodoo, Erykah Badu's Mama's Gun, and Talib Kweli's Quality.
Amazingly, from 2001 on, Dilla was also a prolific solo artist. A couple of singles and the Welcome 2 Detroit album came out in 2001, and a number of low-key instrumental compilations and incidental 12" singles followed shortly thereafter. Around 2003, his health took a sharp decline. For over two years, he had to use a dialysis machine. Despite having to perform in a wheelchair, he was able to tour in Europe during late 2005. Donuts, an album of instrumental that had been complet?ed during one of his extended hospital stays, was released on February 7, 2006, his 32nd birthday. Three days later, while staying at his Los Angeles home with his mother, he passed away, a victim of cardiac arrest. Close associate Karriem Riggins put the final touches on another Dilla album, The Shining, which was released in August of 2007. Dilla beats also later surfaced on Phat Kat's Carte Blanche, Peanut Butter Wolf's 2K8: BBall Zombie War, and Common's Finding Forever.
O All Music Guide, and the J Dilla Foundation (JDF) were created in May 2006 by Maureen Yanc-ey, mother of world-renowned hip-hop pro?ducer James Yancey, aka J Dilla. The website was created to keep J Dilla's legacy alive and power?ful, through partnerships, events, concerts, and fundraisers. The J Dilla Foundation raises funds to
tonight's concert marks the UMS debut of Mos Def and the mem?bers of the Mos Def Big Band.
continue lupus research and provide quality arts training for underprivileged children, primarily in the field of music.
The Foundation's mission is to continue to spread J Dilla's passion for music throughout the world. From international benefit concerts to top hip-hop artists mentoring some of Detroit's inner-city children, the JDF ensures that James Yancey's genius lives on.
JDF Staff and Associates are made up of music business executives, recording artists, medical professionals, marketing experts, and various health organizations. Their expertise in such varied fields guides the Foundation in its pursuit of raising money to continue J Dilla's legacy, supporting lupus research, and helping underprivileged children in the arts.
UMS J Dill,i Tribute Planning Committee:
Ben Alfaro, The Neutral Zone
Black Milk, MC
Kelly "K-Fresh" Frazier, Renaissance Soul Detroit,
Tadd Mullinix (Dabrye), Producer
Jeff Owens. Ghostly International
Phat Kat, MC
T3, Slum Village
Khary Kimani Turner, Black Bottom Collective, Metro Times
Sam Valenti IV, Ghostly International
Egon Allapat, Stones Throw, Los Angeles
Dr. Aime Ellis, Assistant Professor, Department of English
Core Faculty Member in African American and African
Studies, Michigan State University House Shoes, DJ, Los Angeles
Garden Grown EntertainmentGold Medal Music A. Kahlil Prescott-Bey
Moiseyev Dance Company
Igor Moiseyev State Academic Ensemble of Popular Dance
Artistic Director and Choreographer Igor Moiseyev
Director Elena Shcherbakova
Assistant Choreographers Larisa Aristova, Lev Golovanov,
Victor Nikitushkin, Elena Shcherbakova Accompanist Mikhail Drokov
Sunday Evening, January 27, 2008 at 6:00 Hill Auditorium Ann Arbor
All Choreography by Igor Moiseyev Parti
Russian Dance: Summer
Kalmuk Dance
Russian Dance: Polyanka
Suite of Moldavian Dances: Hora, Chyokirlie, Zhok
Suite of the Greek Dances: Sirtaki
Part II
Romanian Dance: Briul
Egyptian Dance
Aragonskaya: Khota
Venezuelan Dance: Khoropo
Dance of Argentinean Cowboys: Gaucho
Nanayan National Play: Two Boys in a Fight
Yablotchko (From the Naval Suite)
34th Performance of the 129th Annual Season
The photographing or sound and video recording of this performance or possession of any device for such recording is prohibited.
The 0708 Family Series is sponsored by Toyota. Media partnership provided by Detroit Jewish News.
The Moiseyev Dance Company appears by arrangement with Opus 3 Artists, New York, NY.
Large print programs are available upon request.
Larisa Aristova Evgeniya Bakhareva Ekaterina Kulikova Natalia Matus-Marchuk Natalia Ugrozova Olga Volina Anna Zinkova
Andrey Artamonov Dmitry Diyakonov Evgeny Chernyshkov Oleg Chernasov Ayrat Karimov Rudiy Khodzhoyan Dmitry Klokotov Kirill Kochubey Sergey Kuznetsov Konstantin Kostylev Viacheslav Kozhin Evgeniy Masalkov Vladislav Ozeryanskiy Dmitry Orlov Denis Pankov Sergey Rukavishnokov Nikolay Rubtsov Alexander Tikhonov
Ksenia Basova Veronika Denisova Irina Galushkina Alsu Gayfullina Ekaterina Guseva Anna Glukhova Elizaveta Filatova Anastasia Kovaleva Ekaterina Korobova Victoria Mishukova Maria Nikolaeva Margarita Rebetskaya Ekaterina Rozanova Yulia Stebletsova Irina Sibirtseva Anna Shchukina Yulia Shutova Ksenia Teslya Marina Vasilenko Olga Voronkova Anastasia Volkova
Yuriy Chernyshkov Roman Ivashchenko Daniil Kasatkin Roman Kozyukov Roman Kuznetsov Ramil Mehdiev Dmitry Mikhalin Vladimir Mikhalenko Igor Okhlopkov Vladimir Pavlyuchenko Nikolay Postnov Sergey Prohorov Alexander Samarin Nikolay Tarasov Anatoliy Trofimov Yury Vasin llya Vlasov Pavel Zinkov Albert Yusupov
Notes on this Evening's Program Parti
Russian Dance: Summer
Vlusic by S. Galperin, V. Zhmykhov In his many arrangements of traditional Russian folk songs, Moiseyev reflects on different aspects of the Russian national character. This dance from the suite The Seasons depicts the humor, mischief, romance, and lyricism so often ascribed to the people of the countryside. The setting is a harvest festival, and villagers of all ages have gathered to cheer on a young couple.
Kalmuk Dance
Music by P. Rybakov Accompaniment by Mikhail Drokov Until very recently, the Kalmuks lived as nomads, wandering with their herds on the vast No-gai Steppes near the mouth of the Volga River. They are thought to have migrated from Central Asia, but few details of their history or culture are known. The dancers of the Kalmuks suggest a deep connection to the animals and birds that provided them with their livelihood. In this piece, one can recognize the flight of eagles, the run?ning of horses, and the contest of bulls in mating season.
Music by E. Avksentiev
Unlike their ancestors who concentrated on be?having very unpleasantly towards their neighbors from the 12th to the 16th centuries, today's Tar?tars are noted for their vitality at work, their ath?letic prowess and, above all, their broad sense of humor, especially about themselves. These dances grew out of Moiseyev's observations of life in the villages of the Tartars in Crimea, and out of tradi?tional Tartar dance forms. It is the later of two Tar?tar dances he created for the repertoire and it is having its North American premiere on this tour.
Russian Dance: Polyanka
Music by E. Avksentiev
This Russian dance takes place in a polyanka (small clearing or meadow). During the spring and sum?mer seasons, young people gather here to amuse themselves with song and dance. Their initial shy?ness and formality towards each other gradually gives way to the high spirits of youth. The dance
grows faster and faster until it explodes in a cli?mactic round, with the accompaniment of tam?bourines and balalaikas. The music is based on a Russian folk song.
Suite of Moldavian Dances: Hora, Chyokirlie, Zhok
Music by D. Fedov
In Moldavia, Zhok means a dance, but it can also be interpreted as a musical promenade. The ebul?lience, color, and speed of this dance have made it one of the most popular folk dances in Russia. The Moiseyev version of this dance consists of three parts:
"Hora"--A lyrical female round dance. "Chyokirlie"--The Lark. A series of individual and
group dances, which ends with a general
boisterous round dance, based on a popular
Moldavian melody. "Zhok"--A mass dance characterized by
impetuosity and diversity of pattern.
Suite of the Greek Dances: Sirtaki
Traditional Music
This piece is based on local folk dances observed by the choreographer when he attended a village wedding during a tour of Greece.
Part II
Music by S. Galperin
In Bessarabia, somewhere near the Romanian bor?der, a band of gypsies rests in the vineyards that line the road. Suddenly the women begin to move languorously. The men, with shadows, are stirred to action and a frenzy of dancing begins.
Romanian Dance: Briul
Music by S. Galperin A Romanian joke dance.
Egyptian Dance
Traditional Music
This dance for women is based on the sinuous movements of hands, feet, and hips that are char?acteristic of Middle Eastern dance.
Aragonskaya: Khota
Music by M. Glinka
A national Spanish dance from the Aragon Re?gion.
Venezuelan Dance: Khoropo
Music by A. Gus
A national Venezuelan dance.
Dance of Argentinean Cowboys: Gaucho
Music by N. Nekrasov
This is a dance of Argentinean cowboys in which they have a skill competition. It is danced by three male soloists.
Nanayan National Play: Two Boys In A Fight
Wrestling is a favorite sport of the Nanayan peo?ple who inhabit the frigid Northern region of Rus?sia. Moiseyev conceives it as a pastime that is also full of surprises.
Yablotchko (From the Naval Suite) Traditional Music
There are many hardships in the life of the sailors, but they are always in good spirit.
The 70-year-old Moiseyev Dance Com?pany is consistently acclaimed throughout the world as the greatest of all folk dance groups. The ensemble, honored as Russia's official State Academic Ensemble of Popular Dance, has captivated international audiences for decades with its peerless technical brilliance and exuber?ant evocations of traditional dances. At the heart of the group's success is the genius of its visionary artistic director, choreographer, and founder, the late Igor Moiseyev. Today, the Company's fame is so widespread it is often identified merely by its legendary founder's surname: Moiseyev.
The Company's origin can be traced back to 1936, when Igor Moiseyev, the then current Ballet Master and former Principal Dancer and Chore?ographer of the Bolshoi Ballet, was asked by the Soviet government to organize the first Festival of National Dance. As a student, Mr. Moiseyev had traversed the country on foot during his free time, immersing himself in the study of Russian folklore and in the treasury of songs, dances, customs, traditions, and festivals belonging to the 180 na?tional cultures that comprised the Soviet Union. Fascinated by what he found, he embraced this unprecedented task of bringing traditional dances to national attention. The festival's subsequent
success convinced Moiseyev that the formation of a professional company was necessary to preserve and develop the best traditions of folk dancing.
On February 10, 1937 in Moscow, Mr. Moiseyev gathered together a core of approxi?mately 40 of the best dancers from amateur companies across the country, and a handful of professional ballet dancers from the Bolshoi School and other classical companies. Mr. Moiseyev's intent was not to reproduce precisely the more than 3000 existing national dances, but to raise the skill of performance to the highest artistic level in order to influence the creation of new national dances. His strong background in classical ballet would provide the basic training for his company, and his keen powers of observation and thorough knowledge of folklore would lead him to establish a unique choreographic style.
Six months after that first gathering, the Moiseyev Dance Company gave its first performance at Moscow's Green Theatre. The inaugural program contained dances from the Ukraine, Armenia, Belorussia, the Far North, and Azerbaijan. The public acclaim was immediate and overwhelming.
Within a few years of this initial triumph, Mr. Moiseyev had molded the first professional ensemble of popular dance into a superb com?pany of 100 dancers. They toured throughout the Soviet Union, constantly adding dances from other, more remote regions, including Georgia, the Caucausus, Mongolia, Uzbekistan, the Gobi desert, and the far reaches of Siberia. Moiseyev also created new works based on current themes, such as the desperate struggle of the Russian people during World War II.
When the Cold War first eased in 1955, the Moiseyev Dance Company began to tour the world. It has since appeared in and returned to more than 60 countries, covering all continents. Its ever-growing repertoire now includes dances of Spain, Japan, China, Bulgaria, Argentina, Mex?ico, Poland, Hungary, and, of course, American jazz and rock-and-roll. The company now num?bers more than 200, has its own orchestra and school, and possesses a repertoire in excess of 200 dances.
America's love affair with the Moiseyev Dance Company began in 1958 when the impresario Sol Hurok brought it to New York's old Metropolitan Opera House on 39th Street. The explosive 25-minute ovation it received then has
not abated in the succeeding visits of the com?pany to these shores, made in 1961, 1965, 1970, 1974, 1986, 1989, 1991, 1995, 1999, 2002, and 2005.
The Moiseyev Dance Company returned to North America for an unprecedented second visit in 2005 to appear with the Hollywood Bowl Orchestra, conducted by John Mauceri. Their three performances in Los Angeles marked the first time that the company has performed in the United States with a symphony orchestra. In 2008 the Moiseyev Dance Company will return to North America for a tour commemorating the life and work of Mr. Moiseyev as well as the 50th anniver?sary of their first US tour and the 70th anniversary of the Company.
I u
is evening's performance marks the Moiseyev Dance Company's UMS debut.
Igor Alexandrovich Moiseyev --"one of the greatest choreographers in 20th-century dance" (Anna Kisselgoff, The New York Times)--was born of Ukrainian parentage in Kiev in 1906. A few months later Mr. Moiseyev's father, an attorney, moved the family to Paris where the boy passed the first seven years of his life, becoming bilingual.
He and his family returned to the Soviet Union in 1914, living first in Poltava in the Ukraine. There, the legendary villages of Dikanka and Soro-chinsty became real to the young Moiseyev, and the festivals, fairs, and dances he witnessed be?came vivid, indelible images. Mr. Moiseyev later described it as "a kind of unconscious gravitation I felt all throughout my life."
A year later the Moiseyev family settled in Moscow. There, Moiseyev enrolled in a Gym?nasium where he concentrated on painting, poetry and sports. At age 12 he began his ballet training at a well known private school headed by Vera Moslova. After seeing his first Bolshoi Ballet performance two years later, his career was determined. Moslova recognized his talent and
Igor Alexandrovic Moiseyev
brought him to the Bolshoi School where, out of 100 applicants, only he and Asaf Messerer (who was destined to glorify his own name in Russian ballet) were chosen.
At 18, Mr. Moiseyev graduated from the Bolshoi School of Choreography, joined the Bolshoi Ballet, and gradually rose to become a Principal Dancer. His most famous roles included Raoul in Theolinde, Joseph in Joseph the Beau?tiful, the Phoenix in The Red Poppy and lead?ing roles in the standard classical repertoire. But choreography had become his chief passion. He created new productions for the Bolshoi, among them Salammbo, in which he danced the leading role of Matho, Three Fat Men, and Football Play?ers. Even the most conservative members of the dance world, opponents of his departures from the strict programming of classical ballet, hailed him for his great choreographic inventiveness and his dazzling theatrical form. It was during this pe?riod also that he established his reputation as a scholar of all aspects of Russian folklore.
In 1936, Mr. Moiseyev was appointed Bal?let Master at the Bolshoi Theatre. Shortly after, he was asked to organize a festival of national dance, and he thus began the work that would ultimately be recognized as one of the greatest artistic contributions to the dance world. He was the recipient of UNESCO's Mozart Medal for "out?standing contribution to world music culture," the Government of Moscow Award for "Legend of the Century," and the award for "outstanding contribution to the development of cultural rela?tions between the US and Russia"--an honor only accorded to two others: pianist Van Cliburn and cellist Mstislav Rostropovich. On the occasion of his 100th birthday, a gala performance took place at the Kremlin Palace Theater in Moscow honor?ing his great contribution to the world of dance. Mr. Moiseyev was presented with Russia's top ci?vilian honor for service to the nation from Presi?dent Vladimir Putin. Mr. Moiseyev died in Moscow in November 2007 at the age of 101.
Staff for the Moiseyev Dance Company
Elena Shcherbakova, Director Of The Company
Aleksey Gladyshev, Manager
Antonida Marnopolskaya Master of Ballet
Sergey Cherepanov Master of Properties
Alexander Radzetskiy, Sound Engineer
Tamara Timohina. Wardrobe Supervisor
Nonna Karytkina, Wardrobe Assistant
Pavel Chekunov, Bootmaker
Lubov Tuleninova, Make-Up Supervisor
Alexander Mizonov, Masseur
Staff for Opus 3 Artists
David V. Foster, President & CEO
Leonard Stein, Vice President and Director. Tour Administration
Anna Dok. Assistant to Leonard Stein
Production Staff
John Pendleton, Company Manager Judith Daitsman, Production Supervisor Adam Dexter, Technical Coordinator Riva Pizhadze, Wardrobe Supervisor
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 lub to have updated event information sent irectly to you. For immediate event information, lease email, or call the umbers listed below.
: ase call 734.647.6712 or email for more information.
e UMS Adult and Community Engagement igram serves many different audiences ough a variety of educational events. With )ver 100 unique regional, local, and university-ased partnerships, UMS has launched initia?tes for the area's Arab-American, Asian, Vican, MexicanLatino, and African-American ludiences. Among the initiatives is the creation f 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 proac?tive stance on partnering with and responding to individual communities. Though based in Ann Arbor, UMS Audience Development programs reach the entire southeastern Michigan region.
Public Programs
UMS hosts a wide variety of educational events to inform the public about arts and culture. These events include
PREPs Pre-performance lectures
Meet the Artists Post-performance Q&A with the artists
Artist Interviews Public dialogues with performing artists
Master Classes Interactive workshops
PanelsRound Tables In-depth adult edu?cation related to a specific artist or art form
Artist-in-Residence Artists teach, create, and meet with community groups, university units, and schools
UMS is grateful to the University of Michigan for its support of many educational activities scheduled in the 0708 season. These programs provide opportu?nities for students and members of the University community to further appreciate the artists on the UMS series.
The NETWORK: UMS African American Arts Advocacy Committee
Celebrate. Socialize. Connect. 734.615.0122 I www.ums.orgnetwork
The NETWORK was launched during the 0405 season to create an opportunity for African-
Americans and the broader community to cele?brate the world-class artistry of today's leading African and African-American performers and creative artists. NETWORK members connect, -ocialize, and unite with the African-American community through attendance at UMS events and free preor post-concert receptions. ETWORK members receive ticket discounts r selected UMS events; membership is free.
Jazz at Lincoln Center Orchestra: Love Songs of Duke Ellington
Celebration of the Keyboard
Ahmad Jamal
SFJAZZ Collective: A Tribute to Wayne Shorter
Urban Bush WomenCompagnie Jant-Bi: Les ecailles de la memoires (The scales of memories)
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.
MS Youth
708 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 Bay Area 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.
JMS 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
Saturday, May 3, 8 PM
Power Center
In a special collaboration with the Neutral
Zone, Ann Arbor's teen center, UMS presents
this annual performance highlighting the area's
best teen performers.
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
amily Days
Saturday, March 8 and Sunday, March 9, 2008 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 at http:www.annarbor.orgfamilydays.
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 06107 fiscal year
Ford Motor Company Fund and Community Services
Michigan Council for Arts and Cultural Affairs University of Michigan
Arts at Michigan
Bank of Ann Arbor
Kathy Benton and Robert Brown
Borders Group, Inc.
The Dan Cameron Family
FoundationAlan and
Swanna Saltiel CFI Group
Chamber Music America Doris Duke Charitable
DTE Energy Foundation The Esperance Family Foundation JazzNet Endowment Masco Corporation Foundation THE MOSAIC FOUNDATION (of
R. & P. Heydon) National Dance Project of the
New England Foundation for the Arts National Endowment for the Arts Noir Homes, Inc. Performing Arts Fund
Pfizer Global Research and
Development, Ann Arbor
Randall and Mary Pittman Prudence and Amnon Rosenthal
K-12 Education Endowment
Fund Target
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
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
ind workstudy programs, as well as a UMS
tudent 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 he 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:
Yuja Wang, Sun. 120
Christian Tetzlaff, Thurs. 214
San Francisco Symphony, Fri. 314
Bobby McFerrin, Chick Corea, Jack DeJohnette, Sat. 419
Sponsored by UMcK
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.
Arts at Michigan offers several programs designed to help students get involved in arts and cultural opportunities at the University of Michigan. Please visit for the latest on events, auditions, contests, fund?ing for arts initiatives, work and volunteer opportunities, arts courses, and more.
Internships and College Work-Study
Internships with UMS provide experience in performing arts administration, marketing, ticket sales, programming, production, and arts education. Semesterand year-long unpaid iternships 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 ?xperience in all facets of arts management including concert promotion and marketing, icket sales, fundraising, arts education, arts programming, and production. If you are a University of Michigan student who receives work-study financial aid and are interested in working at UMS, please call 734.615.1444.
Student Advisory Committee
As an independent council drawing on the diverse membership of the University of Michigan community, the UMS Student Advisory Committee works to increase student interest and involvement in the various pro?grams offered by UMS by fostering increased communication between UMS and the student community, promoting awareness and accessi?bility of student programs, and promoting the student value of live performance. For more information or to participate on the Committee, please call 734.615.6590.
Join us for camaraderie, fine cuisine, and musical insights at the Prelude Dinners before these performances. For reservations and information, please call 734.764.848g
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, Feb 9, 5:30 pm, Rackham Building Guameri Johannes String Quartets
Speaker: William Bolcom
Thurs, Feb 14,5:3O pm, Rackham Building Christian Tetzlaff
Speaker: Stephen Shipps
Fri, March 14,5:30 pm, Rackham Building San Francisco Symphony
Speaker: Steven Whiting
Fri, March 21,5:30 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 any of these 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
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.
JMS Advisory Committee
The UMS Advisory Committee is an organiza?tion of over 70 volunteers who contribute approximately 7,000 hours of service to UMS each year. The purpose of the Advisory Committee is to raise funds for UMS's nationally-acclaimed arts education program through the events listed below. In addition, Advisory Committee members and friends provide assis?tance in ushering at UMS youth performances and assist in various other capacities through?out the season. Meetings are held every two months and membership tenure is three years. Please call 734.647.8009 to request more information.
Delicious Experiences
These special events are hosted by friends of UMS. The hosts determine the theme for the evening, the menu, and the number of guests they would like to entertain. It's a wonderful 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.
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
September 1, 2006-November 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 rev?enue UMS receives from ticket sales. The difference is made up through the gener?ous 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 September 1, 2006 and November 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
Charles H. Gershenson Trust
Detroit Auto Dealers Association Charitable
Foundation Fund Ford Motor Company Fund Maxine and Stuart Frankel Foundation Kaydon Corporation KeyBank Robert and Pearson Macek
Masco Corporation
National Endowment for the Arts
National Dance Project of the New England
Foundation for the Arts Gilbert Omenn and Martha Darling Mr. and Mrs. Laurence A. Price ProQuest
Dennis and Ellie Serras Toyota The Whitney Fund at the Community
Foundation for Southeastern Michigan Ann and Clayton Wilhite
$10,000-$! 9,999
Michael Allemang and Janis Bobrin
AMGEN Foundation, Inc.
77ie Ann Arbor News
Arts at Michigan
Arts PresentersMetLife Foundation Award for Arts
Access in Underserved Communities Emily Bandera and Richard Shackson Bank of Ann Arbor
Linda and Maurice Binkow Philanthropic Fund Carl and Isabelle Brauer Fund Chamber Music America Charter One Bank
Maxine and Stuart Frankel Foundation GlaxoSmithKline Foundation Eugene and Emily Grant David and Phyllis Herzig LaSalle Bank
Lawrence and Rebecca Lohr Charlotte McGeoch Mrs. Robert E. Meredith
Donald L. Morelock
(of R. & P. Heydon) NEA Jazz Masters on Tour Jane and Edward Schulak Barbara Furin Sloat TIAA-CREF
Universal Classics Group Concord Music
University of Michigan Credit Union Marina and Bob Whitman
Morris and Beverly Baker Foundation
Paulett Banks
Edward Surovell RealtorsEd and Natalie
Carl and Charlene Herstein Miller, Canfield, Paddock and Stone, RLC. M. Haskell and Jan Barney Newman Performing Arts Fund A. Douglas and Sharon J. Rothwell James and Nancy Stanley
Mrs. Bonnie Ackley
Herb and Carol Amster
Ann Arbor Automotive
Arnold and Janet Aronoff
Blue Nile Restaurant
Mr. and Mrs. Thomas P. Capo
Dave and Pat Clyde
Comerica Bank
Al and Kendra Dodds
Jim and Patsy Donahey
Ken and Penny Fischer
llene H. Forsyth
Sue and Carl Gingles
Paul and Anne Glendon
Tom and Katherine Goldberg
Linda and Richard Greene
David W. and Kathryn Moore Heleniak
Debbie and Norman Herbert
Honigman Miller Schwartz and Cohn LLP
Mohamad and Hayat Issalssa
David and Sally Kennedy Jill Latta and David Bach Leo and Kathy Legatski 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 & Grill 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
Thomas B. McMullen Co.
Tisch Investment Advisory
United Bank and Trust
Ronald and Eileen Weiser
Whole Foods Market
Marion T. Wirick and James N. Morgan
Zanzibar Restaurant
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 Motor Powertrain-Willow Run Plant
Susan and Richard Gutow
Dr. H. David and Dolores Humes
Keki and Alice Irani
Robert L. and Beatrice H. Kahn
U-M Michigan Union
Noir Homes
Virginia and Gordon Nordby
Mrs. Charles Overberger (Betty)
Martin Neuliep and Patricia Pancioli
Eleanor and Peter Pollack
Rosebud Solutions
Lois A. Theis
Dody Viola
Robert 0. and Darragh H. Wecsman
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
Robert and Victoria Buckler
Barbara and Al Cain
Jean and Ken Casey
Anne and Howard Cooper
Beverley and Gerson Geltner
General Motors Corporation
William and Ruth Gilkey
Or. 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 M. Skewes
TCF Bank
Jim Toy
Don and Carol Van Curler
Don and Toni Walker
Elise Weisbach
Roy and JoAn Wetzel
Keith and Karlene Yohn
Robert and Kathenne Aldrich
Michael and Suzan Alexander
Anastasios Alexiou
Dr. and Mrs. David G. Anderson
Jonathan Ayers and Teresa Gallagher
Lesli and Christopher Ballard
Walter and Mary Ballinger
Bradford and Lydia Bates
Beacon Investment Company
Astrid B. Beck and David Noel Freedman
Frederick W. Becker
Rachel Bendit and Mark Bernstein
Kathy Benton and Robert Brown
James K. and Lynda W. Berg
Jim Bergman and Penny Hommel
Ruth Ann and Stuart J. Bergstein
Anne Beaubien and Phil Berry
John Blankley and Maureen Foley
Howard and Margaret Bond
Gary Boren
Laurence and Grace Boxer
Dr. Ralph and Mrs. Mary W. Bozell
Jacquelyn A. Brewer
Dale E and Nancy M. Briggs
Barbara Everitt Bryant
Lawrence and Valerie Bullen
Charles and Joan Burleigh
Letitia J. Byrd
Amy and Jim Byrne
Betty Byrne
Jean W. Campbell
Patricia and Michael Campbell
David and Valerie Canter
Bruce and Jean Carlson
Carolyn M. Carty and Thomas H. Haug
John and Patricia Carver
Janet and Bill Cassebaum
Tsun and Siu Ying Chang
Anne Chase
Pat and George Chatas
James S. Chen
Leon S. Cohan
Hubert and Ellen Cohen
Lois and Avern Cohn
Cynthia and Jeffrey Colton
William J. and Ellen A. Conlin
Phelps and Jean Connell
Jim and Connie Cook
Jane Wilson Coon and A. Rees Midgley, Jr.
Kathleen Crisped and Tom Porter
Judy and Bill Crookes
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
Alice Dobson
Molly Dobson
Heather and Stuart Dombey
John Dryden and Diana Raimi
Aaron Dworkin and Afa Sadykhty
Jack and Betty Edman
Joan and Emit Engel
David and Jo-Anna Featherman
Dede and Oscar Feldman
Yi-Tsi M. and Albert Feuerwerker
Susan A. Fisher
Susan Fisher and John Waidley
Bob Fleming
Esther Floyd
James W. and Phyllis Ford
Forrest Family Fund
Dan and Jill Francis
Leon and Marcia Friedman
Enid H. Caller
Patricia Garcia and Dennis
Prof. David M. Gates Thomas and Barbara Gelehrter Karl and Karen Gotting Cozette T. Grabb Elizabeth Needham Graham Walter Z. Graves
Susan M. Smith and Robert H. Gray Bob Green
Leslie and Mary Ellen Guinn Helen C. Hall
Jeanne Harrison and Paul Hysen Alice and Clifford Hart Srvana Heller Paul Herstein Dianne S. Hoff Carolyn B. Houston Robert M. and Joan F. Howe Dr. Howard Hu and Ms. Rani Kotha John and Patricia Huntington Eileen and Saul Hymans Perry Irish Jean Jacobson Rebecca Jahn Wallie and Janet Jeffries Timothy and Jo Wiese Johnson Robert and Jeri Kelch David and Gretchen Kennard Connie and Tom Kinnear Diane Kirkpatrick Philip and Kathryn Klintworth Carolyn and Jim Knake Charles and Linda Koopmann Bud and Justine Kulka Scott and Martha Larsen Ted and Wendy Lawrence Melvin A. Lester MD Myron and Bobbie Levine Carolyn and Paul Lichter Patricia Little and Raymond
Barbehenn Jean E. Long
Richard and Stephanie Lord John and Cheryl MacKreil 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 Henry D. Messer and Carl A. House Paul Morel
Alan and Sheila Morgan Mehnda and Bob Morris Cyril Moscow Nustep, Inc. Marylen S. Oberman Marysia Ostafin and George Smillie Mohammad and J. Elizabeth
Oth man Donna Parmelee and William
Bertram and Elaine Pitt Peter and Carol Polverini Richard and Mary Price Produce Station Mrs. Gardner C. Quarton Donald Regan and Elizabeth
Professor and Mrs. Raymond Reilly Maria and Rusty Restuccia Kenneth J. Robinson and Marcia
Gershenson Nancy and Doug Roosa Rosalie EdwardsVibrant Ann
Arbor Fund Doris E. Rowan Craig and Jan Ruff Agnes and David Sams Norma and Dick Sarns Maya Savarino Schakolad Chocolate Factory Erik and Carol Serr ianet and Michael Shatusky Frances U. and Scott K. Simonds Dr. Bernard Sivak and Dr. Loretta
Jim Skupski and Dianne Widzinski Dr. Rodney Smith Kate and Philip Soper Lloyd and Ted St. Antoine Michael B. Staebler John and Lois Stegeman Victor and Marlene Stoeffler Dr. and Mrs. Stanley Strasius David and Karen Stutz Charlotte B. Sundelson Judy and Lewis Tann Target
Mrs. Robert M. Teeter Brad and Karen Thompson Louise Townley
Jack and Marilyn van der Velde Bruce and Betsy Wagner Florence S. Wagner Robert D. and Lima M. Wallin Harvey and Robin Wax W. Scon Westerman, Jr. Dr. and Mrs. Max V. Wisgerhof II Charles Witke and Aileen Gatten Jeanne and Paul Yhouse Edwin H. and Signe Young Maria Zampierollo and Brian Partin
3POINT Machine. Inc.
Wadad Abed
Roger Albin and Nili Tannenbaum
Christine W. Alvey .
Catherine M. Andrea
Dr. and Mrs. Rudi Ansbacher
Harlene and Henry Appelman
Ralph Lydic and Helen Baghdoyan
Mary and Al Bailey
Robert L. Baird
Laurence R. and Barbara K. Baker
Reg and Pat Baker
Nan Barbas and Jonathan Sugar
David and Monika Barera
Norman E. Barnett
Frank and Lindsay Tyas Bateman
Harry Benford
Linda and Ronald Benson
L. S. Berlin
Naren K. and Nishta G. Bhatia
Seth Bonder
Bob and Sharon Bordeau
Catherine Brandon MD
David and Dr. Sharon Brooks
Donald R. and June G. Brown
Morton B. and Raya Brown
Dr. Frances E. Bull
H. D. Cameron
Susan and Oliver Cameron
Margot Campos
Carlisle Wortman Associates, Inc.
Jack and Wendy Carman
Drs. Andrew Caughey and Shelley
John and Camilla Chiapuns Dr. Kyung and Young Cho Janice A. Clark Brian and Cheryl Clarkson Tris and Edna Coffin Jeanne Raisler and Jonathan Cohn Wayne and Melinda Colquitt Arnold and Susan Coran Malcolm and Juanita Cox 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 ElKvood and Michele Derr Linda Dintenfass and Ken Wisinski Cynthia M Dodd Robert J. and Kathleen Dolan Dallas C.Dort Eva and Wolf Duvernoy Stefan and Ruth Fajans Elly and Harvey Falit Irene Fast
Margaret and John Faulkner Sidney and Jean Fine Carol Finerman Clare M. Fingerie Herschel and Adrienne Fink C. Peter and Beverly A. Fischer John and Karen Fischer Ray and Patricia Fitzgerald Howard and Margaret Fox Jason I. Fox Ann Friedman William Fulton Tom Gasloli Beverly Gershowitz Ronald Gibala and Janice Gnchor Paul and Suzanne Gikas Zita and Wayne Gillis Amy and Glenn Gottfried Jill Gramz
Dr. John and Renee M. Greden Anna and Robert Greenstone Ingrid and Sam Gregg Arthur W. Gulidc 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 Jim and Dale Jerome Mark and Madotyn Kaminski Olivia Maynard and Olof Karistrom Christopher Kendall and Susan
Schilperoort Rhea K. Kish Paul and Dana Kissner Hermme Roby Klingler Regan Knapp and John Scudder Michael J. Kondziolka and Mathias-
Philippe Florent Badin Dr. and Mrs. Melvyn Korobkin Rebecca and Adam Kozma Barbara and Ronald Kramer Dr. and Mrs. Gerald Krause Jane Laird Marilyn and Dale Larson
John K. Lawrence and Jeanine A.
De Lay
Richard LeSueur Ken and Jane Lieberthal Marilyn and Martin Lindenauer E. Daniel and Kay M. Long Frances Lyman Brigitte and Paul Maassen Pamela J. MacKintosh Nancy and Philip Margolis Susan E. Martin and Randy Walker Margaret E. McCarthy Margaret and Harris McClamroch Dr. Paul W. McCracken Joanna McNamara and Mel Guyer James M. Miller and Rebecca H.
Myrna and Newell Miller Bert and Kathy Moberg Jeanne and Lester Monts Lewis and Kara Morgenstern Frieda H. Morgenstern Gavin Eadie and Barbara Murphy 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 James Eng and Patricia Randle Anthony L. Reffells and Elaine A.
Bennett R. E. Reichert Marc and Stacy Renouf Retirement Income Solutions Timothy and Teresa Rhoades Richner & Richner Jeff 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
Carl P. Simon and Bobbi Low
Sandy and Dick Simon
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
Virginia and Eric Stein
Eric and Ines Storhok
Cynthia Straub
Ellen and Jeoffrey Stross
Brian and Lee Talbot
Craig Timko
Ft. Lewis W. Towler
Jeff and Lisa Tulin-Silver
Dr. Sheryl S. Ulin and Dr. Lynn T. Schachinger
Steven and Christina Vantrease
Shirley Verrett
Drs. Bill Lee and Wendy Wahl
Elizabeth and David Walker
Enid Wasserman
Carol Weber
Angela Welch and Lyndon Welch
Iris and Fred Whitehouse
Leslie C.Whitfield
Sally M. Whiting
Reverend Francis E. Williams
Robert J. and Anne Marie Willis Lawrence and Mary Wise James and Gail Woods Dr. and Mrs. Clyde Wu Mayer and Joan Zald
Dont Adler
Thomas and Joann Adler Family
Helen and David Aminoff Anonymous Arboretum Ventures Bert and Pat Armstrong Jack and Jill Arnold Frank and Nancy Ascione Penny and Arthur Ashe AT&T Foundation Drs. John and Lillian Back Marian K. Bailey Bruce Baker and Genie Wolfson Daniel and Barbara Balbach John and Ginny Bareham Frank and Gail Beaver Prof, and Mrs. Erling Blondal
Linda Bennett and Bob Bagramian Rodney and Joan Bentz Dr. Rosemary R. Berardi Sandra L. and Stanley Bies llene and William Birge Beverly J. Sole
Amanda and Stephen Borgsdorf Victoria C. Botek and William M
Edwards Susie Bozell Paul and Anna Bradley 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 C apian Brent and Valerie Carey Thomas and Colleen Carey James W. and Mary Lou Carras Dennis J. Carter Margaret and William Caveney J Wehrtey and Patricia Chapman Charles Reinhart Company Realtors Charles Stewart Mott Foundation John and Christine Chatas Linda Chatters and Robert Joseph
Andy and Dawn Chien Kwang and Soon Cho Reginald and Beverly Ciokajlo Coffee Express Co. Theodore and Jean Cohn Edward and Anne Comeau Minor J. Coon Peter and Celia Copeland Cliff and Kathy Cox Lloyd and Lois Crabtree Clifford and Laura Craig Merle and Mary Ann Crawford Mary C. Crichton Connie D'Amato Timothy and Robin Damschroder Suml 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 Mark and Beth Dixon Judy and Steve Dobson Elizabeth A. Doman Michael and Elizabeth Drake Mary P. DuBois Elizabeth Duell Bill and Marg Dunifon
Peter and Grace Duren
Swati Dutta
Jane E. Dutton
Bradley Dyer
Dr. Alan S. Eiser
Mary Ann Faeth
Mark and Karen Falahee
Dr. and Mrs. S. M Farhat
Phil and Phyllis Fellin
James and Flora Ferrara
Dr. James F. Filgas
David Fink and Marina Mata
Dr. Lydia Fischer
Jessica Fogel and Lawrence Werner
Paula L Bockenstedt and David A. Fox
Hyman H. Frank
Jerrold A. and Nancy M Frost
Philip and Renee Frost
Carol Gagliardi and David Flesher
Barbara and James Garavaglia
Allan and Harriet Gelfond
Beth Genne and Allan Gibbard
Deborah and Henry Gerst
Elmer G. Gilbert and Lois M.
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 EmdM Gosling and Wendy
Mr. and Mrs Charles and Janet Goss James and Maria 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 Graver Robin and Stephen Gruber Anna Grzymala-Busse and Joshua
Ken and Margaret Guire H&R Block Foundation George and Mary Haddad M Peter and Anne Hagiwara Yoshiko Hamano Walt and Charlene Hancock Naomi Gottlieb Harrison and
Theodore Harrison DDS Tncia and Steve Hayes Anne Heacock Rose and John Henderson J Lawrence and Jacqueline Stearns
Keith and Marcelle Henley Kathy and Rudi Hentschel James and Ann Marie Hitchcock Mary Ann and Don Hilt Ronald and Ann Holz Robert and Barbara Hooberman Linda Samuelson and Joel Howell Mabelle Hsueh Harry and Ruth Huff Heather Hurlburt and Darius Srvin 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 Kalbfletsch Mr. and Mrs. Irving Kao Arthur A. Kaselemas MD Penny Kennedy Roland and Jeanette Kibler Don and Mary Kiel Richard and Patricia King Fred and Sara King James and Jane Kister Dr. David E. and Heidi Castleman Ktein Steve and Shira Klein Anne F. Kloack Joseph and Marirynn Kokoszka
Alan and Sandra Kortesoja
Barbara and Michael Kratchman
Dons and Don Kraushaar
Gary and Barbara Krenz
Mary and Charles Krieger
Ben and Geraldine Kruse
Donald John Lachowicz
Kathy and Timothy Laing
Neal and Anne Laurance
Laurie and Robert LaZebnik
David Lebenbom
Julaine and John Le Due
John and Theresa Lee
Sue Leong
Metvyn and Joan Levitsky
Jacqueline H. Lewis
David Baker Lewis
Ken and Jane Lieberthal
Don and Erica Lindow
Michael and Debra Lisull
Michael Charles Liu
Dr Daniel Little and Dr. Bernadette
Rod and Robin Little Dr. and Mrs. Lennart H. Lofstrom Julie M Loftin Naomi E. Lohr Charles P. and Judy B. Lucas Mervin and Jean Manis Manpower. Inc. of Southeastern
Ken and Lynn Marko W. Harry Marsden Laurie McCauley and Jessy Grizzle Peggy McCracken and Doug Anderson Liam T McDonald James A. Mclntosh James H. Mclntosh and Elaine K.
Bill and Ginny McKeachie McNaughton & Gunn, Inc. Frances McSparran Nancy A. and Robert E. Meader Gerlmda S. Melchiori PhD Warren and Hilda Merchant Sara Meredith and James Chavey Russ and Brigitte MefZ Uz and Art Messiter Fei Fei and John Metzler Don and Lee Meyer Shirley and Bill Meyers Joetta Mial Leo and Sally Miedler Kitty and Bill Moeller Olga Moir Jean Marie Moran and Stefan V
Patricia and Michael Morgan Mark and Lesley Mozola Roy and Susan Muir Thomas and Hedi Mulford Terence and Patricia Murphy Lisa Murray and Michael Gam Drs. Louis and Julie Jaffee Nagel Gerry and Joanne Navarre Frederick C. Neidhardt Gayl and Kay Ness Susan and Richard Nisbett 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 Judith Ann Pavitt Donald and Evonne Plantinga Allison and Gregory Poggi Susan Pollans and Alan Levy Bill and Diana Pratt Ann Preuss
Elisabeth and Michael Psarouthakrs Maxwell and Marjorie Reade Stephen and Agnes Reading Michael J. Redmond
Mar me Reid and Family
Alice Rhodes
Betty Richart
Constance Rinehart
Riverbend Condominium
Jack and Avtva Robinson
Jonathan and Anala Rodgers
Dr. Susan M. Rose
Jean P Rowan
Bob and Susan Rowe
Rosemarie Rowney
Carol D. Rugg and Richard K
Montmorency Michael and Kimm Sarosi Stephen J. and Kim Rosner Saxe SBC Foundation Jochen and Helga Schacht Frank J. Schauerte David and Marcia Schmidt Leonard Segel Harriet Selin Robert D. Shannon Matthew Shapiro and Susan Garetz David and Elvera Shappirio Jean and Thomas Shope Patricia Shure Edward and Kathy Silver Dr. Terry M. Silver Gene and Alida Silverman Scott and Joan Singer Tim and Marie Slottow David and Renate Smith Greg and Meg Smith Robert W. Smith Ralph and Anita Sosm Doris and Larry Sperling Jim Spevak Jeff Spindler Judy and Paul Spradlin David and Ann Staiger Rick and Lia Stevens James L. Stoddard
Ellen M. Strand and Dennis C. Regan Clinton and Aileen Stroebel Donald and Barbara Sugerman Sam and Eva Taylor Steve and Diane Telian Mark and Patricia M Tessler Textron
Mary H. Thieme Edwin J. Thomas Nigel and Jane Thompson Claire and Jeremiah Turcotte Dr. Hazel M. and Victor C. Turner, Jr Ahan and Katharine Uhle Susan B Ullrich Dr. Samuel C and Evelyn Ursu Andrea and Douglas Van Houweling Hugo and Karla Vandersypen Mary Vandewiele Michael Van Tassel Dr. and Mrs. Edward Van Wesep Marie Vogt
Drs Harue and Tsuguyasu Wada Jack Wagoner Virginia Wait
Thomas and Mary Wakefield Charles R. and Barbara H. Wallgren Shaomeng Wang and Ju-Yun Li Jo Ann Ward John M. Weber
Deborah Webster and George Miller Mr. and Mrs. Larry Webster Jack and Jerry Weidenbach Lisa and Steve Weiss John, Carol and Ian Welsch Mary Ann Whipple Katherine E. White Nancy Wiernik I. W. and Beth Winsten Charlotte A. Wolfe Brian Woodcock Pris and Stan Woollams Phyllis B Wright Bryant Wu
John and Mary Yablonky ManGrace and Tom York Erik and Lineke Zuiderweg Gail and David Zuk
September 1, 2006-November 1, 2007
The University Musical Society is grateful to those who made a gift to UMS endowment funds, which will benefit UMS audiences in the future. These gifts were matched by chal?lenge 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
Susan and Richard Gutow
David and Phyllis Herzig
Verne and Judy Istock
Sesi Investment
Herbert Sloan
Kathy Benton and Robert Brown
Toni M. Hoover
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
Mrs. Robert E. Meredith
Susan B. Ullrich
Marina and Bob Whitman
Ann and Clayton Wilhite
Michael Allemang and Janis Bobrin
Essel and Menakka Bailey
DJ and Dieter Boehm
Charles and Linda Borgsdorf
Jean W Campbell
Barbara Mattison Carr
Jean and Ken Casey
Jane Wilson Coon and A. Rees Midgley, Jr.
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 Oilman and Dr. Carol Barbour
Paul and Anne Glendon
David W. and Kathryn Moore Heleniak
Debbie and Norman Herbert
Carl and Charlene Herstein
Robert M. and Joan F. Howe
Jim Irwin
Gloria and Bob Kerry
Jill Latta and David Bach
Lawrence and Rebecca Lohr
Natalie Matovinovic
W. Joseph McCune and Georgiana M.
Melinda and Bob Morris Elizabeth and Robert Oneal Mark and Susan Orringer Mrs. Charles Overberger (Betty) Richard Peterson Steve and Tina Pollock Jeff and Huda Karaman Rosen Corliss and Dr. J.C. Rosenberg Prudence and Amnon Rosenthal Nancy W. Rugani Norma and Dick Sarns Frances U. and Scott K. Simonds Karl and Karen Weick Mac and Rosanne Whitehouse Jeanne and Paul Yhouse Jay and Mary Kate Zelenock
Jerry and Gloria Abrams
Mrs. Bonnie Ackley
Arts League of Michigan
Lynne Aspnes
John U. Bacon
Daniel and Barbara Balbach
Gary Beckman and Karla Taylor
Harvey Berman and Rochelle Kovacs Berman
Inderpal and Martha Bhatia
Sandra L. and Stanley Bies
Jack Billi and Sheryl Hirsch
Sara Billmann and Jeffrey Kuras
Linda and Maurice Binkow
David and Martha Bloom
Blue Nile Restaurant
Mimi and Ron Bogdasahan
Paul Boylan
Cart A. Brauer, Jr.
Dale E. and Nancy M. Bnggs
Jeannine and Robert Buchanan
Andrew and Emily Buchholz
Robert and Victoria Buckler
John and Janis Burkhardt
David Bury and Marianne Lockwood
Letitra J. Byrd
Carolyn M. Carty and Thomas H. Haug
Jack Cederquist and Meg Kennedy Shaw
Dr. Kyung and Young Cho
Donald and Astrid Cleveland
Michael and Hilary Cohen
Phelps and Jean Connell
Katharine Cosovich
Malcolm and Juanita Cox
George and Connie Cress
Mary C. Crichton
Dana Foundation
David Lieberman Artists Representatives, Inc.
Linda Davis and Robert Richter
Neeta Delaney and Ken Stevens
Nicholas and Elena Delbanco
Steve and Lori Director
Judy and Steve Dobson
Cynthia M. Dodd
Robert J. and Kathleen Doian
Hal and Ann Doster
Michele Eickholt and Lee Green
Janet Eilber
Bruce N. and Cheryl W. Elliott
Charles N. and Julie G.Ellis
Stefan and Ruth Fajans
Beth B. Fischer
Gerald B. and Catherine L. Fischer
Harold and Billie Fischer
Jeanne and Norman Fischer
Esther Floyd
Bob and Terry Foster
Lucia and Doug Freeth
Marilyn L. Friedman
Susan Froehch and Richard Ingram
Bart and Cheryl Frueh
Tavi Fulkerson
Beverley and Gerson Geltner
Joyce and Steve Gerber
Heather and Seth Gladstein
Jack and Kathleen Glezen
Tom and Katherine Goldberg
William and Jean Gosling
Bob Green
Lewis R. and Mary A. Green
Linda and Richard Greene
Walt and Charlene Hancock
Carol I. Harrison
Alice and Clifford Hart Joyce and John Henderson J. Lawrence and Jacqueline
Stearns Henkel Bob and Barbara Hensmger Lorna and Mark Hildebrandt Helga and Jerry Hover Ann D. Hunger man Joyce M. Hunter Judith Hurtig
IATSE Local 395 Stagehands Independence Community
Foundation Keki and Alice Irani Mel and Myra Jacobs Harold Johnson Ben M. Johnson Robert L. and Beatrice H. Kahn Perry and Denise Kantner Christopher Kendall and Susan
Schilperoort John B. Kennard Nancy Keppelman and Michael
Robert and Bonnie Kidd Paul and Leah Kileny Diane Kirkpatrick Dr. David E. and Heidi Castleman
Anne Kloack Gary and Barbara Krenz Daniel Krichbaum Amy Sheon and Marvin Krislov Ted and Wendy Lawrence Mary LeDuc Leo and Kathy Legatski Melvin A. Lester MD Donald and Carolyn Dana Lewis David Baker Lewis Emmy LewisLewis & Company Ken and Jane Lieberthal William and Lois Lovejoy John and Kathy Loveless Jimena Loveluck and Timothy
Veeser Emily Maltz
Ted and Teresa Marchese Nancy and Philip Margohs Mrs. Shirley D. Martin Mary and Chandler Matthews Jon McBnde Susan McClanahan and Bill
Zimmerman Dores M. McCree Bill and Ginny McKeachie Joanna McNamara and Mel Guyer Barbara Meadows Shana Meehan Chase Joetta Mial
John and Carla Michaud Patricia Mooradian Mary Morse
Lisa Murray and Michael Gatti Gerry and Joanne Navarre Frederick C. Neidhardt Gayl and Kay Ness Susan and Richard Nisbett Max and Patricia Noordhoorn Constance K. and Charles E.
Olson, Jr. Jan Onder
Constance and David Osier 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 Mark Hershenson
Sam and Janice Richards
Kenneth J. Robinson and Marcia
Gershenson Barbara A. Anderson and John H.
Doris E. Rowan Bill and Lisa Rozek Herbert and Ernestine Ruben Harry and Elaine Sargous Maya Savarino Ann and Thomas J. Schriber Ruth Scodel
ingnd and Clifford Sheldon Mikki Shepard Don and Sue Sinta Jim Skupski and Dianne Widzmski Andrea and William Smith Carl and Jari Smith Rhonda Smith Scott and Amy Spooner John and Lois Stegeman Victor and Marlene Stoeffler Ronald Stowe and Donna Power
Stowe Doug Laycock and Teresa A.
Charlotte B. Sundelson Mark and Patricia Tessler Denise Thai and David Scobey Carrie and Peter Throm John and Ceraldine Topliss Jonathan Trobe and Joan
Claire and Jeremiah Turcotte Elizabeth and Stephen Upton Thomas and Mary Wakefield Richard and Madelon Weber W. Scott Westerman, Jr. Sally M Whiting Max Wicha and Sheila Crowley Frances A. Wright Phyllis B. Wright Bob and Betty Wurtz Jeanne and Paul Yhouse
Joseph S. Ajlouny
Arts Alliance of the Ann Arbor Area
Barbara B. Bach
Jenny Bilfield-Friedman and Joel
Ed and Luciana Borbely Barbara Everitt Bryant Simon Carrmgton Mark Clague Edward and Ruth Cogen Hugh and Elly Cooper Jill Crane Sally Cushing Diana Engel
Bill Lutes and Martha Fischer Kristin Fontichiaro John N. Gardner Walter Helmreich Ken and Joyce Holmes Dr. Nancy Houk Dria Howlett
John and Patricia Huntington Mika and Danielle LaVaque-Manty Judie and Jerry Lax Rod and Robin Little
Georgine Loacker
Shelley MacMillan and Gary Decker
Jaclin and David Marlin
Beth McNally
Ronald G. Miller
Shelley and Dan Morhaim
Mr. and Mrs. Warren J. Perlove
Julianne Pinsak
Eileen Pollack
Elisabeth and Michael Psarouthakis
Thomas and Sue Ann Reisdorph
Omari Rush
Margaret and Glen Rutila
Liz Silverstein
Uoyd and Ted St. Antoine
Peg Talburtt and Jim Peggs
Christina and Thomas Thoburn
Linda Tubbs
Harvey and Robin Wax
Warren Williams
Endowed Funds
The future success of the University Musical Society is secured in part by income from UMS's endowment. UMS extends its deepest apprecia?tion to the many donors who have established andor con?tributed to the following funds:
H. Gardner and Bonnie Ackley
Endowment Fund Herbert S. and Carol Amster Fund Catherine S. Arcure Endowment
Fund Carl and Isabelle Brauer
Endowment Fund Choral Union Fund Hal and Ann Davis Endowment
Fund Doris Duke Charitable Foundation
Endowment Fund Ottmar Eberbach Funds Epstein Endowment Fund JazzNet Endowment Fund William R. Kmney 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
Charles A. Sink Endowment Fund Catherine S. ArcureHerbert E.
Sloan Endowment Fund University Musical Society
Endowment Fund The Wallace Endowment Fund
Burton Tower Society
The Burton Tower Society recognizes and honors those very special friends who have included UMS in their estate plans. UMS is grateful for this important support, which will
continue the great traditions of artistic excellence, educational opportunities, and community partnerships in future years.
Bernard and Raquel Agranoff
Carol and Herb Amster
Mr. Neil P. Anderson
Dr. and Mrs. Oavid 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. Wiliard L Rodgers Prudence and Amnon Rosenthal Margaret and Haskell Rothstein Irma J. Sklenar Herbert Sloan Art and Elizabeth Solomon Roy and JoAn Wetzel Ann and Clayton Wilhite Mr. and Mrs. Ronald G. Zollars
Tribute Gifts
Contributions have been received in honor andor mem?ory of the following individuals:
H. Gardner Ackley Herb and Carol Amster Robert G. Bartle Abe Berman
Wendy Belhune and Roland Render Linda and Maurice Binkow Mary Gene Birdsall Carl and Isabelle Brauer Charles and Evelyn Carver Germaine Chipaull Cheryl Clarkson Jon Cosovich Arthur F Cox. Jr. Douglas 0. Crary Edith Deitch Pauline DiPietro John S. Dobson Janel Fain
Ken and Penny Fischer Sally Fleming Sara B. Frank
Maxine and Stuart Frankel Martha Gall Jeffrey B. Green Lila Green
Lisbeth Louise Hildebrandt Johnson Harbeck
Dr Sidney S. Hertz Robert Kelch MD Francis W. Kelsey Dr. and Mrs. Edwin Marcus Kenyatta Martin Marilyn Mason Valerie D. Meyer James D. Moore Ella Baker Munger Holmes E. and Susan E. Newton Raymond Peck Gwen and Emerson Powrie Gail W Rector Steffi Reiss Claire Rice Amnon Rosenthal Margaret E Roths tern Eric H. Rothstem Nona Schneider William i Scott Marvin Selin Manor Merker Sell '39 Michael and Molina Sen-Sam Silverman George E. Smith Edith Marie Snow fiurnette Staebler James Stanley Charles R Tieman Francis V. Viola III George and Ailie Wappula Edward C. Weber Raoul Weisman CarlH Wilmoi'19 Dr. Jan Winkelman Peter Holderness Woods Barbara E Young
In-Kind Gifts
16 Hands
4 Seasons Perfume and
LingerieAllure Boutique Wadad Abed Abracadabra JewelryGem
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
Ann Arbor Aviation Center Ann Axbor District Library Ann Arbor Framing Ann Arbor Hands-On Museum Ann Arbor Public Schools Ann Arbor Tango Club Ann Arbor's 107one Arbor Brewing Company Avanti Hair Designers Ayla & Company John U. Bacon Bailey. Banks & Biddle Bana Salon and Spa Bob and Wanda Bartlett Joseph W. Becker Gary Beckman Bellanina Day Spa Kathy Benton and Robert
Brown Yehonatan Benck
Lynda Berg
Berry Goldsmiths
The Betty Brigade
Nishta Bhatia
Maurice and Linda Binkow
Jerry Blackstone
Bloomfield Gourmet Shoppe
Blue Nile
Boychorr of Ann Arbor
Enoch Brater
Beth BruceThe Carlisle
Collection Bob Buckler Jim Bumstein
Patty ButzkeOrbit Hair Design Cafe Zola Cake Nouveau Lou and Janet CaHaway Camp Michigania Mary CampbellEveryday Wines Nathan Caplan Casey's Tavern Cass Technical High School Cesar Chavez High School Mignonette Cheng Cherry Republic The Chippewa Club Mark Clague Deb Clancy Coach Me Fit Cole Street Salon & Spa The Common Grill Community High School Community High School
Dance Program Complete Chiropractic and
Bodywork Therapy Howard CooperHoward
Cooper Import Center Liz Copeland James Corbett and Mary
Dempsey Curves Habte Dadi Gary Decker Judith DeWoskin Sally and Larry DiCarlo Andrew S. DixonPersonal
Computer Advisor Heather Dombey Downtown Home & Garden DTE Energy Duggan Place Bed and
Breakfast Aaron Dworkin The Earle Restaurant Eastern Michigan University
Dance Department Eastern Michigan University
Department of Theater
Education Gillian Eaton Jack and Betty Edman Lisa and Jim Edwards El Bustan Funoun Anthony Elliott Julie Ellison Equilibrium Espresso Royale Mary Ann Faeth Fantasy Forest
Jo-Anna and David Featherman Susan Filipiak Ucal Fmley
Susan Fisher and John Waidley Kristin Fontichiaro
Frame Factory
Fran Coy Salon
Sara Frank
Maxine and Stuart Frankel
Traianos Gagos
Deborah Gabrion
Zvi Guelman
Glass Academy LLC
Anne Glendon
Kalhy and Tom Goldberg
The Golden Apple
Larry Greene
Greenstone's Fine Jewelry
Linda Gregerson
Tim Grimes
Groom & Go
Susan Guiheen
Susan and Richard Gutow
Walt and Charlene Hancock
Lavinia Hart
Heather's Place
David W. and Kathryn Moore
Carl and Charlene Herstein Hill Top Greenhouse and Farm; Barbara Hodgdon The Homestead Bed and
Breakfast Hong Hua
Howell Nature Center Carol and Dan Huntsbarger
The Moveable Feast iguanaworks Integrated Architecture Inward Bound Yoga Julie's Music Imagining America Mohammad Issa Andrew Jennings Mercy and Stephen Kasle Meg Kennedy Shaw Ken's Flower Shops Kerrytown Concert House Patty and David Kersch Iman Khagam Kenneth Kiesler Tom and Liz Knight Knit A Round Yarn Shop Knit Pickers Joan Knoertter Gayle LaVtctoire Lynnae Lehfeldt Lori Lentini-Wilbur Richard LeSueur Bobbie and Myron Levine Lewis Jewelers Karen Lindenberg Logan An American
Restaurant Eleanor Lord Stephanie Lord Martin and Jane Maehr Manachi Especial de Alma Martha Cook Residence Hall Marygrove College Dance
Chandler and Mary Matthews Marilyn McCormick Zann 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 Nicoli
Tom OgarMerrill Lynch
Opus One
Marysia Ostafin
Pacific Rim by Kana
Paesano's Restaurant
Kimberty 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
Ingrid Racine
Paula RandJuliana Collezione
Marnie Reid
Huda Rosen
Steve Rosoff
Ellen Rowe
Russell S Bashaw Faux Finish Studio, LLC
Afa Sadykhly
Sam's Clothing Store
Agnes and David Sams
Jamie Saville and Rusty Fuller
Schakolad Chocolate Factory
Michael Schoenfeldt
Penny Schreiber
Ruth Scodel
SeloShevel Gallery
Sesi Lincoln Mercury Volvo
Mazda Seva Restaurant
Rabia Shafie
Shaman Drum Bookshop Nelson Shantz Piano Service Bright Sheng George Shirley John Shultz Photography Silkmoons Susan Silver-Fink Loretta Skewes Tim and Marie Slottow Andrea Smith Mandisa Smith Elizabeth Southwick Cynthia Sowers The Spa at Liberty Peter Sparling Rick Sperling Sphinx Organization Jim and Nancy Stanley St. Anne'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
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
U-M Gifts Of Art U-M Golf Course U-M Hatcher Graduate Library U-M Honors Program U-M Institute for the
U-M International Institute U-M Museum of Art U-M Office of New Student
U-M Residential College U-M School of Art and Design U-M School of Education U-M School of Law U-M School of Music, Theater
and Dance Urban Jewelers Van Boven Shoes Arthur Verhoogt Vie Fitness and Spa Viking Sewing Center VOLUME Youth PoeUy Project Martin Walsh Washtenaw Community
College Washtenaw Intermediate
School District Enid Wasserman Waterscape Wayne State University Dance
Department Weber's Inn and Hotel The West End Grill Steven Whiting Ann and Clayton Wilhrte Cassie Williams Ralph Williams Debbie Williams-Hoak Yolles-Samrah Wealth
Management, LLC Yotsuba Japanese Restaurant
ft Bar
Tom Zimmerman Zingerman's Bakehouse Zingerman's Delicatessen
Abracadabra Jewelry 25
Alumni Association of the University
of Michigan 35 Americans for the Arts PSA 28 Ann Arbor Public Schools
Educational Foundation 26 Ann Arbor Symphony Orchestra 42 Bank of Ann Arbor 26 Borders Downtown 32 Charles Reinhart 22
Donaldson and Gunther, DDS 32 Edward Surovell Realtors 25 Edwards Brothers 25 Gilmore Festival 30 Honigman Miller Schwartz and
Conn UP 34 Howard Cooper Imports 4 IATSE 20 Iris Cleaners 39 Jaffe Raitt Heuer and Weiss 20
Kellogg Eye Center-16 Kensington Court inside front cover Nicols Sacks Slank Sendelbach &
Butteweg PC 30 Performance Network 38 Red Hawk 30 The Nature Conservancy 24 Tisch Investments 42 Totoro Japanese Restaurant 25 UMMA 42
United Bank and Trust 34
WEMU inside back cover
Wright Griffen Davis 24
Zanzibar 30
d Performing

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