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UMS Concert Program, Friday Feb. 01 To 10: University Musical Society: Winter 2008 - Friday Feb. 01 To 10 --

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Day
1
Month
February
Year
2008
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Rights Held By
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 P5 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 21 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 P41 Annual Fund Support 46 Annual Endowment Support 48 UMS Advertisers
Cover: Urban Bush Women and Compagnie Jant-Bi perform Les ecailles de la memore (The scales of memory) at the Power Center on Friday, March 28 and Saturday, March 29, 2008.
FROM THE U-M PRESIDENT
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 Ocfef 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 www.umich.edu and click on "Museums and Cultural Attractions."
Sincerely,
Mary Sue Coleman
President, University of Michigan
FROM THE UMS PRESIDENT
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:
Feel free to get in touch with me if you have any questions, comments, or problems. If you don't see me in the lobby, send me an e-mail message at kenfisch@umich.edu or call me at 734.647.1174.
Very best wishes,
Kenneth C. Fischer UMS President
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 Bmkow at the Filarmonica della Scala afterglow on the Hill Mezzanine
Singer Dianne Reeves at the NETWORK reception hosted by Habte Dadi and Almaz Lessanework at the Blue Nile restaurant
Hungarian pianist Andras Schiff in the Green Room at Rackham Auditorium with Ann Arbor piano teacher Natalie Matovinovtc and two of her students
Breakin' Curfew curators from Ann Arbor's teen center. The Neutral Zone, following a presentation to UMS staff
FROM UMS CHAIRMAN, CARL HERSTEIN
It is inspiring and humbling to serve on the Board of UMS, which is widely recognized as one of the world's leading arts presenters. UMS is committed to performance, education, and the creation of new works, and has a 128-year history of excellence in all three areas. Our task at UMS is to advance the arts, to the benefit of the national and international arts communities, the University of Michigan, our local community, and our present and future patrons.
Each of us has an important role to play in this endeavor, whether as an audience member at a performance or an educational activity, a donor, or a volunteer member of the Board, Senate, Advisory Committee, or the new UMS National Council, which is enhancing our visibility around the country. We all are fortunate to have an opportunity to contribute to the special history of UMS. Arts organizations exist because those who came before us chose to take advantage of the same kind of opportunity. To me, this is exemplified by some?thing that I was once told by a producer before a theatrical performance. He took us into the theater and said that, despite the not insignificant cost of our tickets, we should know there was the equivalent of a $50 bill on every seat-the contribution made by others enabling us to enjoy that presentation.
The same is true for UMS. About half of the cost of what we do comes from ticket sales. The remainder comes from you and your predecessors in this hall. Some sat in the second balcony as students and experienced the transformative power of the arts. Some sat with friends for 30 years in the same section of Hill. And some witnessed children being excited and inspired at a youth performance. All have chosen to leave money on their seats.
When you take your seat, think about what others have done that makes your experience possible. I hope you will be inspired to contribute to the UMS legacy. Consider your opportunity to "leave money on your seat," through both your participation and financial contributions. Be an active part of UMS, and when a member of the next generation arrives, they will be thankful that they got your seat.
Sincerely,
Carl W. Herstein
Chair, UMS Board of Directors
UMSLeadership
CORPORATE AND FOUNDATION LEADERS
James G. Vella
President, Ford Motor Company Fund { and Community Services 'Through music and the arts, we are inspired to broaden our horizons, bridge differences among cultures, and set our spirits free. We are proud to support the University Musical Society and acknowledge the important role it plays in our community."
David Canter
Senior Vice President, Pfizer, Inc. "The science of discovering new medicines is a lot like the art of music: to make it all come together, you need a diverse collection of 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 IIP "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
Vice 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!"
FOUNDATION AND GOVERNMENT SUPPORT
JMS gratefully acknowledges the support of the following foundations and government agencies.
$100,000 or more
Doris Duke Charitable
Foundation Michigan Council for Arts
and Cultural Affairs Michigan Economic
Development Corporation The Wallace Foundation
$50,000-599,999
Anonymous DTE Energy Foundation Esperance Family Foundation The Power Foundation
S20,u00-S49,999 Cairn Foundation Maxine and Stuart Frankel
Foundation National Dance Project of the
New England Foundation
for the Arts National Endowment for the
Arts The Whitney Fund at the
Community Foundation
for Southeastern Michigan
S10,000-$19,999
Chamber Music America
$5,000-59,999
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
UMS BOARD OF DIRECTORS
Carl W. Herstein,
Chair James C. Stanley,
Wee Chair Kathleen Benton,
Secretary Michael C. Allemang,
Treasurer
Wadad Abed Carol L. Amster Lynda W. Berg D.J. Boehm Charles W. Borgsdorf Robert Buckler Mary Sue Coleman Hal Davis 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
UMS NATIONAL COUNCIL
Clayton E. Wilhite, Chair John Edman Janet Eilber
Eugene Grant Charles Hamlen David Heleniak
Toni Hoover Judith Istock Zarin Mehta
Herbert Ruben Russell Willis Taylor
UMS SENATE (former members of the UMS Board of Directors)
Robert G. Aldrich Herbert S. Amster Gail Davis Barnes Richard S. Berger Maurice S. Binkow Lee C. Bollinger Janice Stevens Botsford Paul C. Boylan Carl A. Brauer William M. Broucek Barbara Everitt Bryant Letitia J. Byrd Kathleen G. Charla Leon S. Cohan Jill A. Corr Peter B. Corr Ronald M. Cresswell Robert F. DiRomualdo 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 0. Simpson Herbert Sloan Timothy P. Slottow Carol Shalita Smokier Jorge A. Solis Peter Sparling Lois U. Stegeman Edward D. Surovell James L. Telfer Susan B. Ullrich Eileen Lappin Weiser B. Joseph White Marina v.N. Whitman Clayton E. Wilhite Iva M. Wilson Karen Wolff
ADVISORY COMMITTEE
Andrea Smith, Chair Phyllis Herzig, Wee Chair Alice Hart, Secretary Betty Byrne, Treasurer Meg Kennedy Shaw, Past Chair
Randa Ajlouny MariAnn Apley Lorie Arbour Barbara Bach Rula Kort Bawardi Poage Baxter Nishta Bhatia Luciana Borbely
Mary Breakey Mary Brown Heather Byrne Janet Callaway Laura Caplan Cheryl Clarkson Wendy Comstock Jean Connell Phelps Connell Norma Davis Mary Dempsey Mary Ann Faeth Michaelene Farrell Sara Fink Susan Fisher
Kathy Goldberg Joe Grimley Susan Gutow Lynn Hamilton Charlene Hancock Raphael Juarez Jen Kelch Jean Kluge Pam Krogness Julaine LeDuc Mary LeDuc Joan Levitsky Eleanor Lord Judy Mac Jane Maehr
Joanna McNamara Jeanne Merlanti Liz Messiter Kay Ness Sarah Nicoli Thomas Ogar Betty Palms Allison Poggi Lisa Psarouthakis Paula Rand Wendy Moy Ransom Stephen Rosoff Swanna Saltiel Agnes Moy Sams Jamie Saville
Penny Schreiber Bev Seiford Alida Silverman Loretta Skewes Nancy Stanley Karen Stutz Eileen Thacker Janet Torno Amanda Uhle Dody Viola Enid Wasserman Amy Weaver Ellen Woodman Mary Kate Zelenock
UMS STAFF
AdministrationFinance
Kenneth C. Fischer, President Luciana Borbely, Assistant to the
President John B. Kennard, Jr., Director of
Administration Beth Gilliland, Gift ProcessorIT
Assistant
Patricia Hayes, Senior Accountant John Peckham, Information Systems
Manager
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
Development
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
Production
Douglas C. Witney, Director Emily Avers, Production Operations
Director Jeffrey Beyersdorf, Technical
Manager
Programming
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
Students
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
UMS TEACHER ADVISORY COMMITTEE
Abby Alwm Fran Ampey Robin Bailey Greta Barfield )oey Barker Alana Barter ludy Barthwell Rob Bauman Brita Beitler claine Bennett Ann Marie Borders Kind Bower Marie Brooks Susan Buchan
Deb Clancy Leslie Criscenti Karen Dudley Saundra Dunn Johanna Epstein Susan Filipiak Katy Fillion Detores 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
UMSlnfo
GENERAL INFORMATION
Barrier-Free Entrances
For persons with disabilities, all venues have barrier-free entrances. Wheelchair locations vary by venue; visit www.ums.orgtickets or call 734.764.2538 for details. Ushers are available for assistance.
Listening Systems
For hearing-impaired persons, Hill Auditorium, Power Center, and Rackham Auditorium are equipped with assistive listening devices. Earphones may be obtained upon arrival. Please ask an usher for assistance.
Lost and Found
For items lost at Hill Auditorium, Lydia Mendelssohn Theatre, Power Center, or Rackham Auditorium please call University Productions at 734.763.5213. For the Michigan Theater, call 734.668.8397. For St. Francis of Assisi, call 734.821.2111.
Parking
Please allow plenty of time for parking as the campus area may be congested. Parking is available in the Church Street, Maynard Street, Thayer Street, Fletcher Street, and Fourth Avenue structures for a minimal fee. Limited street parking is also available. Please allow enough time to park before the performance begins. UMS donors at the Patron level and above ($1,000) receive 10 complimentary park?ing passes for use at the Thayer Street or Fletcher Street structures in Ann Arbor.
UMS offers valet parking service for Hill Auditorium performances in the 0708 Choral Union series. Cars may be dropped off in front of Hill Auditorium beginning one hour before
each performance. There is a $20 fee for this service. UMS donors at the Leader level and above ($3,500-$4,999) are invited to use this service at no charge.
Other recommended parking that may not be as crowded as on-campus structures: Liberty Square structure (formerly Tally Hall), entrance off of Washington Street between Division and State; about a two-block walk from most per?formance venues, $2 after 3 pm weekdays and all day SaturdaySunday. Maynard Street struc?ture, entrances off Maynard and Thompson between William and Liberty, $.80hr, free on Sunday.
For up-to-date parking information, please visit www.ums.org.
Refreshments
Refreshments are available in the lobby during intermissions at events in the Power Center, in the lower lobby of Hill Auditorium (beginning 75 minutes prior to concerts--enter through the west lobby doors), and in the Michigan Theater. Refreshments are not allowed in the seating areas.
Smoking Areas
University of Michigan policy forbids smoking in any public area, including the lobbies and restrooms.
Start Time
UMS makes every effort to begin concerts at the published time. Most of our events take place in the heart of central campus, which does have limited parking and may have several events occurring simultaneously in different theaters. Please allow plenty of extra time to park and find your seats.
Programming on WKAR Radio and Television offers you personal growth, an exploration of our world, programs and information that can help change your life.
Your member-supported public radio and television stations, say "thank you" for helping us fulfill our mission.
WKAR joins its cultural colleagues in celebrating Michigan State University's Year of Arts and Culture.
WKARG WKAR.org
Latecomers
Latecomers will be asked to wait in the lobby jntil seated by ushers. Most lobbies have been outfitted with monitors andor speakers so that atecomers will not miss the performance.
The late-seating break is determined by the artist and will generally occur during a suitable repertory break in the program (e.g., after the first entire piece, not after individual movements of classical works). There may be occasions where latecomers are not seated until intermis?sion, as determined by the artist. UMS makes very effort to alert patrons in advance when Ae 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.
UMS TICKETS
Group Tickets
Treat 10 or more friends, co-workers, and family members to an unforgettable performance of live music, dance, or theater. Whether you nave a group of students, a business gathering, a college reunion, or just you and a group of friends, the UMS Group Sales Office can help you plan the perfect outing. You can make it ormal or casual, a special celebration, or just riends 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
1 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 ?'34.763.3100 or e-mail umsgroupsalesO umich.edu.
Classical Kids Club
Parents can introduce their children to world-renowned classical music artists through the Classical Kids Club. For more information please see page P31.
NETWORK Tickets
Members of the UMS African American Arts Advocacy Committee receive discounted tickets to certain performances. For more information please see page P27.
Student Tickets
Discounted tickets are available for University students and teenagers. Information on all UMS University Student Ticketing programs can be found on page P33. Teen Ticket infor?mation can be found on page P31.
Gift Certificates
Available in any amount and redeemable for any of more than 70 events throughout our season, wrapped and delivered with your per?sonal message, the UMS Gift Certificate is ideal for weddings, birthdays, Christmas, Hanukkah, Mother's and Father's Days, or even as a housewarming present when new friends move to town.
UMS Gift Certificates are valid for 12 months from the date of purchase and do not expire at the end of the season. For more information, please visit www.ums.org.
Retums
If you are unable to attend a concert for which you have purchased tickets, you may turn in your tickets up to 15 minutes before curtain time by calling the Ticket Office. Refunds are not available; however, you will be given a receipt for an income tax deduction.
Ticket Exchanges
Subscribers may exchange tickets free of charge. Non-subscribers may exchange tickets for a $6 per ticket exchange fee. Exchanged tickets must be received by the Ticket Office
Info
(by mail or in person) at least 48 hours prior to the performance. The value of the tickets may be applied to another performance or will be held as UMS Credit until the end of the season. You may also fax a copy of your torn tickets to 734.647.1171. Lost or misplaced tickets cannot be exchanged. UMS Credit for this season must be redeemed by May 9, 2008.
HOW DO I BUY TICKETS
In Person:
League Ticket Office
911 North University Ave.
Hours:
Mon-Fri: 9am-5pm
Sat: 10am-1pm
By Phone:
734.764.2538
Outside the 734 area code, call toll-free 800.221.1229
By Internet:
www.ums.org
By Fax: 734.647.1171
By Mail:
UMS Ticket Office Burton Memorial Tower 881 North University Ave. Ann Arbor, Ml 48109-1011
On-site ticket offices at performance venues open 90 minutes before each performance and remain open through intermission of most events.
UMSAnnals
UMS HISTORY
Through a commitment to Presentation, Education, and the Creation of new work, the University Musical Society (UMS) serves Michigan audiences by bringing to our community an ongo-ng 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 oerforming arts will take us in this new millen?nium. Every day UMS seeks to cultivate, nurture, and stimulate public interest and participation n every facet of the live arts.
UMS grew from a group of local university and townspeople who gathered together for :he study of Handel's Messiah. Led by Professor Henry Simmons Frieze and conducted by 'rofessor 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 Derformed by the UMS Choral Union annually. As a great number of Choral Union mem-oers also belonged to the University, the University Musical Society was established in December 1880. UMS included the Choral Jnion and University Orchestra, and through?out the year presented a series of concerts fea-"uring local and visiting artists and ensembles.
Since that first season in 1880, UMS has expanded greatly and now presents the very best from the full spectrum of the performing arts--internationally renowned recitalists and orchestras, dance and chamber ensembles, jazz and world music performers, and opera and theater. Through educational endeavors, commissioning of new works, youth programs, artist residencies, and other collaborative proj?ects, UMS has maintained its reputation for quality, artistic distinction, and innovation. UMS now hosts over 50 performances and more than 125 educational events each season. UMS has flourished with the support of a generous community that this year gathers in five differ?ent Ann Arbor venues.
The UMS Choral Union has likewise expanded their charge over their 128-year history. Recent collaborations have included the Grammy Award-winning recording of William Bolcom's Songs of Innocence and of Experience, as well as performances of John Adams's On the Transmigration of Souls with the Detroit Symphony Orchestra and Shostakovich's Symphony No. 13 ("Babi Yar") with the Kirov Orchestra of St. Petersburg.
While proudly affiliated with the University of Michigan, housed on the Ann Arbor campus, and a regular collaborator with many University units, UMS is a separate not-for-profit organi?zation that supports itself from ticket sales, corporate and individual contributions, founda?tion and government grants, special project support from U-M, and endowment income.
UMS VENUES AND BURTON MEMORIAL TOWER
Hill Auditorium
After an 18-month $38.6-million dollar renova?tion overseen by Albert Kahn Associates, Inc. and historic preservation architects Quinn EvansArchitects, Hill Auditorium re-opened to the public in January 2004. Originally built in 1913, renovations have updated Hill's infra?structure and restored much of the interior to its original splendor. Exterior renovations include the reworking of brick paving and stone retaining wall areas, restoration of the south entrance plaza, reworking of the west barrier-free ramp and loading dock, and improvements to landscaping.
Interior renovations included the creation of additional restrooms, the improvement of barrier-free circulation by providing elevators and an addition with ramps, the replacement
of seating to increase patron comfort, introduc tion of barrier-free seating and stage access, the replacement of theatrical performance and audio-visual systems, and the complete replacement of mechanical and electrical infra?structure systems for heating, ventilation, and air conditioning.
Hill Auditorium seats 3,575.
Michigan Theater
The historic Michigan Theater opened January 5 1928 at the peak of the vaudevillemovie palace era. Designed by Maurice Finkel, the 1,710-seat theater cost around $600,000 when it was first built. As was the custom of the day, the theater was equipped to host both film and live stage events, with a full-size stage, dressing rooms, an orchestra pit, and the Barton Theater Organ. At its opening, the theater was acclaimed as the best of its kind in the country. Since 1979, the theater has been operated by the not-for-profit Michigan Theater Foundation. With broad community support, the Foundation has raised over $8 million to restore and improve the Michigan Theater. The beautiful interior of the theater was restored in 1986.
In the fall of 1999, the Michigan Theater opened a new 200-seat screening room addi?tion, which also included expanded restroom facilities for the historic theater. The gracious facade and entry vestibule was restored in 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, togethe with their son Philip, wished to make a major gift to the University, and amidst a list of
University priorities "a new theater" was men?tioned. The Powers were immediately interested, realizing that state and federal governments were unlikely to provide financial support for the construction of a new theater.
Opening in 1971 with the world premiere of The Grass Harp (based on the novel by Truman Capote), the Power Center achieved the seemingly contradictory combination of providing a soaring interior space with a unique level of intimacy. Architectural features include two large spiral staircases leading from the orchestra level to the balcony and the well-known mirrored glass panels on the exterior. The lobby of the Power Center presently fea?tures two hand-woven tapestries: Modern Tapestry by Roy Lichtenstein and Volutes (Arabesque) by Pablo Picasso.
The Power Center seats approximately 1,400 people.
Arbor Springs Water Company is generously providing complimentary water to UMS artists backstage at the Power Center throughout the 0708 season.
Rackham 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 nome of the Kelsey Museum. When Horace H. Rackham, a Detroit lawyer who believed strongly in the importance of the study of numan history and human thought, died in 1933, his will awarded the University of Michigan the funds not only to build the Horace H. Rackham Graduate School which houses Rackham Auditorium, but also to estab?lish a $4 million endowment to further the development of graduate studies. Even more remarkable than the size of the gift is the fact that neither he nor his wife ever attended the University of Michigan.
Designed by architect William Kapp and 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.

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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.
n the interests of saving both dollars ind the environment, please either retain this program book and return with it when you attend other UMS oerformances included in this edition or return it to your usher when leaving :he venue.
Event Program Book
Friday, February 1 through Sunday, February 10, 2008
Assad Brothers' Brazilian Guitar Summit 5
Friday, February 1, 8:00 pm Rackham Auditorium
A Celebration of the Keyboard: 11
Music for Piano, Four Hands
Saturday, February 2, 8:00 pm Hill Auditorium
Chicago Classical Oriental Ensemble 19
Friday, February 8, 8:00 pm Rackham Auditorium
Guameri String Quartet and Johannes String Quartet 23
Saturday, February 9, 8:00 pm Rackham Auditorium
Wu Man and the Bay Area Shawm Band 29
Sunday, February 10, 4:00 pm Rackham Auditorium
i
January
4 Fri Emerson String Quartet
16 Wed Jazz 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
February
1 Fri Assad Brothers' Brazilian Guitar
Summit
2 SatA Celebration of the Keyboard
8 FriChicago Classical Oriental Ensemble
9 Sat Guameri 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 Saf-Ahmad Jamal
March
5 WedOrion String Quartet and
David Krakauer, clarinet 9 Sun Michigan Chamber Players (complimentary admission)
12 WedLeila Haddad and
Gypsy Musicians of Upper Egypt
13 Thu SFJAZZ Collective:
A Tribute to Wayne Shorter
14 FriSan Francisco Symphony 21 friBach's St. Matthew Passion 28-29 Fri-SatUrban Bush Women and
Compagnie Jant-Bi: Les ecailles de la memoire (The scales of memory)
April
2 WedLang Lang, piano
4 Fri-Brad Mehldau Trio
5 SatChoir of King's College, Cambridge 10 Thueighth blackbird
12 SatLila Downs 18Fr-Mehrand 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
May
10 SatFord Honors Program: Sir James Galway
UMS Educational Events
through Wednesday, February 13, 2008
All UMS educational activities are free, open to the public, and take place in Ann Arbor unless other?wise noted. For complete details and updates, please visit www.ums.org or contact the UMS education department at 734.647.6712 or umsed@umich.edu.
Andras Schiff
Beethoven: The Sonata Obsession--Student Laboratory Concert 6
Sunday, February 3, 4:00 pm, Stamps Auditorium, Walgreen Drama Center, 1226 Murfin, North Campus
Inspired by the U MS Beethoven Sonata Project fea?turing the artistry of Andras Schiff, students of the U-M School of Music, Theatre & Dance perform all of Beethoven's sonatas, solo and collaborative, in a two-year exploration comprising lecture-re?citals and chamber concerts. The lecture-recitals have been scheduled to prepare listeners for each concert in Mr. Schiff's Beethoven cycle.
This laboratory concert features student performers and lecturers from the U-M School of Music, Theatre & Dance performing the Horn Sonata in F Major, Op. 17; Violin Sonata in a mi?nor, Op. 23; and Violin Sonata in F Major, Op. 24 ("Spring").
Beethoven: The Sonata Obsession--Student Laboratory Concert 8
Thursday, February 7, 8:00 pm, Stamps Auditorium, Walgreen Drama Center, 1226 Murfin, North Campus
This laboratory concert features student perform?ers and lecturers from the U-M School of Music, Theatre & Dance performing the Violin Sonata in D Major, Op. 12, No. 1; Violin Sonata in A Major, Op. 12, No. 2; Violin Sonata in E-flat Major, Op. 12, No. 3; and the Piano Quintet in E-flat Major, Op. 16.
A collaboration with the U-M School of Music, Theatre & Dance.
Wu Man and the Bay Area Shawm Band
Lecture: Wu Man and the World of Chinese Music
Tuesday, February 12, 12 noon-1 pm, Center for Chinese Studies, International Institute, School of Social Work Building, 1080 South University
Join world-renowned pipa virtuoso Wu Man as she discusses the world of Chinese Music, both traditional and contemporary.
A collaboration with the U-M Center for Chinese Studies.
Gifts of Art Performance: Wu Man, Pipa
Wednesday, Feburary 13, 12 noon-1 pm. University Hospital, Main Lobby
As part of "I HEART UMS Week," Wu Man per?forms traditional and contemporary Chinese music on the pipa as part of the U-M Hospital's Gifts of Art Program.
A collaboration with the U-M Hospital's Gifts of Art Program.
Gifts of Art Performance: Derek Bermel, Clarinet
Monday, February 11, 12 noon-1 pm University Hospital, Main Lobby, 1st Floor
As part of "I HEART UMS Week", noted perform?er and composer Derek Bermel will perform selec?tions on his clarinet.
A collaboration with the U-M Hospital's Gifts of Art Program.
Guarneri String Quartet and Johannes String Quartet
Lecture: Making Strings Talk: Writing for the Guarneri Quartet: A U-M Institute of Humanities Brown Bag with Composer Derek Bermel
Tuesday, February 5, 12 noon-130 pm, U-M Institute for the Humanities, 2nd Floor, 202 S. Thayer Street
Derek Bermel will discuss his UMS-commissioned new work composed for the Guarneri Quartet.
A collaboration with the U-M Institute for the Humanities.
Lecture: A Double Quartet: A U-M Institute of Humanities Brown Bag with Composer William Bolcom
Thursday, February 7, 12 noon-1:30 pm, U-M Institute for the Humanities, 2nd Floor, 202 S. Thayer Street
Pulitzer Prize-winning composer William Bolcom will talk about his new UMS-commisioned Double Quartet (2007).
A collaboration with the U-M Institute for the Humanities.
Open RehearsalMasterclass: Guarneri String Quartet and the Johannes String Quartet
Friday, February 8, 7:00 pm, Britton Recital Hall, School of Music, North Campus, 2249 EV Moore
Observe the Guarneri String Quartet and the Jo?hannes String Quartet as the coach and perform with U-M School of Music students.
A collaboration with the U-M School of Music, Theatre & Dance.
Meet The Artists: Guarneri String Quartet, Johannes String Quartet, William Bolcom, and Derek Bermel
Saturday, February 9, post-performance,
Rackham Auditorium
Led by UMS President Ken Fischer.
Join the featured ensembles and composers as they discuss the evening repertoire and concert.
Lecture Series: American Jazz 101 A Focus on Modern Jazz
Monday, February 11, 7-8:45 pm, Ann Arbor District Library, 343 South Fifth Avenue Led by Mark Clague, Assistant Professor of Musi-cology, U-M School of Music, Theatre & Dance
This lecture series is designed for general audienc es who love music but want a more comprehen sive study of what is considered America's "das sical" music...jazz. All lectures will feature broad overviews of each era of jazz through listening, lecture, and recommended readings and record?ings. Each lecture corresponds with upcoming UMS concerts: Ahmad Jamal, Brad Meldau Trio and the SFJAZZ Collective.
A collaboration with the U-M School o Music, Theatre & Dance and the Ann Arbor Dis trict Library.
presents Assad Brothers' Brazilian Guitar Festival
Odair Assad, Guitar Sergio Assad, Guitar Badi Assad, Guitar, Bass Guitar, Percussion, and Voice Romero Lubambo, Guitar Celso Machado, Guitar, Percussion, and Voice
Program Friday Evening, February 1, 2008 at 8:00 Rackham Auditorium Ann Arbor
Egberto Gismonti Contos de Cordel
Sergio Assad Homenagem as nossas raizes Odair and Sergio Assad
Cesar Camargo Mariano Curumim Odair and Sergio Assad and Mr. Lubambo
Romero Lubambo Pr'o Flavio
Carlos Lyra Influencia do Jazz Mr. Lubambo
Mauricio Einhorn and Durval Ferreira Estamos ai Mr. Lubambo and Mr. Machado
Paulo Bellinati A Furiosa
Baden Powell Samba Novo Odair and Sergio Assad, Mr. Lubambo, Mr. Machado
INTERMISSION

Celso Machado Corpo
Machado Fantasia Brasileira
Mr. Machado
Improvisation
Ms. Assad and Mr. Machado
Badi Assad Waves
B. Blanco A Banca do Distinto
Ms. Assad
G. Levy Baiao de 5
Odair, Sergio, and Badi Assad
Sergio Assad Frevo Antigo
Antonio Carlos Jobim Medley
Odair and Sergio Assad, Ms. Assad, Mr. Lubambo,
Mr. Machado
35th Performance of the Media partnership provided by WEMU 89.1 FM and WDET 101.9 FM.
129th Annual Season Sergio and Odair Assad play Thomas Humphrey guitars.
Guitar Series The Assad Brothers' Brazilian Guitar Festival appears by arrangement with Opus 3
Artists, New York, NY.
The photographing or
sound recording of this concert or possession Large print programs are available upon request.
of any device for such
photographing or sound
recording is prohibited.

Brazilian music began its evolution after 1808 when D. Joao VI, the King of Portugal, took the entire Portuguese court to colonial Brazil to flee the imminent invasion of his country by Napoleon Bonaparte. Professional Portuguese musicians, who came along with the Court to Rio de Janeiro, influenced most native musicians in blending the European music with the African rhythms with which they were more familiar. Over the last 150 years, this blend has developed into an unbelievable variety of traditional forms as well as contemporary forms. The guitar, the only avail?able accompaniment instrument, made its pres?ence mandatory in the creative processes of these new styles.
With the advent of Brazilian guitar virtuo?sos, the guitar gradually made its way from a background accent to a featured solo instrument during the 20th century. Artists like Joao Pernam-buco, Dilermando Reis, and Laurindo de Almeida helped to shape this process. The significant con?tribution of Anibal Augusto Sardinha (1915-55), known as Garoto, and Baden Powell de Aquino (1937-2000) helped create two different Brazilian guitar styles, one more academic and the latter more intuitive. Garoto's legacy was etched into Brazilian culture with his clean sound and exacting technique. Baden Powell was guided more by his great instinct and emotion, rather than the quality of his sound. These two lineages developed into two separate generations of great modern guitar masters of the instrument. Those distinctions are now becoming blurred as more guitarists demon?strate both the precision of a classical virtuoso and the Latin flavor of the native musicians, sometimes in the same piece.
When Odair and I decided to create a gui?tar festival to focus on this evolution, we chose to perform with musicians who share our passion, love, and knowledge of Brazilian guitar music. We invited our musically gifted sister, Badi Assad, and two of the leading figures in the Brazilian guitar scenery, Romero Lubambo and Celso Machado. We are thrilled to share the stage with Badi, Romero, and Celso, musicians with extraordinary versatility who can effortlessly straddle these two traditions. Badi is a classical guitar player who has become a remarkable singer and vocal percus?sionist. Romero is one of the great Brazilian jazz acoustic players alive today and Celso has invent?ed a unique way of incorporating the sounds and feelings of Brazil's cities and jungles into his ex?pressive guitar and voice. This Brazilian Guitar Fes-
tival aims to demonstrate the gorgeous diversity of Brazilian music through its most representative instrument--the guitar. We hope you enjoy it.
--Sergio Assad
Brazilian-born brothers Sergio and Odair Assad have set the benchmark for all other guitarists by creating a new standard of guitar innovation, ingenuity, and expression. Their exceptional artistry and uncanny ensemble play?ing come from both a family rich in Brazilian musi?cal tradition and from studies with the best guitar?ists in South America. In addition to setting new performance standards, the Assads have played a major role in creating and introducing new mu?sic for two guitars. Their virtuosity has inspired a wide range of composers to write for them: Astor Piazzolla, Terry Riley, Radames Gnattali, Marios Nobre, and Roland Dyens.
The Assads began playing the guitar togeth?er at an early age and went on to study for seven years with guitarist and lutenist Monina Tavora, a disciple of Andres Segovia. Their international ca?reer began with a major prize at the 1979 Young Artist's Competition in Bratislava. Their repertoire includes original music composed by Sergio As?sad, his reworking of folk and jazz music, Latin music of almost every style, and transcriptions
Sergio and Odair Assad
of standard classical repertoire. This allows them to create programs that are always a compelling blend of styles, periods, and cultures.
The Assads are also recognized as prolific recording artists. In 2001, Nonesuch Records released Sergio and Odair Assad Play Piazzolla, which won a Latin Grammy Award in September 2002. They have recorded Piazzolla discs with Gidon Kremer (Nonesuch) and Yo-Yo Ma (Sony Classical), the latter a Grammy Award winner in 1998. A Nonesuch collaboration with Nadja Sal-erno-Sonnenberg in 2000 featured a collection of pieces based on traditional and Gypsy folk tunes from around the world. In 2003, Sergio Assad wrote a triple concerto for this trio that has been performed with the orchestras of Sao Paulo, Se?attle, and the Saint Paul Chamber Orchestra. They also went on an 18-city tour as soloists with the Orquestra de Sao Paulo playing Marios Nobre's Concerto Duplo.
The Assad Brothers collaborated with Yo-Yo Ma on his popular release, Obrigado Brazil. Mr. Assad arranged several of the works on the disc, which captured a Grammy in 2004. Following the release, the Assads toured with Mr. Ma at summer festivals in the US, followed by concerts in Europe and Japan and, in September 2003, performed at the opening of Carnegie Hall's Zankel Hall.
In the summer of 2004, the Assads arranged a very special tour featuring three generations of the Assad family. The family presented a wide va?riety of Brazilian music featuring their father Jorge Assad on the mandolin and the voice of moth?er Angelina Assad. Sister Badi and Sergio and Odair's children (Clarice, Carolina, and Rodrigo) finished the picture on the piano, guitar, and vo?cals. In 2005, the Assads began a collaboration with famed Cuban clarinetist, Paquito D'Rivera, in the US and Europe.
In 2006, the Assad Brothers performed Joaquin Rodrigo's Concierto Madrigal with the Los Angeles Philharmonic at the Hollywood Bowl. Also included in the program was Sergio's ar?rangement of the Four Seasons of Buenos Aries by Piazzolla for two guitars and orchestra. In the winter of 2007 the brothers toured with the Turtle Island Quartet in a program called String Theory. In November 2007, the Assads returned to Aus?tralia to inaugurate the first Adelaide Guitar Festi?val, as well as giving recitals at the Sydney Opera House. In January 2008 the Assads will curate and perform a Guitar Festival at the 92nd St. Y in New York. The Assads will also appear with L'Orchestre
National de Belgique in Brussels performing the Castelnuevo Tedesco Concerto for Two Guitars.
Badi Assad was born in the small city of Sao Joao da Boa Vista in Brazil. She began studying guitar at the age of 14 with her father, as her brothers had done years before. Just one year later, she was winning competitions in Brazil and abroad, and in 1989 recorded her first album, entitled Danqa dos Tons (Dance of the Tones). The album featured many musicians who were not able to accompany Ms. Assad on tour; this led her to begin improvising with her voice and percussion instruments. She also sought dif?ferent ways of playing the guitar, all in order to imitate the other instruments which she felt were essential to the interpretation of each song.
Ms. Assad's experimentation led to her signing with the New York-based label, Chesky Records, for whom she recorded three albums in the mid-1990s. The label's one-microphone and no-overdubs recording methods brought atten?tion to her way of singing and playing guitar whili simultaneously playing a Brazilian shaker or othe-percussion instruments, or mimicking them with her voice while singing in effect singing two things at the same time! In 1994 the American magazine Guitar Player ranked Ms. Assad--along with Charlie Hunter, Ben Harper, and Tom Morello of Rage Against the Machine--as one of the 10
Badi Assad
young talents who would revolutionize guitar playing during the 1990s. In 1996 Ms. Assad's Rhythms was the recipient of awards for "Best Classical Guitar Album" from Guitar Player maga?zine and "Best ClassicalFinger-style Guitarist" from Acoustic Guitar magazine.
In 1998 Ms. Assad recorded Chameleon, which was released by i.e MusicUniversal and in
2003 recorded Three Guitars, joined by jazz gui?tar legends Larry Coryell and John Abercrombie. The album was released on Chesky. Also in 2003 Belgian guitar label GHA Records re-released Ms. Assad's first album (previously available only on vinyl) with four new tracks, calling it Danca das Ondas (Dance of the Waves). Assad then signed with eDGe MusicDeutsche Gramophon and in
2004 recorded Verde and in 2006 Wonderland. Wonderland was included in the BBC's list of best world music CDs of 2006.
Having toured internationally, in 2007 Ms. Assad concentrated on putting together shows in Sao Paulo, produced a CD recording for her 76-year-old mother, composed soundtracks for theater and film--all while awaiting the birth of her first child. Following a tour in Australia, Ms. Assad will tour the US and in January 2008 will be participating in a guitar tour with her brothers Sergio and Odair (of Duo Assad), while preparing her next album.
Born in Rio de Janeiro in 1955, Romero Lu-bambo studied classical piano and music theory as a young boy. From the time he played his first notes on the guitar at age 13, he devoted himself to that instrument. Mr. Lubambo graduated from the Villa-Lobos School of Music in Rio in 1978, an outstanding student of classi?cal guitar; and, in 1980, received a degree in me?chanical engineering from the Pontificia Universi-dade Catolica do Rio de Janeiro.
The rhythms and melodies defining Brazilian music and American jazz fascinated Mr. Lubambo. He taught himself through intense research and practice, developing exceptional skill, versatility, and fluency in both jazz and Brazilian idioms. In 1985 he left Brazil for New York, where he be?came very much in demand not only for his au?thentic Brazilian sound, but also for his command of a variety of styles.
Mr. Lubambo has performed and recorded with many outstanding artists, including Dianne
Reeves, Michael Brecker, Yo-Yo Ma, Kathleen Battle, Diana Krall, Herbie Mann, Wynton Marsalis, Luci-ana Souza, Kurt Elling, Jane Monheit, Kenny Barron, and Ivan Lins. He has established himself as a com?poser and performer on his own critically acclaimed recording projects as well as on those of Trio Da Paz, a Brazilian jazz trio Mr. Lubambo formed with Nilson Matta and Duduka da Fonseca.
Mr. Lubambo is considered by critics to be "the best practitioner of his craft in the world to?day...the guitarist's facility, creativity, and energy are in a class all their own."
Virtuoso Brazilian guitarist, percussionist, and multi-instrumentalist Celso Machado transports his audiences through the rich?ness and diversity of Brazilian music and beyond. While Mr. Machado's music is rooted in the per?cussive rhythms, harmonies, and spirit of Brazil, his strong interest in ethnomusicology has led him to achieve mastery of a vast array of instruments. He has discovered similarities between the music of southern Italy and northeast Brazil, the Egyptian Maqsoum and the Brazilian Maxixe rhythm, the Moroccan Gnawa rhythm and Afoxe and Samba. Mr. Machado incorporates these influences seam?lessly into his own sound, his own unique contri?bution to the evolution of Brazilian music.
Mr. Machado's compositions for guitar and en?semble are published by Editions Henry Lemoine in Paris, France. A new body of compositions for guitar will be published this year. Mr. Machado has per?formed and taught masterclasses throughout Eu?rope, Canada, the US, and Brazil for over 30 years.
UMS ARCHIVES
This evening's performance marks both Odair and Sergio Assad's fifth appearances under UMS auspices. The Assad Brothers made their UMS debut in 1992 at Rackham Auditorium. Romero Lubambo makes his fourth ap?pearance tonight, having made his UMS debut in December 1996 performing with soprano Kathleen Battle. Tonight marks the UMS debut of both Badi Assad and Celso Machado.
ums
and
DTE Energy Foundation
present
A Celebration of the Keyboard:
Music for Piano, Four Hands
A project of The Chamber Music Society of Lincoln Center David Finckel and Wu Han, Artistic Directors
Wu Han Inon Barnatan Gilbert Kalish Anne-Marie McDermott Andre-Michel Schub Gilles Vonsattel
Program
Wolfgang Amadeus Mozart
Felix Mendelssohn
Gabriel Faure
Witold Lutoslawski
Saturday Evening, February 2, 2008 at 8:00 Hill Auditorium Ann Arbor
Andante and Five Variations in G Major for Piano, Four Hands, K. 501
Mr. Vonsattel and Mr. Schub
Andante and Variations in B-flat Major for Two Pianos, Op. 83a
Mr. Barnatan and Ms. McDermott
Dolly Suite for Piano, Four Hands, Op. 56
Berceuse
Mi-a-ou
Le jardin de Dolly
Kitty-valse
Tendresse
Pas espagnol
Mr. Barnatan and Mr. Vonsattel
Variations on a Theme of Paganini for Two Pianos
Mr. Schub and Ms. McDermott
INTERMISSION
Igor Stravinsky
The Rite of Spring for Piano, Four Hands
Introduction (Day)
The Omens of Spring: Dance of the Maidens
Ritual of Abduction
Spring Rounds (Dances)
Ritual of the Rival Tribes
Procession of the Sage
Dance of the Earth
PART II: THE SACRIFICE
Introduction (Night)
Mystic Rites of the Maidens
Glorification of the Chosen Maiden
Evocation of the Ancestors
Ritual of the Ancestors
Sacrificial Dance of the Chosen Maiden
Mr. Kalish and Wu Han
36th Performance of the 129th Annual Season
129th Annual Choral Union Series
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
Tonight's performance is sponsored by DTE Energy Foundation. Tonight's performance is supported in part by Dennis and Ellie Serras.
Special thanks to Arthur Greene, Professor of Piano, University of Michigan School of Music, Theatre & Dance, for his participation in tonight's Prelude Dinner.
Media partnership provided by WGTE 91.3 FM, Observer & Eccentric newspapers, and WRCJ 90.9 FM.
Special thanks to Tzywen Gong for her participation in this residency.
The Steinway pianos used in this evening's concert are 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 lobby floral art for tonight's concert.
Chamber Music Society's touring program is made possible in part by the Lila Acheson and DeWitt Wallace Endowment Fund.
A Celebration of the Keyboard is presented by arrangement with Opus 3 Artists, New York, NY.
Large print programs are available upon request.
Andante and Five Variations in G Major for Piano, Four Hands, K. 501 (1786) Wolfgang Amadeus Mozart Born January 27, 1756 in Salzburg, Austria Died December 5, 1791 in Vienna
Franz Anton Hoffmeister built from his varied but interlocking talents one of the leading mu?sic publishing firms of late-18th-century Austria. Hoffmeister was born in 1754 at Rothenburg am Neckar, just south of Stuttgart, and went to Vi?enna at the tender age of 14 to study law. The time he had qualified to practice at the bar, how?ever, his vocational interest had shifted to mu?sic--composing, performing as a harpsichordist, and, especially, publishing. In 1783, when Vien?nese music publishing was still in its infancy, he had two series of his own symphonies printed in Lyons, and issued them in Vienna under his per?sonal imprint. The following year he announced in the local press that he would henceforth publish all his own works himself, and by summer 1785, when the first newspaper advertisements for his new firm appeared, his venture had expanded to include chamber and orchestral music by Haydn, Mozart, Vanhal, Albrechtsberger, and other sig?nificant Viennese and foreign composers. Hoff-meister's business had flourished to such a degree by the end of 1785 that one of his composers (and brothers in the Masonic Lodge), Wolfgang Mozart, started sending him imploring letters for loans and advances and commissions. Hoffmeis?ter responded generously, and Mozart paid him back with a number of important compositions, including the Andante and Variations in G Major for Piano, Four Hands (K. 501) of 1786.
The theme, original with Mozart, is one of those marvels of lucidity and apparent effort?lessness in which are embedded the seeds of expressive ambiguity that Mozart sought out in the works of his maturity--an opening phrase of eight measures answered not by one of another, predictable, eight measures but by one of 10; a slight harmonic deflection in the middle of the otherwise purely diatonic first phrase; a hint of the minor mode, like a high cloud passing mo?mentarily in front of the sun, at the beginning of the second phrase. Mozart wove around these formal and emotional elements five variations of increasingly elaborate figurations that Wolfgang Hildesheimer, in his biography of the composer, wrote comprise "155 bars of music perfect for teaching, use, and enjoyment."
Andante and Variations in B-flat Major
for Two Pianos, Op. 83a (1844) Felix Mendelssohn
Born February 3, 1809 in Hamburg, Germany Died November 4, 1847 in Leipzig
Early in 1841, Mendelssohn accepted the position as Royal Kapellmeister to Friedrich Wilhelm IV in Berlin, where his duties were to include admin?istering the music section of the newly instituted Royal Academy of Arts, composing for the Royal Theater, directing the Royal Orchestra, and con?ducting the Cathedral Choir. In July, just before leaving Leipzig to take up his demanding new job in Berlin, he fulfilled a request from the Vi?ennese publisher Pietro Mechetti for a musical contribution to an album of original piano works whose sale would benefit the effort to build a memorial to Beethoven in his native city of Bonn; Chopin, Liszt, Czerny, Moscheles, and five other notable composers also participated. In tribute to Beethoven's life-long dedication to the varia?tions form, Mendelssohn created the Variations Serieuses and then reported to his sister Rebecka, "I was so pleased by the process that I immediate?ly wrote more variations on a sentimental theme in E-flat Major. Now I am writing a third set, on a graceful theme in B-flat Major. I feel as if I have to make up for not producing any [variations] in the past." He also made a version of the B-flat Variations for piano, four hands, adding two more variations to its original six, but he did not publish any of these pieces during his lifetime; they were issued in 1850 as his Opp. 82, 83, and 83a.
The Andante and Variations in B-flat for Four Hands (Op. 83a) is based on a hymnal theme in three eight-measure periods, the lead in the first and third given to the left-hand pianist, in the sec?ond to the right. As with most traditional varia?tions, the form, phrase structure, and essential harmonies of the theme remain largely intact for the following variations, which here range in style from decorative to tempestuous, from elfin to one whose carefully intertwined voices recall a Bach chorale prelude. The closing section, as long as all that preceded it, comprises three paragraphs: an agitated strain of somber emotion; a reminiscence of the hymnal theme in its original guise; and a galloping dash to the end.
Dolly Suite for Piano, Four Hands,
Op. 56(1893-96) Gabriel Faure
Born May 12, 1845 in Pamiers, Ariege, France Died November 14, 1924 in Paris
This delightful collection of keyboard miniatures was named for Helene Bardac, who was so tiny as a baby that she was nicknamed "Dolly." Helene was the daughter of Emma Bardac, a talented soprano, a woman of wit and elegance, and the wife of a successful Paris banker, whom Faure met in the summer of 1892 during a composing re?treat at Bougival, in the Seine valley a dozen miles west of Paris. Faur6's nine-year-old marriage to Marie Fremiet, daughter of the celebrated animal sculptor Emmanuel Fremiet, had never been one of passion or shared interests (it had largely been arranged for him by his friend Marguerite Baug-nies when he was trying to start a family before reaching his 40th birthday), and that summer he fell into an affair with Madame Bardac. The inten?sity of his feelings for Emma were reflected in the impassioned song cycle La Bonne Chanson, com?posed to poems of Paul Verlaine between 1892 and 1894, which he dedicated to her. Emma and Faure saw each other frequently throughout the 1890s, both in Bougival and Paris, but their re?lationship cooled and in 1904 she took up with Claude Debussy, giving birth later that year to Claude-Emma, affectionately called "Chouchou," who was to inspire from her father the Children's Corner Suite and the "children's ballet," La Boite a Joujoux (The Toy Box). Emma's apparently liberal husband joked, "She's just treating herself to the latest fashion in composers; but I'm the one with the money. She'll be back," but he was wrong-Debussy and Emma were married in 1908.
Three of the six pieces comprising the Dolly Suite were Faure's musical birthday gifts for He?lene: Mi-a-ou (1894, when Dolly was two), Le Jardin de Dolly (1895), and Kitty Valse (1896); the Berceuse dates from 1893 and Tendresse and Le Pas Espagnol from 1896. The gently swaying Ber?ceuse takes its name from the French word for "rocking chair," which in music denotes a "cradle song" or "lullaby." There was no feline intent in the playful Mi-a-ou, whose title is a contraction of "Messieu Aoul," the family nickname for Dol?ly's brother Raoul. Le Jardin de Dolly may trace its sylvan mood to Faure's childhood memories of a Mediterranean garden, a place of solace for
the introverted youngster, at Montgauzy College, where his father was director. Kitty Valse is an en?during misprint from the first edition of the score; the piece was supposed to have been called Ketty Valse, after Raoul's pet dog. The lovely Tendresse, without a specific reference or an association with the Bardacs, was composed during a stay in Sep?tember 1896 at the French seaside villa of Faure's British publisher, Frederick Maddison, at Saint-Lu-naire, just west of Mont-Saint-Michel. Le Pas Es-pagnol (Spanish Dance) of 1896 is Faure's tribute to the best-known work of his French colleague Emmanuel Chabrier, who had died two years be?fore.
Variations on a Theme of Paganini for
Two Pianos (1941) Witold Lutostawski
Born January 25, 1913 in Warsaw, Poland Died February 7, 1994 in Warsaw
Among the many impositions of the German oc?cupation of Poland during World War II was the prohibition of the use of concert halls and theaters by the country's musicians. To sustain their own music-making, and to retain some semblance of musical life in Warsaw, Lutostawski and his friend and fellow composer Andrzej Panufnik formed a piano duo to perform in the city's cafes and creat?ed some 200 arrangements of music ranging from organ works by Bach to pieces by Debussy and Ravel for their own use. Among the handful of those pieces that survived the war is Lutostawski's Variations on a Theme of Paganini, based on the last of the Caprices for Unaccompanied Violin, No. 24 in a minor, written around 1815, a bravura showpiece that has also inspired compositions from Schumann, Liszt, Brahms, Rachmaninoff, Lloyd Webber, Casella, Dallapiccola, Blacher, and others. Lutoslawski explained that "my Variations closely follow Paganini's model. In each Variation [there are 12 in each work], I translate the vio?lin line for keyboard. Polyharmony often occurs between the two keyboards but tonality remains a clear force with frequent traditional dominant-tonic cadences."
The Rite of Spring for Piano, Four Hands
(1911-13) Igor Stravinsky Born June 17, 1882 in Oranienbaum,
near St. Petersburg, Russia Died April 6, 1971 in New York City
Stravinsky's epochal The Rite of Spring came into existence in three versions simultaneously--the full orchestral score and versions for piano solo and piano duet. As with all of Stravinsky's ballets from The Firebird through Agon, the piano re?ductions were created specifically for the use of the choreographer and the designer, and subse?quently for the dancers' rehearsals, which, in the case, of The Rite of Spring, stretched to more than 120 sessions. It was the keyboard versions that first stirred reports of the revolutionary nature of this phenomenal creation. The composition of the score was accomplished between the summer of 1911 and November 1912, and Stravinsky allowed Diaghilev and Pierre Monteux, conductor of the premiere, their first taste of the music during the intervening April in Monte Carlo, where the Bal?let Russe was giving performances of The Firebird and Petrushka. "With only Diaghilev and myself as audience, Stravinsky sat down to play a piano reduction of the score," Monteux recalled. "Be?fore he got very far, I was convinced he was rav?ing mad. Heard this way, without the color of the orchestra, the crudity of the rhythm was empha?sized, its stark primitiveness underlined." Diaghi?lev chose Nijinsky to do the choreography (though Stravinsky objected to the choice because of the dancer's inexperience as a choreographer and his lack of understanding of the technical aspects of the music), and rehearsals for the premiere were begun in Berlin by December 1912. Rehearsals proceeded through the winter and early spring, always to piano accompaniment. Stravinsky pol?ished the piano duet version sufficiently for the Russischer Musik Verlag to begin engraving it in January 1913; it was published in this form several weeks before the opening on May 29. (The full orchestral score was not published until 1921.) It was only on May 26, 1913, just three days before the opening, that The Rite of Spring was finally played by a symphony orchestra.
The following summary of the stage action of The Rite of Spring is excerpted from The Victor Book of Ballet by Robert Lawrence:
The plot deals with archaic Russian tribes and their worship of the gods of the har?vest and fertility. These primitive peoples assemble for their yearly ceremonies, play their traditional games, and finally select a virgin to be sacrificed to the gods of Spring so that the crops and tribes may flourish. There is a prelude in which the composer evokes the primitive past. Insistent, bar?baric rhythms are heard, shifting accent with almost every bar. The first rites of Spring are being celebrated, and a group of adolescents appears. They dance until other members of the tribe enter. Then the full round of ceremonies gets under way: a mock abduction, games of the ri?val tribes, the procession of the Sage, and the thunderous dance of the Earth. The curtain falls, and there is a soft interlude representing the pagan night. Soon the tribal meeting place is seen again. It is dark and the adolescents circle mysteri?ously in preparation for the choice of the virgin to be sacrificed to the gods. Their dance is interrupted, and one of the girls is marked for the tribal offering. The others begin a wild orgy glorifying the Chosen One and--in a barbaric ritual--call on the shades of their ancestors. Finally the su?preme moment of the ceremony arrives: the ordeal of the Chosen One. It is the maiden's duty to dance until she perishes from exhaustion. Throughout the dance, the music gathers power until it ends with a crash as the Maiden dies.
Program notes by Dr. Richard E. Rodda.
The blossoming career of pianist Inon Bar-natan takes him to some of the most im?portant music centers and festivals world?wide. In recent seasons, in addition to making his New York recital debut at Carnegie Hall, he has appeared at The Metropolitan Museum of Art, Salla Verdi, the Royal Festival Hall, Wigmore Hall, the Musikverein, the Louvre, Shanghai's Arts The?ater, and the Rising Stars series of the Ravinia and Gilmore festivals. In the 0708 season, the Amster?dam Concertgebouw will present a three-concert project, conceived and organized by Mr. Barna-tan, featuring the solo, chamber, and song output
of Schubert's last year. The project will feature Mr. Barnatan along with the Belcea Quartet, baritone Christopher Maltman, and pianist Jonathan Biss, among others. His orchestral appearances include performances with the Houston Symphony, Is?rael Philharmonic, Jerusalem Symphony, Nether?lands Chamber Orchestra, Orchestre de la Suisse Romande, and the Shanghai Symphony. An en?thusiastic chamber musician, he has appeared at festivals in the US and Europe with the Jerusalem String Quartet, Cho-Liang Lin, Miriam Fried, Gary Hoffman, and Liza Ferschtman. His debut CD, of piano works by Schubert, was released by Bridge Records in 2006 to enthusiastic critical response; he also appears on Deutsche Grammophon's DG Concert label with the Chamber Music Society. Mr. Barnatan is a member of Chamber Music So?ciety Two.
Pianist Gilbert Kalish's profound influence as an educator, and as pianist in myriad perfor?mances and recordings, has established him as a major figure in American music-making. He was awarded the Peabody Medal by the Peabody Conservatory in May of 2006 for his outstanding contributions to American music. Having toured last season with Musicians from Marlboro, he ap?pears this season at the Gilmore Festival, performs in Taiwan, and, as a guest artist, plays a series of
concerts with the Emerson and Juilliard quartets. Pianist of the Boston Symphony Chamber Players for 30 years, he was a founding member of the Contemporary Chamber Ensemble, a group that flourished during the 1960s and 1970s in support of new music. He is particularly well known for his partnership of many years with mezzo-soprano Jan DeGaetani, as well as current collaborations with soprano Dawn Upshaw and cellists Timothy Eddy and Joel Krosnik. As an educator and per?former he has appeared at the Banff Centre, the Steans Institute at Ravinia, the Marlboro Music Festival, and Music@Menlo; from 1985 to 1997 he served as chairman of the Tanglewood faculty. His discography of some 100 recordings embraces both the classical and contemporary repertories; of particular note are those made with Ms. De?Gaetani and that of Ives' Concord Sonata. He is a Distinguished Professor at SUNY Stony Brook. This is Mr. Kalish's second season as an Artist of The Chamber Music Society of Lincoln Center.
A versatile musician, Anne-Marie McDermott is at home with a wide range of repertoire, from Bach and Mozart to Prokofiev and Rachmaninov. This season she continues her partnership with violinist Nadja Salerno-Sonnenberg by performing recitals across the US. She also recently appeared with the Los Angeles Chamber Orchestra, was
the curator and featured performer in a three-concert Shostakovich Centennial Celebration at the Chamber Music Society, and presented Bach's Goldberg Variations on the Great Performers at Lincoln Center Series. In 2003 she performed the complete Prokofiev piano sonatas together with his complete chamber music works at the Lincoln "enter Festival and Chamber Music Northwest, later recording both sets for the Arabesque label. Her other recordings include a critically-praised all-Bach CD that was chosen as Gramophone magazine's Editor's Choice. Ms. McDermott, who debuted with the New York Philharmonic in 1997, has appeared with the orchestras of Atlanta, Bal?timore, Dallas, Pittsburgh, St. Louis, and Seattle, as well as the Hong Kong Philharmonic and the Brandenburg Ensemble. A winner of the Young Concert Artists Auditions, she is a recipient of the Avery Fisher Career Grant, the Andrew Wolf Me?morial Chamber Music Award, and the Joseph Ka-lichstein Piano Prize. She studied at the Manhat?tan School of Music with Dalmo Carra, Constance Keene, and John Browning. Ms. McDermott has been an Artist of The Chamber Music Society of Lincoln Center since 1995.
Pianist Andre-Michel Schub has been described by 77e New York Times as "pianistically flawless... a formidable pianist with a fierce integrity." This past summer he appeared at the Glasgow Inter?national Piano Festival, the Yale Chamber Music Festival, Ravinia, La Jolla SummerFest, and the Virginia Arts Festival, where he has been Artis?tic Director of Chamber Music since 1997. Last season, to commemorate the 10th season of the Virginia Arts Festival, he participated in a record?ing project of Mozart's music. He also made or?chestral appearances in Memphis, Santa Barbara, and Williamsburg, Virginia, and played solo recit?als in Washington DC and Phoenix. Recipient of a 1977 Avery Fisher Career Grant, he won the 1974 Naumburg International Piano Competition and the 1981 Van Cliburn International Piano Com?petition. He regularly appears at Mostly Mozart, Tanglewood, Ravinia, the Blossom Festival, Wolf Trap, and the Casals Festival in Puerto Rico. He has performed with the Boston, Chicago, Cin?cinnati, Dallas, Detroit, St. Louis, and Milwaukee symphonies; the Cleveland and Philadelphia Or?chestras; the Los Angeles, New York, and Roch?ester Philharmonics; the Royal Concertgebouw; the Bournemouth Symphony, and the New York
Pops in Carnegie Hall. Born in France, he was a student of Rudolf Serkin at The Curtis Institute of Music and he is currently a faculty member of the Manhattan School of Music. Mr. Schub has been an Artist of The Chamber Music Society of Lincoln Center since 2002.
The Swiss-born pianist Gilles Vonsattel be?gan touring after capturing the top prize at the prestigious 2002 Naumburg International Piano Competition. He made his Alice Tully Hall debut that same year and has since performed with the Utah, Santa Fe, Nashville, and Grand Rapids sym?phonies, the New Century Chamber Orchestra (with which he toured California), the Fort Worth Chamber Orchestra, and the Boston Pops Orches?tra. During the summer of 2007, he gave recitals at France's La Roque d'Antheron Festival and at Warsaw's Chopin Festival, in addition to perform?ing at the Davos Festival and at Caramoor. He also performed Bart6k's Sonata for Two Pianos and Percussion with Jerome Lowenthal at Santa Bar?bara's Music Academy of the West. He will give his debut recital at Zurich's Tonhalle in December and, in 2008, will present recitals at the Musee d'Orsay in Paris, at Atlanta's Spivey Hall, and at the La Jolla Music Society. In 2006 he won the international piano competition Concours de Ge?neve and his recording of Beethoven's First Piano Concerto with Orchestre de Chambre de Geneve will be released at the end of 2007. A member of Chamber Music Society Two, Mr. Vonsattel received his bachelor's degree in political science and economics from Columbia University and his master's degree in music from The Juilliard School, where he studied with Jerome Lowenthal.
Pianist and Co-Artistic Director of the Chamber Music Society, Wu Han ranks among the most esteemed and influential classical musicians in the world today. Her career has taken her to many of the world's most prestigious venues, including Lincoln Center, Carnegie Hall, and Washington's Kennedy Center. She has toured North and South America, Europe, and the Far East, and her regular summer festival appearances include Aspen, San?ta Fe, Chamber Music Northwest, Caramoor, and Music@Menlo. Wu Han is active as a concerto so?loist as well, recently appearing with the Los An?geles Chamber Orchestra in a performance of the Beethoven Triple Concerto. In 2007, with cellist David Finckel, Wu Han gave the world premiere
of Gabriela Lena Frank's double concerto, Com-padrazgo. Wu Han is a frequent collaborator with many of today's finest musicians and ensembles, including the Borromeo, Emerson, Pacifica, and St. Lawrence Quartets. With David Finckel, Wu Han performs extensively across the US and Eu?rope and has given three critically-acclaimed Wig-more Hall recitals. In February 2006, Wu Han and David Finckel made their Chamber Music Society of Lincoln Center recital debut. Wu Han's wide-ranging musical activities include the founding of ArtistLed, classical music's first musician-directed, Internet-based recording company. All nine Ar?tistLed recordings have received critical acclaim and are available via the company's website. The label's Russian Classics recording received BBC Music Magazine's coveted Editor's Choice Award. ArtistLed's recent Brahms disc features Wu Han's second solo recording for the label, coupling the composer's Opus 118 Six Pieces for Solo Piano with the two cello sonatas. In recent years, Wu Han and David Finckel have become widely recog?nized for their initiatives in expanding audiences for classical music, and for guiding the careers of countless young musicians. They are the founders
and Artistic Directors of Music@Menlo, a chamber music festival in Silicon Valley. Prior to launching MusicOMenlo, Wu Han and David Finckel served for three seasons as Artistic Directors of La Jolla SummerFest.
UMS ARCHIVES
This evening's concert marks Wu Han's second UMS appearance following her UMS debut perform?ing with the Emerson String Quartet in September 2006 at Rackham Auditorium. Tonight also marks the second appear?ances of both Anne-Marie McDermott and Andre-Michel Schub. Ms. McDer?mott made her UMS debut with the Aus?tralian Chamber Orchestra in April 2000; Mr. Schub first appeared on the UMS stage as soloist with the San Francisco Symphony in July 1981. Tonight marks the UMS debut of Inon Barnatan, Gilbert Kalish, and Gilles Vonsattel.
presents Chicago Classical Oriental Ensemble
Michel Merhej Baklouk, Percussion Kinan Abou-Afach, Cello Hicham Chami, Qanun Aboud Agha, Vocals Dima Orsho, Vocals Youssef Kassab, Vocals Walid Zairi, 'Ud Hanna Khoury, Violin
Program Friday Evening, February 8, 2008 at 8:00 Rackham Auditorium, Ann Arbor
Al-fursan at-talatha (The Three Musketeers) The Music ofllmm Kalthum
Youssef Kassab Sama'i Bayyati
Riad al-Sunbati 'Ala Balad il-Mahboub
Zakahyya Ahmad Ana Fintizarak
al-Sunbati Ya Nasini (Introduction)
Muhammad al-Qasabji Madam Teheb Betenker leh
al-Qasabji Nourek Ya Sit il-Kul
INTERMISSION

Instrumental Music from the film Salaama
al-Qasabji Leh Tilaw'ini
Ahmad Boukra as-Safar
Ahmad Habibi Yis'ed Awqatu
al-Qasabji Sama'i Rast
al-Sunbati Ma Abloh Bukrah
Ahmad Ghanili Shwaya
37th 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.
The youth performance is funded in part by Target. Media partnership provided by The Arab American News.
Special thanks to Liz and Mohammed Othman, Wadad Abed, Huda Rosen, Rabia Schafie, and Bustan Al-Funun for their participation in this residency.
The Chicago Classical Oriental Ensemble appears by arrangement with the Ara?besque Foundation for Arab Culture.
Large print programs are available upon request.
The Legacy of Umm Kulthum
The songstress Umm Kulthum (also known as Om Kalsoum, 1904-1975) dominated the Arabic music stage for most of the 20th century. Music connoisseurs from all over the Arab world looked forward to listening to her live broadcast concerts, which took place on the first Thursday of every month. The luckier connoisseurs were those who could afford to attend her live concerts and those who could afford to travel from all over the Arab world to hear her perform live.
The phenomenal success of Umm Kulthum is due to many interconnected factors. She was schooled in the most sophisticated musical tradi?tion: Islamic religious chant and recitation of the Holy Qur'an; at the same time, she possessed a very beautiful and powerful voice and an inimi?table control of vocal ornamentations and impro?visations. Initially trained by her father in religious chant, she branched out to the secular world; there she found a wealthy audience of fine music connoisseurs who provided the social and eco?nomic maintenance needed for her fame and suc?cess.
Next were her shrewd sense of business, an orchestra made up of the most skillful instru?mentalists, great poets such as Bayram al-Tunsi and Ahmad Rami, and last but not least, three composers of genius: Muhammad al-Qasabji, Riyad al-Sunbati, and Zakariyya Ahmad. These three colossi, also known as the "Three Muske?teers," knew how to compose for her in a way subsequent composers could not. It is, there?fore, not surprising that the "golden age" of Umm Kulthum was in the 1930s and 1940s, when the above poets and composers wrote her songs.
--Dr. George Dimitri Sawa, Toronto
Al-Fursan at-Talatha
Muhammad al-Qasabji (1892-1966), a con?temporary of Sayyed Darweesh (born less than a month before him), was influenced by Darweesh and shared his interest in West?ern musical styles. Al-Qasabji, who produced an oeuvre of 360 songs, incorporated Euro?pean instruments and musical concepts such
as harmony. He played 'ud in Umm Kulthum's takht; she performed his songs until 1946.
Zakariyya Ahmad (1896-1961) embodied an indigenous Egyptian style (both in his tra?ditional dress and populist outlook); Dr. Vir?ginia Danielson writes that he was the "great?est composer of colloquial Egyptian music that Umm Kulthum worked with," and explains that his music had a "sing-a-long" quality to it, though with a daunting vocal range. Umm Kulthum performed Ahmad's songs until 1947.
Riyad al-Sunbati (1906-1982) also enjoyed an informal "mentorship" with Sayyed Darweesh and was inspired by him. Al-Sunbati met Umm Kulthum in 1922 and wrote his first song for her in 1928. He composed for her for decades, including numerous qasa'id by Ahmad Shawqi. Al-Sunbati favored Western instruments such as cello, bass, accordion, piano, and mandolin.
The Chicago Classical Oriental Ensemble (CCOE) consists of professional musicians from several countries in North America, Europe, the Middle East, and North Africa who perform classical music from the Arabic traditions. Eastern instruments such as 'ud, qanun, buzuq, nay, and riqq are complemented by Western or?chestral instruments (violin, viola, cello, and flute). Members of the CCOE are also accomplished ar?rangers, composers, conductors, and educators, serving as faculty for the annual Heartland Semi?nar on Arabic Music.
The CCOE presented its debut performance in 2003 at the Oriental Institute in Chicago and has since conducted three nationwide tours. The full 20-member ensemble performed with the Anda-EI East West Orchestra during a nation?wide tour showcasing Andalusian music in 2004. The CCOE's 2005 tour highlighted contemporary compositions by Middle Eastern composers and included the entire 20-member orchestra with guest artists Yair Dalai and Naser Musa. The Sheikh Sayyed Darweesh CD release tour in 2006 featured the five-member takht version of the CCOE along with guest vocalists Youssef Kassab and Albert Agha.
Venues hosting the CCOE have included: Oriental Institute, Chicago; Chicago Cultural
Center; Milwaukee Arab World Fest; University of Michigan, Ann Arbor; United Nations and Symphony Space, New York; Brooklyn Museum of Art; Harvard University, Boston; Kennedy Center for the Performing Arts, Washington, DC; Skirball Cultural Center, Eretz-Siamak Cul?tural Center, and La Mirada Theatre, Los Ange?les; Town Hall, Seattle; and the Place des Arts, Montreal. A webcast of the February 2006 Ken?nedy Center performance may be viewed at www.kennedy-center.org.
The CCOE represents a unique experience of classical Oriental music in the United States. In 2005, the ensemble was added to the presti?gious Artstour roster of the Illinois Arts Council. The CCOE has enjoyed critical acclaim from the American press; the Washington Post cited the blending of the vocalists' "amazingly smooth sound with the ensemble's precise rhythms and perfect intonation." The Los Angeles Times wrote of the CCOE's "rich textures and roving counter-melodies" and "considerable musical versatility, alternating lush ensemble playing with bursts of individual improvisation." From the Harvard Crimson: "All of the musicians delivered virtuo-
sic performances. The vocal performances were outstanding." The Chicago Reader noted, "This group brings a historical authenticity to the mate?rial and plays it with crackling precision"; the Seat?tle Post-Intelligencer praised the CCOE's "polished performance."
This evening's concert marks the Chicago Classical Oriental Ensemble's UMS debut.
The Chicago-based Arabesque Foundation for Arab Culture is dedicated to preserving the heritage of classical Oriental music from the Arab, Turkish, and Armenian traditions through produc?ing concerts and tours, offering educational seminars, and par?ticipating in intercultural exchange throughout North America. AFAC sponsors the annual Heartland Seminar on Arabic Music and provides artistic support for the CCOE.
A major component of the Arabesque Foundation's edu?cational program is the presentation of lectureworkshops on Arabic music and culture to young people. Developed since 2002 for audiences ranging from primary grades to college, the "Ara?besque" presentation combines live music with a multimedia his?torical overview of Arab arts and culture. It has been utilized at over 200 schools, colleges, and libraries in the Midwest and on the East Coast.
with the University of Michigan Health System and Linda and Maurice Binkow present Guarneri String Quartet Johannes String Quartet Arnold Steinhardt, Violin John Dalley, Violin Michael Tree, Viola Peter Wiley, Cello Soovin Kim, Violin Jessica Lee, Violin Choong-Jin Chang, Viola Peter Stumpf, Cello
Program William Bolcom Esa-Pekka Salonen Derek Bermel Felix Mendelssohn Saturday Evening, February 9, 2008 at 8:00 Rackham Auditorium Ann Arbor Octet: Double Quartet Mystic Saraband Mit Leidenschaft Andantino lamentoso Rondeau-Barcarolle Homunculus Johannes String Quartet Passing Through Guarneri String Quartet INTERMISSION Octet in E-flat Major for Strings, Op. 20 Allegro moderato ma con fuoco Andante Scherzo: Allegro leggierissimo Presto
38th Performance of the 129th Annual Season 45th Annual Chamber Arts Series TTie 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 the University of Michigan Health System. Special thanks to Robert Kelch, Executive Vice President for Medical Affairs, for his continued and generous support of the University Musical Society. Tonight's performance is supported by the Linda and Maurice Binkow Philanthropic Fund. Media partnership provided by WGTE 91.3 FM and Observer & Eccentric newspapers. Special thanks to Andrew Jennings, U-M Department of Composition, and the U-M School of Music, Theatre & Dance for their participation in this residency. The Guarneri and Johannes String Quartets appear by arrangement with Frank Solomon Associates. Large print programs are available upon request.

Octet: Double Quartet (2007)
William Bolcom
Born May 26, 1938 in Seattle, Washington
My Octet Double Quartet celebrates the relation?ship of the Guarneri and Johannes Quartets. (In four movements, it also is an homage in places to the celestial Mendelssohn Octet; no 16-year-old has a right to write so beautifully and that piece still makes my hair stand on end when I hear it properly played.)
The first movement, "Mystic Saraband," coalesces the two quartets into a body of eight voices little by little. The four violins start, inter?laced with each other's group but each in coun?terpoint with their other quartet member. The merger is complete in the second movement, "Mit Leidenschaft," which explores the other en?semble possibilities of eight players with drama and intensity. In "Andantino lamentoso" I con?tinue what has turned out to be a string of griev?ing slow movements in my recent symphonic and chamber works (it seems to me to be the mood of our time); but this is followed by a "Rondeau-Bar?carolle" which answers the grieving with a kind of joy, perhaps related to the darker Mendelssohn one finds if one looks under the surface.
--William Bolcom
Homunculus (2007)
Esa-Pekka Salonen
Bom June 30, 1958 in Helsinki, Finland
In recent years, Esa-Pekka Salonen has been de?voting more and more time to composing. One of the stellar conductors of our time, the Finnish mu?sician has been, until this year, at the helm of the Los Angeles Philharmonic and will become Prin?cipal Conductor of the Philharmonia Orchestra in London starting with the next season.
As a composer, Mr. Salonen attracted early notice with a series of works that reflected his training in the techniques of the postwar avant-garde. As his conducting career blossomed, he came into contact with an exceptionally wide range of repertoire that has inevitably affected his outlook as a composer. Salonen's current catalog contains over 30 works, more than half of which were written during the last decade. A portrait concert at New York's Miller Theater and the highly acclaimed premiere of a piano concerto
with Yefim Bronfman and the New York Philhar?monic are just two recent signs of Mr. Salonen's rapidly growing recognition as a composer.
Since 1996, Mr. Salonen has composed no fewer than 10 works with orchestra as well as sev?eral compositions for solo instruments. However, he has not produced a large body of chamber mu?sic as yet, which is part of the reason why his first string quartet, written for the Johannes Quartet, is so eagerly anticipated. The new work was recently premiered at the University of Illinois on February 7, 2008; UMS hosts the second performance, only two days later.
Passing Through (2007) Derek Bermel Born 1967
Described by the Toronto Star as "an eclectic with wide-open ears," Derek Bermel is one of today's most celebrated and vibrant young American composers. Currently serving as Music Alive Com-poser-in-Residence of the American Composers Orchestra at Carnegie Hall, his musical palette en?compasses a rich variety of musical genres, includ?ing classical, jazz, pop, rock, blues, gospel, and myriad folk traditions.
Mr. Bermel reflects on the composition of Passing Through:
I spent the summer of 2007 at the Cop?land House, working on a short movement for the Guarneri Quartet. It was a unique opportunity to contemplate the contribu?tions of these legendary artists who trans?formed concert music in America. I began thinking about what it means to live a life in music, to become part of its history, a permanent fixture in the firmament by whose light others find their way. Pass?ing Through is dedicated to Amber Miller, who taught me about beginnings.
Octet in E-flat Major for Strings, Op. 20
(1825)
Felix Mendelssohn
Born February 3, 1809 in Hamburg, Germany Died November 4, 1847 in Leipzig
Mendelssohn wrote his Octet in 1825, the same year Beethoven composed his String Quartet in B-
flat Major (Op. 130) which originally ended with the Great Fugue. At 55, Beethoven was near-ing the end of his career; the 16-year-old Men?delssohn was just starting his. Much ink has been spilled over who was "modern" and who was "conservative," who was "Classical" and who was "Romantic." Mendelssohn never tried to ex?plode Classical forms the way Beethoven did in his late quartets, with unconventional movement sequences and dramatic interruptions. Yet the younger composer infused those Classical forms with a new energy in ways that were absolutely unheard of. He invented a whole new genre with his Octet, which calls for what can be considered either a large chamber group or a very small or?chestra. Mendelssohn noted in his manuscript:
This Octet must be played by all instru?ments in symphonic orchestral style. Pia?nos and fortes must be strictly observed and more strongly emphasized than is usual in pieces of this character.
Yet there were really no other "pieces of this character" to speak of! True, Louis Spohr had written some works for eight string players, but those were double quartets, conceived as dialogs between two separate groups. Mendelssohn, on the other hand, treated his eight players as a sin?gle, integrated unit, which was a totally unprec?edented procedure.
As for the young prodigy's melodic style, one need only compare the Octet's opening with Haydn's String Quartet in B-flat Major from Op. 76, known as the "Sunrise" on account of its gently ascending first theme. Mendelssohn was apparently inspired by that opening, but Haydn's theme is to Mendelssohn's what a sunrise would be to a solar flare. The Octet begins with a true stroke of genius, with a continuation that is in ev?ery way worthy of that exceptional opening.
In all four movements. Classical gestures are similarly magnified and expanded upon. The second movement, in c minor, is full of Romantic feeling. It begins and ends in a gentle pianissimo, evoking a nocturnal mood, but there are some ex?tremely powerful emotional outbursts in between. The third movement is the first in a long line of Mendelssohnian scherzos in a very fast tempo and of a light and impish character. It is cast in a modi?fied sonata form and is, therefore, not really a scherzo, structurally speaking. Felix didn't take the time to relax in a contrasting trio section as one
might have expected in a scherzo. In the conclud?ing Presto, finally, the young composer pulled out all the stops. He wrote a brilliant fugue, partly as a bow to the music of the Baroque which he had al?ready begun to study and which would play such an important role in his life later on. The quote from Handel's Messiah ("And He shall reign for ever and ever") cannot be missed. But there is also plenty of playfulness in the movement, along with some harmonic surprises that would have made Handel--and probably Beethoven, too--raise his eyebrows in disbelief mixed with admiration.
Program note by Peter Laki.
The renowned Guarneri String Quartet "is among the most revered and enduring en?sembles of its kind in the world" (National Public Radio) and has circled the globe countless times since it was formed in 1964, playing in the most prestigious halls in North and South America, Mexico, Europe, Asia, and Australia. The Guarneri String Quartet has announced its retirement at the completion of the 0809 season. In the coming seasons the quartet will celebrate by doing what it does best--touring extensively throughout the US as they have for nearly 45 years. These per?formances also include their annual Metropolitan Museum of Art concert series, instituted in 1965, as well as a collaboration with the Johannes String Quartet. The ensemble also makes its annual tour to Europe this winter.
The Guarneri has been featured on many television and radio specials, documentaries, and educational presentations both in North Amer?ica and abroad. They have been interviewed by Charles Kuralt on CBS' nationwide television pro?gram, Sunday Morning. A full-length film entitled
Guarneri String Quartet
High Fidelity--The Guarneri String Quartet was released nationally, to great critical and public ac?claim, in the fall of 1989 (the film was directed and produced by Allan Miller who was also the directorproducer of the Academy Award-win?ning documentary, From Mozart to Mao, which dealt with Isaac Stern's visit to China). The quar?tet is also the subject of various books including Quartet by Helen Drees Ruttencutter (Lippincott & Crowell, 1980), The Art of Quartet Playing: the Guarneri in Conversation with David Blum (Alfred A. Knopf, 1986), and Arnold Steinhardt's Indivis?ible by Four: A String Quartet in Pursuit of Har?mony (Farrar, Straus, and Giroux, 1998).
In addition to mastering the finest works in the existing quartet repertoire, the Guarneri String Quartet is committed to performing and popular?izing works by today's foremost composers. In the spring of 2008 the quartet, in collaboration with the Johannes String Quartet, will premiere new works by acclaimed American composers William Bolcom and Derek Bermel. In the 0304 season, they gave the first performance of String Quar?tet No. 5 (In Search of La Vita Nuova) written for them by the award-winning American composer, Richard Danielpour. Mr. Danielpour had previously written a concerto for string quartet and orchesta, commissioned by the National Symphony Orches?tra and written expressly for the Guarneri String Quartet. It was premiered with the NSO in the Kennedy Center under the direction of Leonard Slatkin in January 2000 followed by its New York premiere at Carnegie Hall later that same month. In the 0102 season, the Guarneri gave the first performances of String Quartet No. 5, written for them by Lukas Foss and this work remains in their active repertoire.
In 1982, Mayor Koch presented the Quar?tet with the first New York Seal of Recognition. The Quartet was awarded Honorary Doctorate degrees by the University of South Florida (1976) and the State University of New York (1983). In 1992, the Guarneri String Quartet became the only quartet to receive the prestigious Award of Merit from the Association of Performing Arts Presenters in New York City. The Quartet contin?ues their longstanding series and residency at the University of Maryland where they are on the fac?ulty. In 2004, the Guarneri received the Richard J. Bogomolny National Service Award from Cham?ber Music America. This is CMA's highest honor, given annually to an individual or ensemble for a lifetime of service and achievement in the field. In
2005, Guarneri received the Ford Honors Award from the University Musical Society of the Univer?sity of Michigan where they have performed 30 times over the past 40 years.
Several of the Quartet's recordings on both RCA Red Seal and Philips have won international awards, including its recent recording of Juan Crisostomo de Arriaga's String Quartet Nos. 1-3 (Philips), which won the 1996 Deutsche Schall-plattenkritik Award in Germany. Among its other award-winning recordings are collaborations with such artists as Artur Rubinstein, Pinchas Zuker-man, and Boris Kroyt and Mischa Schneider of the Budapest Quartet. They have also recorded on the Arabesque label Mendelssohn's String Quar?tet No. 3 and its first-ever recording of the great Mendelssohn Ocfef, Op. 20, in collaboration with the Orion Quartet.
The Johannes String Quartet consists of four outstanding musicians who take time away from their busy careers to pursue their love of the string quartet literature. This quar?tet brings together the Principal cello of the Los Angeles Philharmonic, the Principal viola of the Philadelphia Orchestra, the first American to win the Paganini Violin Competition in 24 years, and a Concert Artist Guild International Competition Winner, and has been praised by listeners and critics alike for its special combination of passion, warmth, elegance, and poetry. Each member has spent numerous summers at the celebrated Marlboro Music Festival in Vermont, birthplace of many of the world's renowned ensembles. New York appearances include their recent Carnegie Hall debut as well as frequent performances on the Schneider Series at the New School and the Peoples' Symphony Concerts at Town Hall.
Since the Johannes made its acclaimed de?but there in 1998, the Chamber Music Society of Philadelphia has played a major role in launching the Quartet, presenting them regularly each sea?son, including a two-concert series of the complete Beethoven opus 18 quartets. Their debut was de?scribed by the Philadelphia Inquirer as having "ac?curate intonation, vigorous interaction, and careful regard for the details in the score...the passion and attack that characterize the best of quartet playing." Current season highlights include their annual ap?pearance in Philadelphia, a return to The Schneider Concert Series in New York and their third appear?ance at the Santa Fe Chamber Music Festival.
Forthcoming is the world premiere of a new octet written for the Johannes Quartet and the renowned Guarneri Quartet by award-winning composer William Bolcom, to be commissioned by the Music Accord consortium of presenters. In ad?dition to this work, the quartet will also premiere
a new string quartet to be written for them by Esa-Pekka Salonen.
Recent highlights include performances in Chicago; Hancher Auditorium at the Univer?sity of Iowa; The Kennedy Center in Washington DC; Los Angeles, CA; Norfolk, VA; Phoenix, AZ; Schenectady, NY; and Storrs, CT. The Quartet has also been heard around the country through broadcasts on NPR's Performance Today and MPR'sSf. Paul Sunday.
UMS ARCHIVES
This evening's concert marks the Guarneri String Quartet's 31st appearance under UMS auspices. The Quartet made their UMS debut in February 1971 at Rackham Auditorium and were honored with the UMS Distin?guished Artist Award in May 2005.
Tonight marks the Johannes String Quartet's UMS debut.
presents Wu Man and the Bay Area Shawm Band Wu Man, Pipa Zhang Yu, Souna Wanpeng Guo, Sheng Hong Wang, Guanzi, percussion Xian Lu, Dizi
Program Sunday Afternoon, February 10, 2008 at 4:00 Rackham Auditorium Ann Arbor This afternoon's repertoire will be announced by the artists from the stage.
39th Performance of the 129th Annual Season Global Series: Asia The photographing or sound and video recording of this concert or posses?sion of any device for such recording is prohibited. The 0708 Family Series is sponsored by Toyota. Funded in part by the National Endowment for the Arts, which believes that a great nation deserves great art. Special thanks to Tzywen Gong, U-M Center for Chinese Studies, Elaine Sims, U-M Gift of Arts Program, and the U-M School of Music, Theatre & Dance for participation in this residency. Wu Man and the Bay Area Shawm Band appear by arrangement with Opus 3 Artists, New York, NY. Large print programs are available upon request.

Traditional shawm-band musicians, often male farmers in China, perform daily life cel?ebration music in and around their villages, most regularly at weddings, funerals, and market fairs. The instruments they play are the suona, sheng, guanzi, and percussion, and their style is alternative to the religious rituals of the Daoists. Since the early 1980s, many young, talented Chi?nese artists and musicians have immigrated to the West producing a new wave of talent that has created a considerable impact on the Western world--especially in the areas of art, film, fash?ion, and music. Wu Man's idea is to work with some of these musicians now living in the US and to find new ways of connecting with the ancient traditions of the Chinese shawm band.
This afternoon, the music and musicians are quite different from traditional Chinese shawm bands. Wu Man has assembled musicians from the San Francisco Bay Area each of who are con?servatory-trained masters of their instruments. To?night they will perform music from the Northern provinces of Hebei, Xian, and Shang Dong, and the Southern part of China known as the Shang?hai region.
Wu Man is an internationally renowned pipa virtuoso, cited by the Los Angeles Times as "the artist most responsible for bringing the pipa to the Western World." The pipa is a lute-like Chinese instrument with a histo?ry of more than two thousand years. Having been brought up in the Pudong School of pipa play?ing, one of the most prestigious classical styles of Imperial China, Wu Man is now recognized as an outstanding exponent of the traditional repertoire as well as a leading interpreter of contemporary pipa music by today's most prominent compos?ers such as Terry Riley, Philip Glass, Lou Harrison, Tan Dun, Bright Sheng, Chen Yi, Zhou Long, and Bun-Ching Lam.
Wu Man continually collaborates with some of the most distinguished musicians and conduc?tors performing today, such as Yo-Yo Ma, David Zinman, Yuri Bashmet, Cho-liang Lin, Dennis Russell Davies, Christoph Eschenbach, Gunther Herbig, Esa-Pekka Salonen, Michael Stern, David Robertson, and the Kronos Quartet. She is a prin?cipal member of Yo-Yo Ma's Silk Road Project, an artistic and educational organization founded by Mr. Ma to study the ebb and flow of ideas along
the ancient trade route, and performs regularly throughout the US and Europe with Mr. Ma as part of the project. Wu Man also often performs and records with the groundbreaking Kronos Quartet.
Wu Man has performed as soloist with many of the world's major orchestras, including the Austrian ORF Radio Symphony Orchestra, Chicago Symphony Orchestra, Boston Symphony Orchestra, Los Angeles Philharmonic New Music Group, New York Philharmonic, and the Stuttgart Chamber Orchestra. Her touring has taken her to the major music halls of the world including Carnegie Hall, Amsterdam's Concertgebouw, the Great Hall in Moscow, the Kennedy Center, Lin?coln Center, Opera Bastille, Royal Albert and Royal Festival Halls, and the Theatre de la Ville. She has performed at many international festivals includ?ing the WOMAD Festival, Bang on a Can Festival, Festival d'Automne in Paris, Henry Wood's BBC Promenade, Hong Kong Arts Festival, La Jolla Summerfest, Le Festival de Radio France, Lincoln Center Festival, NextWaveIBAM, Ravinia Festival, Silk Road Festival, Tanglewood, and the Yatsugat-ake Kogen Festival in Japan.
Highlights of Wu Man's current season in?clude performances throughout the US with a shawm band, an ensemble performing an an?cient style of Chinese folk music that dates back to the 16th century. Performing on the shawm (a long reed instrument) and percussion, shawm bands are an integral part of village ceremonies and provide an extreme contrast to the refined world of the pipa. Wu Man and the shawm band will perform at Carnegie's Zankel Hall in Febru?ary 2008, as well as in Ann Arbor, Nashville and Seattle. Additionally this season in the U.S., Wu Man performs Lou Harrison's Concerto for Pipa with the Kansas City Symphony, and performs with the Kronos Quartet in Atlanta, Syracuse and at the University of Maryland. She also gives recit?als throughout the country in repertoire including the multimedia work Ancient Dances by Chen Yi, which Wu Man premiered in the 200506 season, and music from her album Wu Man and Friends, which she performs with folk musicians from Uganda, Ukraine and the southern Appalachian Mountains. Abroad, Wu Man performs Ancient Dances at the Theatre de la Ville in Paris, Harri?son's Pipa Concerto with the National Symphony Orchestra of Mexico, and in recital at the Miho Museum in Japan. Wu Man will tour China and
Japan with the Silk Road Ensemble, including a performance at the Special Olympics in Shanghai, and performs at the Barbican in London with the Kronos Quartet in summer 2008.
A major participant in the performance of new and contemporary music, Wu Man has giv?en several world premieres throughout the past few seasons. During the 0506 season Wu Man premiered Ancient Dances, a multimedia work by Chen Yi and Wu Man that combines projections of Chinese calligraphy with pipa music, explor?ing the connections between the two ancient Chinese traditions. She gave the world premiere of Ancient Dances in November 2005 in Philadel?phia, and the New York premiere in April 2006 at Carnegie's Zankel Hall, and continues to perform the work throughout the US and Europe. Wu Man and the Kronos Quartet gave the world premiere of a Terry Riley's Cusp Of Magic, written for Wu Man and the Quartet, at UC Berkeley's Hertz Hall in May 2005 and the New York premiere at Zankel Hall in April 2006.
Additional world premieres performed by Wu Man include Chen Yi's Ning! with Yo-Yo Ma at Carnegie Hall; Bright Sheng's concerto Nanking'Nanking! with Germany's NDR Radio
Symphony Orchestra directed by Christoph Es-chenbach, as well as Sheng's Songs for Cello and Pipa premiered at the White House with Mr. Ma, and the chamber opera Silver River premiered at the Santa Fe Chamber Music Festival and the Spoleto Festival 2000 USA; Ye Xiaogang's Pipa concerto with Germany's RSO Radio Symphony Orchestra, directed by Gunther Herbig; Lou Har?rison's Concerto for Pipa and Orchestra with the Stuttgart Chamber Orchestra for Lincoln Center's Great Performances, directed by Dennis Russell Davies; and Tan Dun's Ghost Opera with the Kro-nos Quartet at the Brooklyn Academy of Music. Wu Man gave the world premiere of Philip Glass' Sound of a Voice, a music theater piece, at the American Repertory Theater in Boston during the 0405 season.
Wu Man collaborated with Philip Glass and five other world musicians on Orion, a seven-movement work comprised of music drawn from the indigenous traditions of Australia, China, Canada, the Gambia (Africa), Brazil, India, and Greece commissioned by Cultural Olympiad in Athens. Wu Man gave the world premiere of the work with the Philip Glass Ensemble and featured soloists in 2004 in Athens.
WuMan
Wu Man has recorded several albums on various labels, including a recording of Tan Dun's Ghost Opera with the Kronos Quartet on None?such, a solo recording, Wu Man--Pipa From a Distance for Naxos, several other solo recordings for Nimbus Records, and two recordings with the Silk Road Ensemble and Yo-Yo Ma for Sony Classical. Wu Man's recent releases include a CD of world music entitled Wu Man and Friends on the Traditional Crossroads label, and a record?ing of Orion with the Philip Glass Ensemble for the Orange Mountain label. Nonesuch released a new recording with the Kronos Quartet, Wu Man, and singer Asha Bhosle called VouVe Stolen My Heart in August 2005, which was nominated for a Grammy Award for "Best Contemporary World Music Album." The album pays homage to the composer of classic Bollywood songs, Rahul Dev Burman. Upcoming recordings for Wu Man in?clude Terry Riley's Cusp of Magic with the Kronos Quartet on Nonesuch, scheduled for release in Fall 2007, as well as a recording of Lou Harrison's Pipa Concerto with the Chicago Symphony Orchestra on CSOResound, and a new album with the Silk Road Ensemble on SonyBMG.
Born in Hangzhou, China, Wu Man studied with Lin Shicheng, Kuang Yuzhong, Chen Zemin, and Liu Dehai at the Central Conservatory of Mu?sic in Beijing where she became the first recipient of a master's degree in pipa. When in China, Wu Man received first prize in the First National Music Performance Competition. She also participated in premieres of works by a new generation of Chi?nese composers. Wu Man currently resides in San Diego and formerly lived in Boston for 12 years where she was selected as a Bunting Fellow at the Radcliffe Institute of Advanced Study at Harvard University. Wu Man was selected by Yo-Yo Ma as the winner of the City of Toronto Glenn Gould Protege Prize in music and communication. She is also the first artist from China to have performed at the White House. For more information on Wu Man, please visit www.wumanpipa.org.
This afternoon's concert marks the UMS debut of both Wu Man and the Bay Area Shawm Band.
UMSExperience
UMS EDUCATION PROGRAMS
vvww.ums.orgeducation
UMS's Education and Audience Development Program deepens the relationship between audiences and art and raises awareness of the impact the multi-disciplinary performing arts and education can have by enhancing the quality of life of our community. The program creates and presents the highest quality arts education experiences to a broad spectrum of community constituencies, proceeding in the spirit of partnership and collaboration. Details about all educational events and resi?dency activities are posted one month before the performance date. Join the UMS Email Club to have updated event information sent directly to you. For immediate event information, please email umsed@umich.edu, or call the numbers listed below.
ADULT & COMMUNITY ENGAGEMENT
Please call 734.647.6712 or email umsed@umich.edu for more information.
The UMS Adult and Community Engagement Program serves many different audiences through a variety of educational events. With over 100 unique regional, local, and university-based partnerships, UMS has launched initia?tives for the area's Arab-American, Asian, African, MexicanLatino, and African-American audiences. Among the initiatives is the creation of the NETWORK, a program that celebrates
world-class artistry by today's leading African and African-American performers.
UMS has earned national acclaim for its work with diverse cultural groups, thanks to its 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..?.......J
nities for students and members of the ? Jv C
University community to further appreciate the '.. ? ? ? artists on the UMS series.
The NETWORK: UMS African American Arts Advocacy Committee
Celebrate. Socialize. Connect. 734.615.0122 I www.ums.orgnetwork
The NETWORK was launched during the 0405 season to create an opportunity for African-
Americans and the broader community to cele?brate the world-class artistry of today's leading African and African-American performers and creative artists. NETWORK members connect, socialize, and unite with the African-American community through attendance at UMS events and free preor post-concert receptions. NETWORK members receive ticket discounts for selected UMS events; membership is free.
0708 WINTER NETWORK PERFORMANCES
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
UMS YOUTH, TEEN, AND FAMILY EDUCATION
Please call 734.615.0122 or email umsyouth@umich.edu for more information.
UMS has one of the largest K--12 education ini?tiatives in the state of Michigan. Designated as a "Best Practice" program by ArtServe Michigan and the Dana Foundation, UMS is dedicated to making world-class performance opportunities and professional development activities available to K-12 students and educators.
UMS Youth
0708 Youth Performance Series
These world-class daytime performances serve pre-K through high school students. The 0708 season features special youth presentations of Shen Wei Dance Arts, Pamina Devi: A
Cambodian Magic Flute, Sphinx Competition Honors Concert, Chicago Classical Oriental Ensemble, Wu Man and the 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 www.ums.org 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 umsgroupsales@umich.edu or 734.763.3100.
Teacher Advisory Committee
This group of regional educators, school administrators, and K-12 arts education advo?cates advises and assists UMS in determining K-12 programming, policy, and professional development.
UMS is in partnership with the Ann Arbor Public Schools and the Washtenaw Intermediate School District as part of the Kennedy Center: Partners in Education Program. UMS also participates in the Ann Arbor Public Schools' "Partners in Excellence" program.
UMS Teen Programs
Teen Tickets
Teens can attend UMS performances at signifi?cant discounts. Tickets are available to teens for $10 the day of the performance (or on the Friday before weekend events) at the Michigan League Ticket Office and $15 beginning 90 minutes before the performance at the venue. One ticket per student ID, subject to availability.
Breakin' Curfew
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 www.ums.org for a list of family-friendly performance opportunities.
The 0708 family series is sponsored by TOYOTA
Family 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 0607 fiscal year
Ford Motor Company Fund and Community Services
Michigan Council for Arts and Cultural Affairs University of Michigan
Arts at Michigan Pfizer Global Research and
Bank of Ann Arbor Development, Ann Arbor
Kathy Benton and Robert Brown Laboratories
Borders Group. Inc. Randall and Mary Pittman
The Dan Cameron Family Prudence and Amnon Rosenthal
FoundationAlan and K-12 Education Endowment
Swanna Saltiel Fund
CFI Group Target
Chamber Music America Tisch Investment Advisory
Doris Duke Charitable UMS Advisory Committee
Foundation University of Michigan Credit
DTE Energy Foundation Union
The Esperance Family Foundation University of Michigan Health
JazzNet Endowment System
Masco Corporation Foundation U-M Office of the Senior Vice
THE MOSAIC FOUNDATION (of Provost for Academic Affairs
R. & P. Heydon) U-M Office of the Vice President
National Dance Project of the for Research
New England Wallace Endowment Fund Foundation for the Arts National Endowment for the Arts Noir Homes, Inc. Performing Arts Fund
UMS STUDENT PROGRAMS
www.ums.orgstudents
UMS offers five programs designed to fit stu?dents' lifestyles and save students money. Each year, 15,000 students attend UMS events and collectively save $300,000 on tickets through these programs. UMS offers students additional ways to get involved in UMS, with internship and workstudy programs, as well as a UMS student advisory committee.
Half-Price Student Ticket Sales
At the beginning of each semester, UMS offers half-price tickets to college students. A limited number of tickets are available for each event in select seating areas. Simply visit www.ums.orgstudents, log in using your U-M unique name and Kerberos password, and fill out your form. Orders will be processed in the order they are received. You will pay for and pick up your tickets at a later date at the Michigan League Ticket Office.
Winter Semester: Begins Sunday, January 6, 2008 at 8 pm and ends Tuesday, January 8 at 8 pm.
Sponsored by UMM5
Rush Tickets
Sometimes it pays to procrastinate! UMS Rush Tickets are sold to college students for $10 the day of the performance (or on the Friday before weekend events) and $15 beginning 90 minutes before the event. Rush Ticket availabil?ity and seating are subject to Ticket Office dis?cretion. Tickets must be purchased in person at the Michigan League Ticket Office or at the performance venue ticket office. Just bring your valid college ID. Limit two tickets per student.
UMS Student Card
Worried about finding yourself strapped for cash in the middle of the semester The UMS Student Card is a pre-paid punch system for Rush Tickets. The Card is valid for any event for which Rush Tickets are available, and can be used up to two weeks prior to the perform?ance. The UMS Student Card is available for $50 for 5 performances or $100 for 10 per?formances. Please visit www.ums.orgstudents to order online.
Arts & Eats
Arts & Eats combines two things you can't live without--great music and free pizza--all in one night. For just $15, you get great seats to a UMS event (at least a 50 savings) and a free pizza dinner before the concert, along with a brief talk by a seasoned expert about the performance. Tickets go on sale approxi?mately two weeks before the concert.
0708 Arts & Eats Events:
Yuja Wang, Sun. 120
Christian Tetzlaff, Thurs. 214
San Francisco Symphony, Fri. 314
Bobby McFerrin, Chick Corea, Jack DeJohnette, Sat. 419
Sponsored by UMtKlON WW' 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 www.arts.umich.edu for the latest on events, auditions, contests, fund?ing for arts initiatives, work and volunteer opportunities, arts courses, and more.
Internships and College Work-Study
Internships with UMS provide experience in performing arts administration, marketing, ticket sales, programming, production, and arts education. Semesterand year-long unpaid internships are available in many of UMS's departments. For more information, please call 734.615.1444.
Students working for UMS as part of the College Work-Study program gain valuable experience in all facets of arts management including concert promotion and marketing, ticket sales, fundraising, arts education, arts programming, and production. If you are a University of Michigan student who receives work-study financial aid and are interested in working at UMS, please call 734.615.1444.
Student Advisory Committee
As an independent council drawing on the diverse membership of the University of Michigan community, the UMS Student Advisory Committee works to increase student interest and involvement in the various pro?grams offered by UMS by fostering increased communication between UMS and the student community, promoting awareness and accessi?bility of student programs, and promoting the student value of live performance. For more information or to participate on the Committee, please call 734.615.6590.
UMSSupport
There are many ways to support the efforts of UMS, all of which are critical to the success of our season. We would like to welcome you to the UMS family and involve you more closely in our exciting programming and activities. This can happen through corporate sponsorships, business advertising, individual donations, or through volunteering. Your financial investment andor gift of time to UMS allows us to continue connecting artists and audiences, now and into the future.
CORPORATE SPONSORSHIP AND ADVERTISING
Advertising
When you advertise in the UMS program book you gain season-long visibility among ticket buyers while enabling an important tradition of providing audiences with the detailed program notes, artist biographies, and program descrip?tions that are so important to the performance experience. Call 734.764.6833 to learn how your business can benefit from advertising in the UMS program book.
Sponsorship
As a UMS corporate sponsor, your organization comes to the attention of an educated, diverse and growing segment of not only Ann Arbor, but all of southeastern Michigan. You make possible one of our community's cultural treas?ures, and also receive numerous benefits from your investment. For example, UMS offers you a range of programs that, depending on your level of support, provide a unique venue for:
Enhancing corporate image
Cultivating clients
Developing business-to-business relationships
Targeting messages to specific demographic groups
Making highly visible links with arts and education programs
Recognizing employees
Showing appreciation for loyal customers
For more information, please call 734.647.1176.
INDIVIDUAL DONATIONS
We could not present our season without the invaluable financial support of individual donors. Ticket revenue only covers half of the cost of our performances and educational events. UMS donors help make up the differ?ence. If you would like to make a gift, please fill out and mail the form on page P40 or call 734.647.1175.
UMS VOLUNTEERS
UMS Advisory Committee
The UMS Advisory Committee is an organiza?tion of over 70 volunteers who contribute approximately 7,000 hours of service to UMS each year. The purpose of the Advisory Committee is to raise funds for UMS's nationally-acclaimed arts education program through the events listed below. In addition, Advisory Committee members and friends provide assis?tance in ushering at UMS youth performances and assist in various other capacities through?out the season. Meetings are held every two months and membership tenure is three years. Please call 734.647.8009 to request more information.
Delicious Experiences
These special events are hosted by friends of UMS. The hosts determine the theme for the evening, the menu, and the number of guests they would like to entertain. It's a wonderful way to meet new people!
Ford Honors Program and Gala May 10, 2008
This year's program will honor renowned flutist James Galway as he receives the UMS Distinguished Artist award. Following the program and award presentation, the UMS Advisory Committee will host a gala dinner to benefit UMS Education programs. Please call 734.647.8009 for more information.
On the Road with UMS
Last September, over 300 people enjoyed an evening of food, music, and silent and live auc?tions, netting more than $80,000 to support UMS educational programs.
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 fohums@umich.edu.
ANNUAL FUND SUPPORT
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.
DIRECTOR
$100,000 or more
Doris Duke Charitable Foundation
Ford Motor Company Fund
Michigan Council for Arts and Cultural Affairs
Michigan Economic Development Corporation
Pfizer Global Research & Development:
Ann Arbor Laboratories University of Michigan Health System
SOLOIST
$50,000-$99,999
DTE Energy
DTE Energy Foundation
Esperance Family Foundation
Northwest Airlines
The Power Foundation
MAESTRO
$20,000-$49,999
Anonymous
Borders Group
Cairn Foundation
Brian and Mary Campbell
CFI Group
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
VIRTUOSO
$10,000-$ 1'9,999
Michael Allemang and Janis Bobrin
AMGEN Foundation, Inc.
The Ann Arbor News
Arts at Michigan
Arts PresentersMetLife Foundation Award for Arts
Access in Underserved Communities 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
THE MOSAIC FOUNDATION
(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
CONCERTMASTER
$7,500-$9,999
Anonymous
Morris and Beverly Baker Foundation
Paulett Banks
Edward Surovell RealtorsEd and Natalie
Surovell
Carl and Charlene Herstein Miller, Canfield, Paddock and Stone, PL.C. M. Haskell and Jan Barney Newman Performing Arts Fund A. Douglas and Sharon J. Rothwell James and Nancy Stanley
PRODUCER
$5,000-$7,499
Mrs. Bonnie Ackley
Herb and Carol Amster
Ann Arbor Automotive
Anonymous
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
Foundations
David and Sally Kennedy Jill Latta and David Bach .eo 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
LEADER
$3,500-$4,999
Jerry and Gloria Abrams
Bernard and Raquel Agranoff
Anonymous
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 Neutiep and Patricia Pancioli
Eleanor and Peter Pollack
Rosebud Solutions
Lois A. Theis
Dody Viola
Robert 0. and Darragh H. Weisman
Max Wicha and Sheila Crowley
PRINCIPAL
$2,500-$3,499
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
Dr. Sid Gilman and Dr. Carol Barbour
John and Helen Griffith
Janet Woods Hoobler
Herbert Katz
Shirley Y. and Thomas E. Kauper
Gloria and Bob Kerry
Samuel and Marilyn Krimm
Amy Sheon and Marvin Krislov
Donald J. and Carolyn Dana Lewis
Jeff Mason and Janet Netz
Ernest and Adele McCarus
William C. Parkinson
Richard and Lauren Prager
Jim and Bonnie Reece
John and Dot Reed
Duane and Katie Renken
Barbara A. Anderson and John H. Romani
Corliss and Dr. J.C. Rosenberg
Prudence and Amnon Rosenthal
Dr. Nathaniel H. Rowe
John J. H. Schwarz. MD
Muaiad and Aida Shihadeh
Loretta 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
PATRON
$1,000-$2,499
Robert and (Catherine Aldrich
Michael and Suzan Alexander
Anastasios Alexiou
Dr. and Mrs. David G. Anderson
Anonymous
Jonathan Ayers and Teresa Gallagher
Lesli and Christopher Ballard
Walter and Mary Ballmger
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
Letilia 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 Crispell 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 Emil Engel
David and Jo-Anna Featherman
Dede and Oscar Feldman
Yi-Tsi M. and Albert Feuerwerker
Susan A. Fisher
Susan Fisher and John Waidley
Bob Fleming
Esther Floyd
James W. and Phyllis Ford
Forrest Family Fund
Dan and Jill Francis
Leon and Marcia Friedman
Enid H. Galler
Patricia Garcia and Dennis
Dahlmann
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 Sivana 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 Jen 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 Metvin 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 MacKrell Cathy and Edwin Marcus Ann W. Martin and Russ Larson Marilyn Mason Natalie Matovinovic Mary and Chandler Matthews Judythe and Roger Maugh Carole J. Mayer Raven McCrory W. Joseph McCune and
Georgiana M. Sanders Griff and Pat McDonald Mercantile Bank of Michigan Henry D. Messer and Carl A. House Paul Morel
Alan and Sheila Morgan Melinda and Bob Morris Cyril Moscow Nustep, Inc. Marylen S. Oberman Marysia Ostafin and George Smilhe Mohammad and J. Elizabeth
Othman Donna Parmelee and William
Nolting
Bertram and Elaine Pitt Peter and Carol Polvermi Richard and Mary Price Produce Station Mrs. Gardner C. Quarton Donald Regan and Elizabeth
Axelson
Professor and Mrs. Raymond Reilly Maria and Rusty Restucaa 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 Janet and Michael Shatusky Frances U. and Scott K. Simonds Dr. Bernard Sivak and Dr. Loretta
Polish
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 Liina M. Wallin Harvey and Robin Wax W. Scott Westerman, Jr. Dr. and Mrs. Max V. Wisgerhof II Charles Witke and Aileen Gatten Jeanne and Paul Yhouse Edwin H. and Signe Young Maria Zampierollo and Brian Partin
BENEFACTOR
$500-$999
3POINT Machine, Inc.
Wadad Abed
Roger Albin and Nili Tannenbaum
Christine W. Alvey -
Catherine M. Andrea
Anonymous
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 Nishia 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
Neitzel
John and Camilla Chiapuris Dr. Kyung and Young Cho Janice A. Clark Brian and Cheryl Clarkson Tris and Edna Coffin Jeanne Raisler and Jonathan Cohn Wayne and Melinda Colquitt Arnold and Susan Coran Malcolm and Juanita Cox Joan S. Crawford Peter C and LmdyM.Cubba John G. and Mary R. Curtis Roderick and Mary Ann Daane Robert and Joyce Damschroder Norma and Peter Davis Ellwood and Michele Derr Linda Dintenfass and Ken Wisinski Cynthia M. Dodd Robert J. and Kathleen Dolan Dallas C.Dort 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. Fingerle Herschel and Adrienne Fink C. Peter and Beverly A. Fischer John and Karen Fischer Ray and Patricia Fitzgerald Howard and Margaret Fox Jason I. Fox Ann Friedman William Fulton Turn Gasloh Beverly Gershowitz Ronald Gibala and Janice Grichor 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. Gulick MD Don P. Haefner and Cynthia J.
Stewart Tom Hammond
Martin D. and Connie D. Harris Susan Harris Alfred and Therese Hero Herb and Dee Hildebrandt Peter Hinman and Elizabeth Young Sun-Chien and Betty Hsiao Ralph and Del Hulett Ann D. Hungerman Thomas and Kathryn Huntzicker Eugene and Margaret Ingram 1NVIA Medical Imaging Solutions Stuart and Maureen Isaac Jim and Dale Jerome Mark and Madolyn Kaminski Olivia Maynard and Olof Karlstrom Christopher Kendall and Susan
Schilperoort Rhea K. Kish Paul and Dana Kissner Hermine Roby Klingler Regan Knapp and John Scudder Michael J. Kondziolka and Mathias-
Philippe Florent Badin Dr. and Mrs. Melvyn Korobkin Rebecca and Adam Kozma Barbara and Ronald Kramer Dr. and Mrs. Gerald Krause Jane Laird Marilyn and Dale Larson
John K Lawrence and Jeanine A.
Delay
Richard LeSueur Ken and Jane Lieberthal Marilyn and Martin Lindenauer E. Daniel and Kay M. Long Frances Lyman Brigitte and Paul Maassen Pamela J. Macintosh 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.
Lento
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 Ornnger 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 Maskell 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 Fr. Lewis W. Towler Jeff and Lisa Tulin-Silver Dr. Sheryl S. Ulin and Dr. Lynn T.
Schachinger
Steven and Christina Vantrease Shirley Verrett
Drs. Bill Lee and Wendy Wahl Elizabeth and David Walker Enid Wasserman Carol Weber
Angela Welch and Lyndon Welch Iris and Fred Whitehouse Leslie C.Whitfield Sally M. Whiting Reverend Francis E. Williams
Robert J. and Anne Marie Willis Lawrence and Mary Wise ames and Gail Woods Dr. and Mrs. Clyde Wu Mayer and Joan Zald
ASSOCIATES
$250-$499
Dot it Adler
Thomas and Joann Adler Family
Foundation
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Guarneri String Quartet Johannes String Quartet
Please note the revised program order for tonight's concert:
Esa-Pekka Salonen Homunculus for String Quartet
The string quartet by Esa-Pekka Salonen was commissioned for the Johannes String Quartet by International Arts Foundation with a lead gift from Islip Arts Council and Lillian and Maurice Barbash and contributions from the Orange County Performing Artscenter, the Philadelphia Chamber Music Society, and Martha and Frank Salomon.
Johannes String Quartet
Derek Bermel Passing Through
This work was commissioned for the Guarneri String Quartet by Norma and Edward Dworetzky with the support of the International Arts Foundation, Inc.
Guarneri String Quartet
William Bolcom Octet: Double Quartet Mystic Saraband Mit Leidenschaft Andantino lamentoso Rondeau-Barcarolle
The commissioning of this work for the Guarneh and Johannes String Quartets was made possible in part by UMS's participation in Music Accord.
INTERMISSION
Felix Mendelssohn Octet in E-flat Major for Strings, Op. 20 Allegro moderato ma con fuoco Andante Scherzo: Allegro leggierissimo Presto
The Guarneri String Quartet is managed by Herbert Barrett Management, New York, NY. The Johannes String Quartet is managed by Frank Salomon Associates, New York, NY.
The Guarneri String Quartet records for Surrounded By Entertainment, Arabesque, RCA Victor, and Philips Classics.
UMS presents Wu Man and the Bay Area Shawm Band
Program Please note the following program for this afternoon's concert. This afternoon's program runs approximately 70 minutes and is performed without intermission.
Traditional 1 Sound of Classical Pipa Flute and Drum Music at Sunset
Traditional Ambush from Ten Sides Wu Man, Pipa
Traditional II Suite of Folk-Color Hundred Birds Singing to the Phoenix
Traditional, Arr. Hu Tianquang The Flying Phoenix
Wang Huiran Dance of the Yi
Yuanlin Chen FESTA Wanpeng Guo, Sheng, Gong, Bell; Xian Lu, Dizi, Drum, Bell; Wu Man, Pipa, Gong, Xiaoca, Wood?block; Hong Wang, Drum, Yunlou, Erhu, Xiaoca; Zhang Yu, Suona, Gong
Gabriela L Frank III New Voice of Pipa Sliloquio Serrano--for Solo Pipa
Wu Man Collage Wu Man, Pipa
Traditional, Arr. An Zhishun IV Life in the Country Squabbling Ducks
Traditional, Arr. Wei Xianzhong Celebrating Harvest
Traditional Three Variations of Yang Guan
Nie Er Dance of the Golden Dragon Wangpeng Guo, Sheng, Xiao bo; Xian Lu, Dizi, Xiao, Yunlo; Wu Man, Pipa, Wood-block; Hong Wang, Guanzi, Da bo, Drum; Zhang Yu, Suona, Gong

I
Sound of Classical Pipa
A hand-written score for Flute and Drum Music at Sunset first appeared in 1875 as a piece with seven untitled sections. It was later discovered with subtitles among Chen Zijing's hand-written collection of pipa mu?sic in 1898. The present score, having eight sections with subtitles, is from Li Fangyuan's New Collections 1895. This composition is of the civil (lyrical) style of pipa music.
1. The Sound of Bells and Drums from a Distant Temple Along the River
2. Moon on the Eastern Mountain
3. Breeze over the Quiet Water
4. Shadows of Flowers
5. Clouds and Water Far Away Become as One
6. A Fishman's Song in the Evening
7. Waves Lapping at the Shore
8. The Returning Boat
Perhaps the best known of all tradi?tional pipa works, Ambush from Ten Sides is a grand opus of the martial school of pipa music. Structured in the traditional storytell?ing form, Shi Mian Mai Fu portrays the epic battle between the kingdoms of Han (led by Liu Bang) and the warlord of Chu (Xiang Yu) in 202 B.C. The Han army ambushed the Chu army on 10 sides and finally defeated the powerful Chu (Xiang Yu committed suicide), leading to the establishment of the Han Dy?nasty. The music describes how the armies set up camp, affected the ambush, and fought fiercely. In it, the listener can hear the war drums, booming guns, soldiers, horses, and the victors returning to camp in triumph at the end of the battle. Variations on a theme make use of tonal colors and timbres created by various fingering techniques to evoke a range of moods.
II
Suite of Folk-Color
The traditional shawm band folk-tune Hun?dred Birds Singing to the Phoenix is popular in the Sangdong, Henan, and Hebei Provi?dences of northern China and is particularly unique because of the tonal imitation of sing?ing birds, children crying, cocks crowing, and animals and insects singing. The music began using this poetic title when it appeared at an official concert in Beijing in 1953 and today can still be heard at village festivals and wed?dings.
In 1956, sheng master Hu Tianquang arranged The Flying Phoenix for solo sheng based on a Shanxi folk tune Bongzi. Bongzi is a dramatic and colorful local opera that has become one of the most popular works for solo sheng today.
Dance of the Yi is a popular arrange?ment based on folk music of the Yi, a minor?ity group of southwestern China. This piece requires the pipa player to employ a variety of virtuosic techniques including tremolos, strumming, sliding notes, and harmonics; it evokes scenes of intoxicating nights on the mountainside and the joyous gathering of dancing youths.
"FESTA," the last movement of Primary Voice--a series of exotic, natural, and emo?tional pieces--uses a variety of ethnic instru?ments to produce unusual sounds and unique melodies that are full of oriental mystery and deep emotion. The electronic sound enhanc?es the tone color and imprints the imagina?tion with primitive rites, tales, and legends. The music describes unadorned beauty and expresses man's instinctive desire. It guides the audience back to ancient times and Far East locations and arouses images in the natural and human elements of forest, river, mountain, ocean, celebration, love, and joy. Composer Yuanlin Chen received his masters degree from the Central Conservatory of Mu?sic in Beijing and established an impressive career in China before coming to the US in 1991 to further his studies. Mr. Chen's com?positions include orchestral, choral, chamber, electronic music, vocal, and instrumental works, as well as scores written for television, film, and dance.
Ill
New Voice of Pipa
Sliloquio Serrano, written forWu Man in 2007, is inspired by harawi, a melancholy song style from the Peruvian-Andean mountain culture. Very loosely adapted from the slow move?ment of Ms. Frank's Sonata Andina for solo piano, the new version heard this afternoon capitalizes on the haunting glissandi, delicate timbres, and virtuosic plucked passagework on the beautiful pipa instrument.
Gabriela Lena Frank has been hailed as representing "the next generation of Ameri?can composers" and is most recognized for her incorporation of LatinoLatin-American culture into Western classical forms. Her work has been elected to Chamber Music Ameri?ca's list of "Top 101 Great American Ensem?ble Works" and is widely performed by major artists. Ms. Frank has been commissioned by Carnegie Hall, the Marilyn Home Foundation, Aspen Summer Music Festival, Kronos Quar?tet, Chanticleer vocal ensemble, Yo-Yo Ma's Silk Road Project, and the Seattle Symphony. Performed in the martial style, Collage is a structured improvisational piece inspired by the classic solo pipa repertoire. Martial style is dramatic and imitative; it is recognizable by the quick and ferocious way in which the strings are strummed making the pipa sound more like an electric guitar and less like an ancestor of the lute. Another piece written in this style is Ambush from Ten Sides, heard earlier in this afternoon's program.
IV
Life in the Country
Xi'an was a capital city of China during the Tang Dynasty. During the Tang period (618-907), the Xi'an drum music was known simply as a musical ensemble which existed in the Tang Court. The music combines com?plex structure with large, rich content. Some ensembles use strings and wind accompani?ment while others use drums and percussion. This afternoon's version, arranged by Chinese percussion master Mr. An Zhishum, draws from drums and percussion to imitate ducks walking, singing, and squabbling.
Traditionally, the dizi is accompanied by wind instruments (such as sheng, suona, and guan), but during the 1960s and 1970s a dozen arrangements and compositions for solo dizi were written and became popular in China. Celebrating Harvest, composed in the 1970s, draws inspiration from the folk tunes of northern China and uses the dizi as a solo voice in the company of strings and winds.
Originally for qin (a seven-string zither) and vocal solo, Three Variations of Yang Guan was written by Tang Dynasty poet Wang Wei (701-761) and first appeared in the Qin Music Collection in 1491. The transcription heard this afternoon is a trio version for three wind instruments: guan, sheng, and xiao.
In 1934, composer Nie Er arranged Dancing of the Golden Dragon for a tradition?al Chinese ensemble based on a popular folk tune called "Reverse Eight Beats" or "Old Six Beats" from the Jiangnan (Shanghai) region. That same year he conducted the premiere, recorded the work, and gave the piece a new title. This work has become one of the most important pieces of Chinese ensemble music. Nie Er was born in Yunan and is among the best known Chinese composers writing for opera, theater, and film. In the early 1930s he wrote March of the Volunteers as part of a film score which went on to become the Chi?nese national anthem. His life was cut short at the age of 23 when he died in a tragic swim?ming accident in Japan.
Program notes by Wu Man and Ashley Edinger.
Introduction to the Instruments
Pipa
Often referred to as a Chinese lute, it is played with forward and backward plucking motions that sound like "pi" and "pa" to fanciful ears. The pipa, with its four strings, 26 frets, and six ledges, elicits a rich tonal quality and a resonant timber which gives it music expres?siveness and beauty that has proven lasting and endearing.
Suona
The suona is an oboe-like wind instrument made of a conical wooden body that flares out at the base. It has a curved, tapered tube which connects the small double-reeds to the rest of the instrument and a detachable metal bell at its end. Developed from Central Asian instruments, the suona makes an unmistak?ably loud and high-pitched sound which has been a standard in folk music of northern China for many centuries.
Sheng
The sheng is a "mouth organ" comprised of 17, 21, 24, or 30 vertical pipes (depending on the maker, model, and regional culture) each with an independent reed at the base. The musician blows into an open chamber while covering the pipe openings--usually with the fingers--to create the desired key; when this is done, the entire length of the pipe reso?nates with the reeds frequency to create a warm, lyrical sound.
Guanzi
Constructed in a style similar to a modern-day recorder, the guanzi is a short, cylindrical tube made from bamboo with seven finger-holes on the top and one thumb-hole on the back of the instrument which produces a clarinet-like sound. The guanzi was originally used in operas to evoke a mood of sadness or, when combined with percussion instru?ments, to create an appropriate frame for military scenes.
Dizi
Comparable to the flute, the dizi has a mouth?piece and finger-holes as well as a third open?ing located between the mouthpiece and first finger-hole which is covered by a tissue-like shaving of reed (called a dimo) glued over this opening. In securing the dimo, fine wrinkles are created in the center of the reed which produces a brighter and louder resonance giving the final tone a buzzing, nasal quality.

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