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UMS Concert Program, Thursday Feb. 14 To Mar. 05: University Musical Society: Winter 2008 - Thursday Feb. 14 To Mar. 05 --

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Day
14
Month
February
Year
2008
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University Musical Society
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Season: WINTER 2008
University Of Michigan, Ann Arbor

university musical society
Winter 08 University of Michigan Ann Arbor P2 Letters from the Presidents 5 Letter from the Chair
UMSLeadership P6 UMS Corporate and Foundation Leaders P14 UMS Board of DirectorsNational Council SenateAdvisory Committee 15 UMS StaffTeacher Advisory Committee
UMSlnfo P17 General Information P19 UMS Tickets
UMSAnnals P21 UMS History P22 UMS Venues and Burton Memorial Tower
UMSExperience 27 UMS Education Programs P33 UMS Student Programs
UMSSupport 37 Corporate Sponsorship and Advertising 37 Individual Donations P39 UMS Volunteers P41 Annual Fund Support 46 Annual Endowment Support P48 UMS Advertisers
Cover: Urban Bush Women and Compagnie Jant-Bi perform Les ecaiVes 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 Octet for Double Quartet for the Guarneri and Johannes String Quartets on February 9.
In the past three seasons, 54 of UMS pre?sentations have featured artists making their UMS debuts, a measure of UMS's commit?ment to new and emerging artists, and 55 have featured artists from outside the United States, highlighting UMS's belief that artistic expression can foster greater understanding and appreciation of diverse cultures. In con?junction with the University's ChinaNow Theme Year, UMS presents pianist Yuja Wang on January 20 and pipa player Wu Man on February 10, each in their UMS debut per?formance.
UMS has worked in partnership with more than 50 U-M academic units and more than 150 U-M faculty members during the past three years, in addition to more than 100 community-based partners. One of the most notable partnerships for UMS this season is with our School of Music, Theatre & Dance. Together they have brought the renowned contemporary chamber music ensemble
eighth blackbird to the campus on four occasions during which the group has worked with hundreds of students on campus and in the community. Their residency culminates in their UMS debut performance on April 10.
UMS is the only university-related presenter in the nation to have been honored by both the Wallace Foundation with its Excellence Award and the Doris Duke Charitable Foundation with its Leading College and University Presenter Award in the inaugural year of both endowment programs, a measure of the esteem with which UMS is regarded in the presenting field.
Thank you for attending this UMS perform?ance. Please join us for other UMS events and for performances, exhibitions, and cultural activ?ities offered by our faculty and students in U-M's many outstanding venues. To learn more about arts and culture at Michigan, visit the University's website at 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 S Greet in the Power Center Lobby
Canadian tenor Ben Heppner with concert sponsors Maurice and Linda Binkow at the Filarmonica della Scala afterglow on the Hill Mezzanine
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 Matovinovic 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 Cohn LLP "Honigman is proud to support non-profit organizations in the communities where our partners and employees live and work. We are thrilled to support the University Musical Society and commend UMS for its extraordinary programming, com?missioning of new work, and educational outreach programs."
Mohamad Issa
Director, Issa Foundation
"The Issa Foundation is sponsored by the Issa family, which has been established in Ann Arbor for the last 30 years, and is involved in local property management as well as area pub?lic schools. The Issa Foundation is devoted to the sharing and acceptance of culture in an effort to change stereotypes and promote peace. UMS has done an outstanding job bringing diversity into the music and talent of its performers."
Bill Koehler District President, KeyBank
"KeyBank remains a committed supporter of the performing arts in Ann Arbor and we commend the University Musical Society for it's contribution to the community. Thank you, UMS. Keep up the great work!"
Dennis Serras
Owner, Mainstreet Ventures, Inc. "As restaurant and catering service owners, we consider ourselves fortunate that our business provides so many opportunities for supporting the University Musical Society and its continuing success in bringing internationally acclaimed talent to the Ann Arbor community."
Sharon J. Rothwell
Wee President Corporate Affairs and Chair, Masco Corporation Foundation "Masco recognizes and appreciates the value the performing arts bring to the region and to our young people. We applaud the efforts of the University Musical Society for its diverse learning opportunities and the impact its programs have on our communities and the cultural leaders of tomorrow."
Erik H. Serr
Principal, Miller, Canfield, Paddock and Stone, P.L.C. "Miller Canfield proudly supports the University Musical Society for bringing internationally-recognized artists from a broad spectrum of the performing arts to our community, and applauds UMS for offering another year of music, dance, and theater to inspire and enrich our lives."
John W. McManus
Regional President, National City Bank "National City Bank is proud to support the efforts of the University Musical Society and the Ann Arbor community."
Michael B. Staebler
Senior Partner, Pepper Hamilton LLP "The University Musical Society is an essential part of the great quality of life in southeastern Michigan. We at Pepper Hamilton support UMS with enthusiasm."
Joe Sesi
President, Sesi Lincoln Mercury Volvo Mazda "The University Musical Society is an important cultural asset for our community. The Sesi Lincoln Mercury Volvo Mazda team is delighted to sponsor such a fine organization."
Thomas B. McMullen
President Thomas B. McMullen Co., Inc. "I used to feel that a U-M-Ohio State football ticket was the best ticket in Ann Arbor. Not anymore. UMS provides the best in educational and artistic entertainment."
Robert R. Tisch
President, Tisch Investment Advisory "Thank you, Ann Arbor, for being a wonderful community in which to live, raise a family, and build a successful business."
Tom Thompson
Owner, Tom Thompson Flowers
"Judy and I are enthusiastic participants in the UMS family. We appreciate how our lives have been elevated by this relationship."
Yasuhiko "Yas" Ichihashi
President, Toyota Technical Center "Toyota Technical Center is proud to support UMS, an organization with a long and rich history of serving diverse audiences through a wide variety of arts programming."
Robert K. Chapman
Chairman and Chief Executive Officer, United Bank & Trust ] "At United Bank & Trust, we believe the arts play an impor! tant role in evolving the quality of life and vibrancy of the community. So it is with great pleasure that United supports the University Musical Society and the cultural excellence they provide to our area."
Jeff Trapp
President, University of Michigan Credit Union "Thank you to the University Musical Society for enriching our lives. The University of Michigan Credit Union is proud to be a part of another great season of performing arts."
Susan Bellinson
Director of Marketing and Community Relations, Whole Foods "Whole Foods Market is delighted to support the University Musical Society. Our city is most fortunate to be the home of this world-class organization!"
FOUNDATION AND GOVERNMENT SUPPORT
UMS gratefully acknowledges the support of the following foundations and government agencies.
$100,000 or more
Doris Duke Charitable
Foundation Michigan Council for Arts
and Cultural Affairs Michigan Economic
Development Corporation The Wallace Foundation
$50,000-$99,999
Anonymous DTE Energy Foundation Esperance Family Foundation The Power Foundation
S20,0u0-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
$10,000-519,999
Chamber Music America
$5,000-59,999
Arts Midwest Performing Arts
Fund Issa Foundations
$1,000-54,999
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 5. 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, Vice Chair Alice Hart, Secretary Betty Byrne, Treasurer Meg Kennedy Shaw, Past Chair
Randa Ajlouny MariAnn Apley Lone Arbour Barbara Bach Rula Kort Bawardi Poage Baxter Nishta Bhatia Luciana Borbely
Mary Breakey Mary Brown Heather Byrne Janet Callaway Laura Caplan Cheryl Clarkson Wendy Comstock Jean Connell Phelps Connell Norma Davis Mary Dempsey Mary Ann Faeth Michaelene Farrell Sara Fink Susan Fisher
Kathy Goldberg Joe Grimley Susan Gutow Lynn Hamilton Charlene Hancock Raphael Juarez Jen Kelch Jean Kluge Pam Krogness Julaine LeDuc Mary LeDuc Joan Levitsky Eleanor Lord Judy Mac Jane Maehr
Joanna McNamara Jeanne Merlanti Liz Messiter Kay Ness Sarah Nicoli Thomas Ogar Betty Palms Allison Poggi Lisa Psarouthakis Paula Rand Wendy Moy Ransom Stephen Rosoff Swanna Saltiel Agnes Moy 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 lean 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
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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.
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UMS tries to work with the artists to allow 3 flexible late-seating policy for family perform?ances.
UMS TICKETS
jroup Tickets
Treat 10 or more friends, co-workers, and family members to an unforgettable performance of ive music, dance, or theater. Whether you have a group of students, a business gathering, a college reunion, or just you and a group of friends, the UMS Group Sales Office can help you plan the perfect outing. You can make it formal or casual, a special celebration, or just "'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
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Classical Kids Club
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NETWORK Tickets
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Student Tickets
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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.
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(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
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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 ears, strong leadership coupled with a devoted ;ommunity has placed UMS in a league of nternationally recognized performing arts pre?senters. Today, the UMS seasonal program is a eflection of a thoughtful respect for this rich and varied history, balanced by a commitment to dynamic and creative visions of where the oerforming arts will take us in this new millen?nium. Every day UMS seeks to cultivate, nurture, and stimulate public interest and participation m 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 performed by the UMS Choral Union annually. As a great number of Choral Union mem?bers also belonged to the University, the University Musical Society was established in December 1880. UMS included the Choral Union and University Orchestra, and through?out the year presented a series of concerts fea?turing local and visiting artists and ensembles.
Since that first season in 1880, UMS has expanded greatly and now presents the very best from the full spectrum of the performing arts--internationally renowned recitalists and orchestras, dance and chamber ensembles, jazz and world music performers, and opera and theater. Through educational endeavors, commissioning of new works, youth programs, artist residencies, and other collaborative proj?ects, UMS has maintained its reputation for quality, artistic distinction, and innovation. UMS now hosts over 50 performances and more than 125 educational events each season. UMS has flourished with the support of a generous community that this year gathers in five differ?ent Ann Arbor venues.
The UMS Choral Union has likewise expanded their charge over their 128-year history. Recent collaborations have included the Grammy Award-winning recording of William Bolcom's Songs of Innocence and of Experience, as well as performances of John Adams's On the Transmigration of Souls with the Detroit Symphony Orchestra and Shostakovich's Symphony No. 13 ("Babi Yar") with the Kirov Orchestra of St. Petersburg.
While proudly affiliated with the University of Michigan, housed on the Ann Arbor campus, and a regular collaborator with many University units, UMS is a separate not-for-profit organi?zation that supports itself from ticket sales, corporate and individual contributions, founda?tion and government grants, special project support from U-M, and endowment income.
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, introdui -tion of barrier-free seating and stage access, the replacement of theatrical performance and audio-visual systems, and the complete replacement of mechanical and electrical infra?structure systems for heating, ventilation, and air conditioning.
Hill Auditorium seats 3,575.
Michigan Theater
The historic Michigan Theater opened January 5, 1928 at the peak of the vaudevillemovie palace era. Designed by Maurice Finkel, the 1,710-seat theater cost around $600,000 when it was first built. As was the custom of the day, the theater was equipped to host both film and live stage events, with a full-size stage, dressing rooms, an orchestra pit, and the Barton Theater Organ. At its opening, the theater was acclaimed as the best of its kind in the country. Since 1979, the theater has been operated by the not-for-profit Michigan Theater Foundation. With broad community support, the Foundation has raised over $8 million to restore and improve the Michigan Theater. The beautiful interior of the theater was restored in 1986.
In the fall of 1999, the Michigan Theater opened a new 200-seat screening room addi?tion, which also included expanded restroom facilities for the historic theater. The gracious facade and entry vestibule was restored in 2000
Power Center
The Power Center for the Performing Arts grew out of a realization that the University of Michigan had no adequate proscenium-stage theater for the performing arts. Hill Auditorium was too massive and technically limited for most productions, and the Lydia Mendelssohn Theatre was too small. The Power Center was built to supply this missing link in design and seating capacity.
In 1963, Eugene and Sadye Power, togethei 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 home of the Kelsey Museum. When Horace H. Rackham, a Detroit lawyer who believed strongly in the importance of the study of human history and human thought, died in 1933, his will awarded the University of Michigan the funds not only to build the Horace H. Rackham Graduate School which houses Rackham Auditorium, but also to estab?lish a $4 million endowment to further the development of graduate studies. Even more remarkable than the size of the gift is the fact that neither he nor his wife ever attended the University of Michigan.
Designed by architect William Kapp and 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.
ERS
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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.
In the interests of saving both dollars and the environment, please either retain this program book and return with it when you attend other UMS performances included in this edition or return it to your usher when leaving the venue.
Event Program Book
Thursday, February 14 through Wednesday, March 5, 2008
Christian Tetzlaff 3
Thursday, February 14, 8:00 pm Hill Auditorium
NoismOS 7
NINA materialize sacrifice Friday, February 15, 8:00 pm Power Center
An Evening with Ahmad Jamal 11
Saturday, February 16, 8:00 pm Hill Auditorium
Orion String Quartet with David Krakauer 15
Wednesday, March 5, 8:00 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 21 Sun Moiseyev Dance Company
February
1 Fri Assad Brothers' Brazilian Guitar
Summit
2 SatA Celebration of the Keyboard
8 FriChicago Classical Oriental Ensemble
9 SatGuameri String Quartet and
Johannes String Quartet
10 Sun Wu Man, pipa, and the Bay Area
Shawm Band
14 Thu Christian Tetzlaff, violin
15 FriNoism08: NINA materialize sacrifice 16Saf-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-SFiAZZ Collective:
A Tribute to Wayne Shorter
14 Fri San Francisco Symphony 21 FriBach's St. Matthew Passion 28-29 Fri-SatUrban Bush Women and
Compagnie Jant-Bi: Les ecailles de la memoire (The scales of memory)
April
2 WedLang Lang, piano
4 Fri Brad Mehldau Trio
5 SatChoir of King's College, Cambridge 10 Thueighth blackbird
12 SafLila Downs 1877-MehrandSher Ali: Qawwali Music of Pakistan
19 SafBobby 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, March 5, 2008
All UMS educational activities are free, open to the public, and take place in Ann Arbor unless otherwise noted. For complete details and up?dates, please visit www.ums.org or contact the UMS education department at 734.647.6712 or umsedO umich. edu.
Noism08
Artist Reception:
Noism08 and Jo Kanamori, Artistic Director
Friday, February 15, post-performance Michigan League, Vandenberg Room, 2nd Floor 911 North University
Everyone is welcome to meet the artists feature in the production of Noism08: NINA matehaliz sacrifice. Sponsored by the U-M Center for Japa nese Studies.
A collaboration with the U-M Center fo Japanese Studies.

presents Christian Tetzlaff
Violin
Program Thursday Evening, February 14, 2008 at 8:00
Hill Auditorium Ann Arbor
Eugene Ysaye Sonata for Solo Violin, Op. 27, No. 1
Grave: Lento assai
Fugato: Molto moderate
Allegretto poco scherzoso: Amabile
Finale con brio: Allegro fermo
J. S. Bach Sonata No. 3 in C Major, BWV 1005
Adagio
Fuga
Largo
Allegro assai
INTERMISSION
Bela Bartok Sonata for Unaccompanied Violin
Tempo di ciaccona
Fuga: Risoluto, non troppo vivace
Melodia: Adagio
Presto
Niccolo Paganini 24 Caprices, Op. 1 (Excerpts)
No. 16-Presto: g minor
No. 6 Lento: g minor
No. IB Posato: e minor
No. 1 -Andante: E Major
40th Performance of the Tonight's performance is supported by the William R. Kinney Endowment Fund.
129th Annual Season Media partnership provided by WGTE 91.3 FM and Observer & Eccentric news-
129th Annual papers.
i rtfr31 I lni"rt orioc Special thanks to Tom Thompson of Tom Thompson Flowers, Ann Arbor, for his
v-IIUIdl UIIIUII JtMlcj generous contribution of floral art for tonight's concert.
The photographing or Mr. Tetzlaff appears by arrangement with CM Artists New York.
sound recording of this Recordings available on the Virgin ClassicsEMI, Hannsler, and Musical Heritage
concert or possession recording labels.
of any device for such
photographing or sound
recording is prohibited. Large print programs are available upon request.

Sonata for Solo Violin, Op. 27, No. 1 (1924)
Eugene Ysaye
Born July 76, 1858 in Liege, Belgium
Died May 12, 1931 in Brussels
Eugene Ysaye is remembered first and foremost as one of the greatest violinists of the late-19th and early-2Oth centuries. He was a highly influ?ential teacher and the dedicatee of such classics as Cesar Franck's Violin Sonata in A Major, Ernest Chausson's Poeme and Claude Debussy's String Quartet in g minor, Op. 10. Yet he was also a composer in his own right, and though not often played, his six remarkable solo sonatas for violin, written late in his life, have earned him a firm place in the repertoire. Rightly so: these are much more than virtuoso showpieces. The sonatas are among the most challenging works ever written for violin, but they are also full of originality in their structure and their harmonic idiom.
Each work is dedicated to a different violin?ist colleague of Ysaye's; this piece pays tribute to Joseph Szigeti (1892-1973), who was only 32 years old when he received this honor from the Master. The sonata could almost be called a modern "remake" of Bach's unaccompanied so?natas. It shares its g-minor tonality with the first of those, and adheres to the same four-movement outline, the so-called sonata da chiesa (church so?nata) format that Bach had followed. The opening "Grave" takes its cue from the rhythm of the sara-bande, with numerous irregularities in the meter. The second movement "Fugato," after the model of the second-movement fugues in all three of Bach's unaccompanied sonatas. The third and fourth movements (a quasi-minuet and a quasi-gigue) seem to have been inspired by the other three of Bach's solo works, the partitas, which are essentially dance sequences.
Ysaye's writing is distinguished by a high de?gree of chromaticism and many advanced virtuoso techniques: double, triple, and quadruple stops, arpeggios, and fast runs. The ending of the first movement, with its tremolos (fast note repeats) played sul ponticello (near the bridge) is decidedly un-Bachian in its sound, but it is certainly faith?ful to the great models in its intent to encompass everything the violin was capable of doing in the 20th century--Bach had offered a similar violinis-tic compendium for his own time.
Sonata No. 3 in C Major, BWV 1005 (c. 1720) Johann Sebastian Bach Born March 21, 1685 in Eisenach, Germany Died July 28, 1750 in Leipzig
Although best known in his own day as a virtuoso organist. Bach was also a professional-level violinist. His first job--for a few months in 1703, when he was 18 years old--was actually as a violin player in Weimar. Bach was therefore intimately familiar with the technique of the instrument; his three partitas and three sonatas for unaccompanied violin are the "bible" of every violin player to this very day.
All three sonatas follow the same general pattern: they start with introductions not unlike the preludes in the Well-tempered Clavier (the C Major "Adagio" exists, in fact, in a keyboard arrangement listed in the Bach catalog as BWV 968). The elaborate ornamentation of these pre?ludes and their frequently modulating (sometimes chromatic) harmonies serve as introductions to the fugues that follow in each case. The latter represent special challenges in an unaccompanied work where a single violin has to play all the voic?es. After these two more "serious" movements, the third and fourth movements are "lighter": in each case, a melodious instrumental aria is fol?lowed by a finale in perpetual motion, where the rapid 16th-notes serve as vehicles for considerable harmonic and structural intricacy.
Each sonata realizes this basic pattern in a dif?ferent way. In this work (the only one of the three written in a Major key), the opening "Adagio" fo?cuses on a rhythmic idea rather than on an orna?mental one. The fugal second movement includes a lengthy middle section in a non-contrapuntal, figurative style. The "Largo" is dominated by a single uninterrupted melodic line, while the finale introduces a dance-like rhythmic pattern to break up the monotony of the steady 16th-note motion.
Sonata for Unaccompanied Violin (1944)
Bela Bart6k
Bom March 25, 1881 in Nagyszentmiklos,
Hungary (now Sinnicolau Mare, Romania) Died September 26, 1945 in New York
In November 1943, Bart6k heard Yehudi Menuhin perform J.S. Bach's Sonata No. 3 in C Major, BWV 1005. He was so impressed with Menuhin's art?istry that he immediately decided to comply with the violinist's request for a new work.
The fact that Menuhin performed unaccom?panied Bach at the recital attended by Bart6k had important consequences. Bartbk's sonata shows many signs of Baroque inspiration, which may have come via Bartbk's friend Zoltn Kodaly who (some three decades earlier) had composed his Sonata for Solo Cello, itself the most important work of its kind since Bach. The respective openings of the Kodaly and Bartok sonatas are surprisingly similar in their rhythmic shape, their chordal texture, and their combination of Baroque features with pen-tatonic Hungarianisms. Bartbk's first movement-marked Tempo diCiaccona--was inspired, in addi?tion, by Bach's "Chaconne" from the Partita No. 2 in d minor. Yet Bartbk's movement is in sonata form, with a second subject that has little to do with Baroque music.
The second-movement "Fuga" is another case where Baroque techniques merge complete?ly with impulses of different origins. It has for its theme that same minor third, presented in an un?adorned, almost brutal way, upon which the "Ar?abic" Scherzo of the String Quartet No. 2, Op. 17 (1915-17) had been based, and its expanded re?peat is also rooted in a long-standing Bartbkian practice derived from folk music. Furthermore, the rhythm of folk dance is woven into the very fabric of the fugue theme and its elaboration.
The third-movement "Melodia" leaves the Baroque models behind and is devoted entirely to a typically Bartbkian chromatic melody. The move?ment is in ABA form with an extremely free reca?pitulation. The main structural turning points are emphasized by changes in playing technique. Thus, the ending of the main theme is marked by a short tag played in harmonics; the central section, one of Bartbk's mysterious "night musics," is distin?guished by the use of the mute; and the movement ends with an extended return of the tag played in harmonics. Now however, instead of single pitches, harmonic double-stops are required.
In the last movement, Bartbk made use of quarter-tones, an innovation that was eliminated in Menuhin's edition of the work which, for many years, was the only version available. At tonight's concert, Mr. Tetzlaff will play the original version, in which the quarter-tones play an important structural role: they affect the opening perpetual motion and then disappear in the two slower-moving episodes. Of the latter, the first involves the pentatonic scale found in so many Hungarian folksongs, and the second contains augmented and diminished intervals more characteristic of Romanian folk music.
24 Caprices, Op. 1 (Excerpts, 1805) Niccolo Paganini
Born October 27, 1782 in Genoa, Italy Died May 27, 1840 in Nice, France
Had Paganini sold his soul to the devil Or was he actually the son of the devil Unbelievable as it may seem, these questions were actually be?ing debated (one wonders how seriously) in the Viennese press in 1828, when Paganini came to visit the Austrian imperial capital. (Franz Schubert, never a rich man, bought not one but two expen?sive seats for the concert.) The rumors about Pa-ganini's diabolical origins were so persistent that the violinist's mother had to write an open letter to the Viennese newspaper to testify that her son had been born the usual way. Or rather, her son had to write the letter for her, because she was by all accounts illiterate.
Why did Paganini have to face such outland?ish charges By the late 1820s, his reputation as the world's greatest violin virtuoso had spread beyond his native Italy, and audiences watched in utter disbelief as he performed feats on the in?strument that no one had previously thought pos?sible. His facility in playing rapid scale passages in double-stops (thirds, sixths, octaves, 10ths) and the brilliance of his harmonics (played with fingers barely touching the strings) mystified even the best professional violinists. His technique, how?ever, was not all that was diabolical about him: many scandalous stories circulated about his pri?vate life--many of them true. His very appearance (a tall, thin man with long hair, curly side-whiskers, a pale countenance and an aquiline nose) struck many contemporaries as rather eerie.
In his 24 Caprices--one of the most astound?ing "Op. 1"s in the literature--Paganini not only revolutionized the technique of the violin but cre?ated, at the time, the most significant body of un?accompanied violin music since Bach. Of the four we shall hear this evening. No. 16 is a study in per?petual motion, in which the emphasis is placed on bow control. The lyrical melody of No. 6 is joined by a sensitive accompaniment played tremolo (with rapidly alternating pairs of notes). No. 15 bears the unusual tempo marking Posato, which translates, perhaps, as "with an even placement of sound." It is a complex piece where passages in parallel octaves--a special challenge on the violin--appear side by side with fast runs. No. 1 features arpeggios and passages in parallel thirds.
Program notes by Peter Laki.
Christian Tetzlaff is internationally rec?ognized as one of the most important violinists of his generation. In honor of his artistic achievements, Musical America named Mr. Tetzlaff "Instrumentalist of the Year" in 2005.
From the outset of his career, Mr. Tetzlaff has performed and recorded a broad spectrum of the repertoire, ranging from Bach's unaccompanied sonatas and partitas to 19th-century masterworks by Mendelssohn, Beethoven, and Brahms; from 20th-century concertos by Bart6k, Berg, and Stra?vinsky to world premieres of contemporary works. Since his performances of the Schoenberg Violin Concerto that brought him to international atten?tion at age 22--with Christoph von Dohnanyi and The Cleveland Orchestra and with Sergiu Celibidache and the Munich Philharmonic--Mr. Tetzlaff has been recognized for his playing of the less frequently heard areas of the literature. Nonetheless, he considers Mozart and Brahms to be just as central and challenging to his musi?cal development. Mr. Tetzlaff is also dedicated to chamber music and frequently collaborates with distinguished artists including Leif Ove Andsnes, Lars Vogt, Sabine Meyer, Heinrich Schiff, and Ta-bea Zimmermann.
Born in Hamburg in 1966 to a minister's family in which music occupied a central place, his three siblings are all professional musicians. He frequently performs with his sister Tanja, a cellist. Mr. Tetzlaff began playing the violin and piano at age six, but pursued a regular academic educa?tion while continuing his musical studies. He did not begin intensive study of the violin until mak?ing his concert debut playing the Beethoven Violin Concerto in D Major, Op. 61 at the age of 14. Mr. Tetzlaff came to the US in 1985 to study at the University of Cincinnati College-Conservatory of Music and also spent two summers at the Marl?boro Music Festival in Vermont.
Mr. Tetzlaff has been in demand as a solo?ist with many of the world's leading ensembles and conductors, establishing close artistic part?nerships that are renewed season after season. In North America, Mr. Tetzlaff has performed with the orchestras of Chicago, Cleveland, Boston, Philadelphia, New York (both the Philharmonic and the Metropolitan Opera Orchestra), San Fran?cisco, and Toronto. He also appears regularly in recital and with major orchestras in Berlin, Vienna, London, Paris, Amsterdam, Munich, and Rome.
Highlights of Mr. Tetzlaff's 0708 season include appearances with the Los Angeles Philhar?monic and the Boston, Detroit, and New World symphonies; the St. Louis Sym?phony both in St. Louis and at Carnegie Hall; and a series of concerts playing all 10 Beethoven sonatas for violin
and piano with Alexander Lonquich at the 92nd Street Y in New York.
Mr. Tetzlaff's highly regarded recordings for Virgin Classics reflect the breadth of his mu?sical interests. They include the complete works for violin and orchestra of Jean Sibelius with the Danish National Radio Orchestra and Thomas Dausgaard, which won the prestigious Diapason d'or Award; and the Grammy-nominated album Bartok: Violin Sonatas (with Leif Ove Andsnes). His most recent releases include the Bach Sonatas and Partitas on the Musical Heritage and Hanssler labels and a recording of the Brahms and Joachim violin concertos with the Danish Radio Orchestra Dausgaard for Virgin Records.
Mr. Tetzlaff makes his home near Frankfurt with his wife, a clarinetist with the Frankfurt Op?era, and their three children. He currently performs on a violin modeled after a Guarneri del Gesu made by the German violin maker Peter Greiner.
Christian Tetzlaff
UMS ARCHIVES
This evening's recital marks Mr. Tetzlaff s second appearance under UMS auspices, following his debut in 2000 at St. Francis of Assisi Catholic Church.
presents NINA materialize sacrifice A production of Noism08 Artistic Direction and Choreography by Jo Kanamori Music by An Ton That Lighting Design by Jo Kanamori and Satoe Morishima Costume Design by Ai Kanamori Decor by Dan Sunaga Dancers Naoya Aoki Sawako Iseki Nobuko Takahara Aiichiro Miyagawa Yuki Yamada Minoru Harata Izumi Fujii Ayako Nakano Emi Aoki Yoshimitsu Kushida
Program Friday Evening, February 15, 2008 at 8:00 Power Center Ann Arbor Tonight's performance is approximately 70 minutes in length and will not include an intermission.
41st Performance of the 129th Annual Season 17th Annual Dance Series The photographing or sound recording of this performance or posses?sion of any device for such photographing or sound recording is prohibited. Media partnership provided by Michigan Radio, Between the Lines, and Metro Times. Special thanks to Jane Ozanich and the U-M Center for Japanese Studies for their participation in this residency. Large print programs are available upon request.

Notes on this Evening's Program
NINA materialize sacrifice was born from studying how we might produce an energy strong enough to give a sense of the beauty and power of a body before it moves in space. Once we found this energy, in the stillness before motion, then movements were specifically chosen in order to maintain the initial physicality. The magical en?counter with the original score from An Ton-That then allowed NINA to travel into the journey of her story...
The body The figure The object
with the right light with the right music In right time In right space Then drama will be born as if it were always there waiting to be found...
-Noism08
About the Company
In April of 2004, Noism was organized to be the residential dance company at the Ryutopia Niigata-City Performing Arts Center. Jo Kana-
mori, a young and energetic choreographer and dancer active all over the world, was appointed Artistic Director of the new company. In Japan, a residential dance company in the public theater is very rare and the incorporation of this company was considered a highly notable and epoch-mak?ing event. Since its inception, there has been great interest surrounding Noism as it is the country's first European-style professional dance company. Kanamori auditioned over 200 dancers from all over the country and selected 10 he felt had a strong dance history but who also showed their own individuality. The company is consistently praised for its presentation of imaginative, chal?lenging, and powerful work.
Jo Kanamori {Artistic DirectorChoreogra?pher) was the first Japanese dancer to study under Maurice Bejart at Rudra Bejart Lau?sanne. He was a member of the Netherlands Dance Theater II, the Opera National de Lyon Bal?let, and the Gothenburg Ballet before returning to Japan in 2002. In 2003 Mr. Kanamori received the third Asahi Performing Arts Award and Kirin Spe?cial Grant for Dance for his first self-produced per?formance, no-mad-ic project. He won the Dance
Critics Association of Japan Award in 2005 and the Matsuyama Ballet Foundation Art Encourage?ment Award in 2006. Drawing on his extensive experience overseas, he is constantly initiating in?novative and imaginative activities for Noism. He is highly esteemed for his skill in planning high-quality projects.
An Ton That {Music) With his first stage per?formance as a pianist at the tender age of nine, followed by strict musical studies throughout his young years, the logical result for An Ton That would have been to become a concert pianist, if not a conductor. Instead, he quit all musical en?deavors after graduating and studied English at the Sorbonne whilst taking acting classes. But that was to be a short hiatus, as music came back in his life under many guises: through a jazz quin?tet that he founded at age 20, playing organ in an Ancient Music band, or later, as pianist and composer for French songstress Michele Atlani with whom he toured in France. He developed as a composer and worked for the stage, penning incidental music for new productions of Gogol's The Marriage (2000), Moliere's Dom Juan (2003),
and Oscar Wilde's Salome (2005). But it is his love for dance that led him to work on bigger scale projects: W.h.a. (2003) for French enfant terrible Regine Chopinot, Mm (2005) for Cody Choi (his first work performed at the Royal Opera House in London), then NINA materialize sacrifice (2005) for Japanese choreographer Jo Kanamori.
In 2004, he founded S.W.A.T.T., a perform?ing collective with Simon Williams; they presented their first creation Constellation (2004) in Paris, then Nina's Hidden Class (2006) in London. Under the alias "Aaken," he released Cirdesong (2005), a collection of songs in both English and Vietnamese that he had nurtured for long years and which re?flect his approach to music in general: a blending of his classical background, contemporary music, pop, and electronic as well as Asian roots, all em?braced to create a very personal musical language.
Current projects include Sur le Fil, a dance piece by Chinese choreographer Gang Peng that will feature five hip hop dancers and two puppe?teers, and new material for a second album en?titled Pandaemonium.
This evening's performance marks Noism08's UMS debut.
Jo Kanamori
presents
An Evening with Ahmad Jamal
Ahmad Jamal, Piano James Cammack, Bass Idris Muhammad, Drums
Program
Saturday Evening, February 16, 2008 at 8:00 Hill Auditorium Ann Arbor
Tonight's program will be announced by the artists from the stage and will not include an intermission.
42nd Performance of the 129th Annual Season
14th Annual Jazz Series
The photographing or sound and video recording of this concert or posses?sion of any device for such recording is prohibited.
Media partnership provided by WEMU 89.1 FM, WDET 101.9 FM, Michigan ChronicleFront Page, and Metro Times.
The Steinway piano used in this evening's concert is made possible by William and Mary Palmer and by Hammell Music, Inc., Livonia, Michigan.
Large print programs are available upon request.
One of today's most influential artists, cel?ebrated pianist-composer Ahmad Jamal has been a force on the jazz scene for more than five decades, earning acclaim for his outstanding technical command and identifiable sound. An innovator since the 1950s when his ca?reer began, the hallmarks of Mr. Jamal's style are rhythmic innovations, colorful harmonic percep?tions, incorporating a unique sense of space in his music, and creating tension and release.
Mr. Jamal was born on July 2, 1930, in Pitts?burgh, Pennsylvania. A child prodigy who began to play the piano at the age of three, he began formal studies at seven. While in high school, he completed the equivalent of college master classes under the noted African-American concert singer and teacher Mary Cardwell Dawson and pianist James Miller. He joined the musicians union at the age of 14, and he began touring upon graduation from Westinghouse High School at the age of 17, drawing critical acclaim for his solos. In 1951, he formed his first trio, The Three Strings.
In 1956, Mr. Jamal, who had already been joined by bassist Israel Crosby in 1955, replaced guitarist Ray Crawford with a drummer. Work?ing as the "house trio" at Chicago's Pershing Hotel in 1958, drummer Vernell Fournier joined this trio and Mr. Jamal made an on-location re?cording for Argo (Chess) Records entitled But Not For Me. The resulting hit single and album, that also included "Poinciana"--his rendition, now Mr. Jamal's "trademark,"-remained on the top-10 bestselling charts an unprecedented 108 weeks
and has sold over one million copies. This fi?nancial success enabled Mr. Jamal to realize a dream, and he opened a restaurantclub, The Alhambra, in Chicago. Here the Trio was able to perform while limiting their touring schedule.
Much of Mr. Ja-mal's music has been recorded or sampled by such artists as Nata?lie Cole, Gil Evans, and Miles Davis. The Village Voice ranks Mr. Jamal's distinctive style as hav?ing had a musical in-
fluence on the same level as "Jelly Roll Morton, Fletcher Henderson, Duke Ellington, Art Tatum, Count Basie, Thelonious Monk, Horace Silver, and John Lewis," and Sydney Morning Herald calls Mr. Jamal".. .the most distinctive jazz pianist since Th?elonious Monk..."
In 1970, Mr. Jamal performed the title com?position by Johnny Mandel for the soundtrack of the film MASH!; and in 1995, two tracks from his smash album But Not For Me--"Music, Mu?sic, Music," and "Poinciana" were featured in the Clint Eastwood film The Bridges of Madison County.
In 1994, Mr. Jamal received the American Jazz Masters fellowship award from the National Endowment for the Arts. The same year he was named a Duke Ellington Fellow at Yale University, where he performed commissioned works with the Assai String Quartet. He recently received one of the highest awards the French Government can bestow, becoming an officer in The French Order of Arts and Letters.
His new CD, recorded in Strasbourg, France, will be released in March of this year by Birdology Dreyfus Records.
Tonight's concert marks the UMS debut of Ahmad Jamal, James Cammack, and Idris Muhammad.
Ahmad Jamal
ums
and Borders
present
Orion String Quartet
Daniel Phillips, Violin Todd Phillips, Violin Steven Tenenbom, Viola Timothy Eddy, Cello
with
David Krakauer
Clarinet
Program
Joseph Haydn
David Del Tredici
Osvaldo Golijov
Ludwig van Beethoven
Wednesday Evening, March 5, 2008 at 8:00 Rackham Auditorium Ann Arbor
String Quartet in C Major, Op. 74, No. 1
Allegro moderato Andante grazioso Menuetto: Allegretto Finale: Vivace
Magyar Madness
Passionate Knights Contentment (Interlude) Magyar Madness
Mr. Krakauer
INTERMISSION
K'vakarat
Mr. Krakauer
Quartet No. 9 in C Major, Op. 59, No. 3
Introduzione: Andante con moto; Allegro vivace Andante con moto quasi allegretto Menuetto: Grazioso Allegro Molto
43rd Performance of the 129th Annual Season
45th Annual Chamber Arts Series
The photographing or sound and video recording of this concert or posses?sion of any device for such recording is prohibited.
Tonight's performance is sponsored by Borders.
Media partnership provided byWGTE 91.3 FM and Observer & Eccentric newspapers.
The commissioning of David Del Tredici's Maygar Madness was made possible in part by UMS's participation in Music Accord.
The Orion String Quartet's recordings are available on the Arabesque and Sony Classical labels.
The Orion String Quartet appears by arrangement with Kirshbaum Demler & Associates, Inc.
David Krakauer appears by arrangement with Bernstein Artists, Inc.
Large print programs are available upon request.
String Quartet in C Major, Op. 74, No. 1
(1793)
Joseph Haydn
Born March 31, 1732 in Rohrau, Lower Austria Died May 31, 1809 in Vienna
Upon his return to Vienna from London in 1792, Haydn composed a set of six quartets, which were eventually published in two installments, under two different opus numbers (71 and 74, with three works in each opus). They were publicly performed in London when Haydn returned there for a second sojourn, yet their dedicatee, the Hun?garian aristocrat Count Georg Apponyi, had them previously performed in his salon.
The pair of chords with which this quartet opens clearly has to do with the public concert life Haydn discovered in London. Its function is to tell the audience to stop talking so that the piece may begin. (Each quartet in the Op. 7174 set be?gins with similar "noise-killers.") The music that follows gives the first violin an almost concerto-like leading role--something we find in many of Haydn's early quartets but few of the mature ones, in which the composer strove to make the four parts as close to equal as possible. This time, however, he wanted to feature his friend, violinist Johann Peter Salomon who had been responsible for bringing him to England and who, as an impre?sario, concertmaster, and quartet leader, was an important presence on the London music scene.
Haydn's harmonic language is extremely advanced in this work, with a great number of "chromatic" notes (these are half-steps outside the principal key, whose function is to increase the tension). Also, having set the stage for a con?trasting second theme, Haydn introduces a new version of his first theme instead; by using this "monothematic" construction, he achieves an un?usually high degree of motivic unity in many of his works from the 1790s.
On the surface, the second movement is a simple song--but that simplicity is deceptive, for there are plenty of harmonic adventures in the mu?sic, the most striking being two long-held chords in what is the most distant key possible in relation to the principal tonality. This represents a musical "problem" situation that is eventually resolved by a return to the home key. Yet, since the foreign key was so distant, the modulation back to the start?ing point has to be gradual, in a carefully planned process involving a number of steps that make the transition seamless and almost imperceptible.
We find the same apparent simplicity con?cealing a great deal of sophistication in the third and fourth movements as well. The "oompah" bass at the beginning of the minuet sets the tone for a folklike Landler, but the continuation takes off in some surprising new directions. The Trio or middle section is more subdued; here Haydn plays with the length of the phrases, which are sometimes longer and sometimes shorter than the standard musical period of 4+4 measures.
A contradanse melody receives the "royal treatment" in the finale. Haydn relies heavily on counterpoint: each instrument is rhythmically and thematically independent from the others. Yet the composer contrasts contrapuntal complexity with textures of a very different kind: the work ends on a long drone played by the viola and the cello, over which the two violins offer a final restate?ment of the main contradanse melody.
Magyar Madness
David Del Tredici
Born March 16, 1937 in Cloverdale, California
Magyar Madness is a 35-minute clarinet quintet in three movements of wildly varying lengths. The first movement, "Passionate Knights," is 11 minutes; the second, "Contentment (Interlude)," a chaste four; and the finale, "Magyar Madness", a whopping 20 minutes long. The work, commis?sioned by Music Accord for David Krakauer and the Orion String Quartet, is also dedicated to these remarkable artists.
The idea of creating a finale that hugely overshadows prior movements was inspired by an incident early in my composing career. The Juil-liard String Quartet was performing the String Quartet No. 13 in B-flat Major, Op. 130--but with a twist. The usual finale was replaced by the nearly 20-minute-long Grosse Fugue, Op. 133, which, it tums out, was the finale Beethoven had originally intended for the piece. (Because the Grosse Fugue was so bewildering, Beethoven's friends after the premiere persuaded him to write a shorter, more conservative, finale--which, sur?prisingly, Beethoven did. And so the work has since been played.) When I heard the Juilliard's reconstitution, I was electrified. The enormous fi?nale changed everything. Earlier movements that had seemed substantial were now dwarfed. All the weight of the piece had shifted to the end,
making it seem that the best had been saved for last. As an example of musical design, this experi?ence stayed with me.
In Magyar Madness, the first movement be?gins with a fiery clarinet cadenza punctuated by strings and leads to an impassioned main theme. Moving through a series of contrasting motives-some perky, some dramatic--the movement di?vides into two halves, the second of which is a varied reprise of the first (like a sonata form with?out a development). The lengthy, dramatic coda then acts as a kind of development and leads to a second, more reposeful clarinet cadenza and a calm ending. This was, one could say, a "knight" well spent.
The short, quiet movement that follows is for muted strings alone. It is, in essence, a transcription of a song I wrote in 1998 for piano and baritone. The music--sweetly ardent, lyrical and contented-belies, perhaps, the text I set: a poem by Edward Field entitled "Street Instructions: At the Crotch."
The 20-minute finale is subtitled "Grand Ron?do a la Hongroise." The movement's title alludes to David Krakauer's performance group, Klezmer Madness! Mr. Krakauer, a specialist in klezmer (Jewish folk music of Eastern Europe), asked me to write something using that melismatic style. I told him, "Oy vey! Klezmer I can't do, but Hungarian I'll try." What I had in the back of my mind was Schubert's four-hand masterpiece, Divertissement a la Hongroise, Op. 54. In this piece, not only does Schubert give the harmony an oddly ethnic season?ing, but in the last movement--a Rondo--he intro?duces a quasi-Gypsy device that intrigued me: each repetition of the theme is increasingly ornamented, and the accompaniment grows more and more animated. The illusion is that the tempo is accelerat?ing--a wonderful way to enliven what is, after all, mere repetition. The idea of literally speeding up each appearance of a theme over the course of an entire movement--of creating a goulash of musi?cal frenzy--gripped me. The finale begins with the clarinet's return in a virtuosic cadenza. The music then settles into a "Hungarian" Rondo-theme in g minor, made up of even quarter-notes over a steadi?ly oscillating accompaniment. This Rondo-theme in further repetitions is systematically shortened: what were uniform quarter-notes become quartereighth patterns, then eighth notes, then eighth16ths, then finally, fastest of all, at four times the speed of the opening, there is a frantic version of the theme in running 16th-notes. Amid the ever-accelerating
Rondo sections are three contrasting episodes. The first, boisterous and energetic, is capped by a dra?matic reprise of the movement's opening clarinet cadenza. The second episode, in complete contrast, is (as the score says) "music from afar"--mysterious and pianissimo throughout. To that end, I ask the strings to use especially soft "practice" mutes and the clarinetist to play from offstage. The third epi?sode, which follows the second immediately, is wild and barbaric with (like dashes of paprika) hugely virtuosic clarinet flourishes--bringing out, to bor?row from Cole Porter, "the Gypsy in me!" As a coda and calming antidote, the rondo-theme reap?pears quietly--now, for the first time, in G Major-while the clarinet trails behind in canon. Eventually, though, the music rouses itself to close in a "prop?er" Hungarian frenzy.
Program notes for Magyar Madness written by Mr. Del Tredici, September 2007.
K'vakarat (1994)
Osvaldo Golijov
Born December 5, 1960 in La Plata, Argentina
Osvaldo Golijov, born in Argentina, educated in Is?rael and the US, and now living in Massachusetts, is one of the most-performed composers of his generation. Large-scale compositions such as his Passion According to St. Mark and the opera Ay-danamar have brought him world fame. K'vakarat was originally written for cantor and string quar?tet and was later arranged for clarinet as the third movement in one of Golijov's signature works, Dreams and Prayers of Isaac the Blind. The follow?ing is an excerpt from the composer's commen?tary on his work:
The third movement was written before all the others. It is an instrumental version of K'vakarat, a work that I wrote a few years ago for the Kronos Quartet and Cantor Misha Alexandrovich. The meaning of the word klezmer, "instrument of song," be?comes clear when one hears David Krakau-er's interpretation of the cantor's line. The K'vakarat chant on which the third movement is based is one of the most im?portant and most emotional prayers of the High Holiday liturgy, evoking the Last
Judgment: "Like a shepherd who herds his flock, making his sheep pass beneath his staff, so do You make the souls of the living pass before You, counting and re?cording them all."
The strings playing sulponticello (near the bridge) evoke the soft humming of Orthodox Jews in prayer. Then their har?monic tremolos (rapidly alternating notes) allude to the "shepherd's flute." The K'vakarat melody evolves into a free clari?net cadenza, freely elaborating on the ex?uberant melismatic style of Jewish chant. The original melody retums, growing gradually louder and faster, and ending in a relentlessly pounding series of powerful downbeats. After a very brief pause, there follows the postlude, in which the soft re?peated notes of the clarinet, as if coming "from afar," make everything suddenly seem like a distant memory.
Quartet No. 9 in C Major, Op. 59, No. 3,
"Razumovsky" (1806) Ludwig van Beethoven
Born December 15 or 16, 1770 in Bonn, Germany Died March 26, 1827 in Vienna
Prince Andrey Razumovsky, the Russian Ambas?sador in Vienna, and the Princes Lichnowsky and Lobkowitz, two Viennese aristocrats to whom he was related by marriage, together received the dedications of more than a dozen major works by Beethoven. One might almost say that their "clan" underwrote a great part of what later became known as Beethoven's "heroic" or middle period.
The three quartets of Op. 59, known as the "Razumovsky" quartets, were written shortly af?ter the Symphony No. 3, Op. 55 ("Eroica") and the Piano Sonata No. 23 in f minor, Op. 57 ("Appas-sionata"). In those works, Beethoven made a bold leap into the future--music had never expressed such intense emotions before, nor had the formal conventions of music been changed so radically in such a short time. With Op. 59, Beethoven ex?tended his musical revolution to the quartet me?dium, producing three masterworks after which the genre was never the same again.
The String Quartet in C Major, the third in the set, is a lively and dynamic work that is definitely "heroic" in the boldness of its themes. The first
movement begins with a slow introduction con?sisting of a mysterious sequence of chords that do not define any particular tonality and do not arrive at the home key of C Major until the very end. Even the "Allegro vivace" gets off to a somewhat tentative start, with an unaccompanied flourish for the first violin, punctuated by brief chords in the other instruments. The idea of amorphous material gradually becoming more organized in?forms the entire movement in fascinating ways. By the development section, the loose textures of the exposition are solidified into a strict canon based on a two-note pattern. The violin flourish that serves as the movement's first theme is lav?ishly ornamented when it retums to announce the recapitulation.
The second movement, "Andante con moto quasi Allegretto," has "an aura of remote, almost mythical melancholy and remoteness," in the words of William Kinderman, author of an excel?lent book on Beethoven's music. Kinderman, like many authors before him, wondered whether Beethoven attempted here to "capture a Rus?sian character in music." (This quartet, unlike its two companions, does not contain an explicitly labeled theme russe.) The rhythmic flow, surpris?ingly, remains unchanged throughout while the music traverses many different keys. The mysteri?ous first theme features the "exotic" augmented second interval while the second theme evokes a graceful dance. A haunting new melody is heard at the end of the movement, in a coda that seems to vanish in a Romantic mist.
The graceful third-movement Minuet is an?other nod to the past, for by 1806 Beethoven was much more likely to write fast-paced, surprise-filled scherzos in both chamber and symphonic music. The minuet revisits a familiar landscape with a great deal of nostalgia, yet in the trio sec?tion Beethoven strikes a more modern note, with some characteristic offbeat accents (a device he was particularly fond of) and an unusually high first violin part. The recapitulation of the minuet is followed by an extensive coda, introducing a sad, minor-key variation of the minuet theme that leads directly into the last movement.
The finale is a perpetual motion that begins as a fugue whose lengthy subject is introduced by the viola. By the time all four instruments have entered, fugal counterpoint gives way to a chordal texture; the two ways of writing alternate throughout. The extremely fast tempo generates a
high level of excitement that culminates in the sur?prise rest just before the end, after which the mad rush continues with even more fire than before.
Program notes by Peter Laki.
Now celebrating its 20th anniversary, the Orion String Quartet is one of the most sought-after ensembles in the US. The Quartet remains on the cutting edge of program?ming with numerous commissions from compos?ers Chick Corea, Alexander Goehr, John Harbison, Leon Kirchner, Marc Neikrug, Peter Lieberson, and Wynton Marsalis, and enjoys a creative partner?ship with the Bill T. JonesArnie Zane Dance Com?pany. The members of the Orion String Quartet-violinists Daniel Phillips and Todd Phillips (brothers who share the first violin chair equally), violist Steven Tenenbom, and cellist Timothy Eddy-have worked with such legendary figures as Pablo Casals, Rudolf Serkin, Isaac Stern, Pinchas Zuker-man, Yo-Yo Ma, Peter Serkin, Andras Schiff, mem?bers of TASHI and the Beaux Arts Trio, as well as the Budapest, Vegh, Galimir, and Guarneri String Quartets. The Quartet serves as Quartet-in-Res-idence at the Chamber Music Society of Lincoln Center and New York's Mannes College of Music and, as of the 0708 season, has been appointed Resident Quartet at Indiana University's Jacobs School of Music.
During the 0708 concert season the Quartet partners with clarinetist David Krakauer to perform
a program featuring David Del Tredici's new work, Magyar Madness, commissioned by Music Accord specifically for the ensemble. The Orion will also collaborate with Leon Fleischer at Ravinia and Ida Kavafian and David Soyer in Philadelphia this fall.
The Quartet's recordings reflect its musical diversity. For Sony Classical, the Orion recorded Wynton Marsalis's first classical composition for strings, At the Octoroon Balls (String Quartet No. 1). Commissioned by the Chamber Music Society of Lincoln Center, the work was written for and premiered by the ensemble. Other critically ac?claimed recordings include Dvorak's String Quartet No. 12 in F Major, "American"; his Piano Quintet in A Major, Op. 81 with Peter Serkin; and Men?delssohn's Octet in E-Flat Major for Strings, with the Guarneri String Quartet; all on Arabesque.
The members of the Quartet maintain a strong dedication to the next generation of musical artists and serve on the faculties of the Mannes College of Music, Curtis Institute of Mu?sic, The Juilliard School, Queens College, and Rut?gers University, where they teach private lessons, give chamber music classes and offer intensive coaching programs for young professional string quartets. They have also served as faculty mem?bers of the Isaac Stern Chamber Music Workshop at Carnegie Hall and the Summer Institute for Ad?vanced Quartet Studies in Aspen.
Heard frequently on National Public Radio's Performance Today and WNYC Live, the Orion String Quartet has appeared three times on ABC's Good Morning America, on A&E's Breakfast with
the Arts, and on PBS's Live from Lincoln Center. In October 2004, they partici?pated in the first WNYC Radio collabo?ration with BBC World Service's popu?lar syndicated program, Music Party. This special performance heard in New York and over 40 countries worldwide features works by Haydn, Beethoven, Ravel, Bartbk, Chick Corea, and Wyn-ton Marsalis. Additionally, the Quartet was photographed with Drew Barry-more by Annie Leibovitz for the April 2005 iss'je of Vogue.
Formed in 1987, the Quartet chose its name from the Orion constellation as a metaphor for the unique personal?ity each musician brings to the group in its collective pursuit of the highest musical ideals.
Internationally acclaimed David Krakauer rede?fines the notion of a concert artist. Known for his mastery of myriad styles including classical chamber music, Eastern European Jewish klezmer music, and avant-garde improvisation, Mr. Krakau?er lies way beyond "cross-over." His best-selling classical and klezmer recordings further define his brilliant tone, virtuosity, and imagination.
Mr. Krakauer is also in demand worldwide as a guest soloist with the finest ensembles. Re?cent collaborations have included work with the Tokyo String Quartet, the Kronos Quartet, the Lark Quartet, Eiko and Koma, the Orquesta Sinfo-nica de Barcelona, and the Brooklyn Philharmonic Orchestra. He had an eight-year tenure with the Naumburg Award-winning Aspen Wind Quintet, and has also has enjoyed enduring relationships with Summer festivals including the Marlboro Mu?sic Festival, the Norfolk Chamber Music Festival, and the Aspen Music Festival.
In the Spring of 2003 Mr. Krakauer per?formed at Carnegie's Weill Recital Hall as soloist with the Kronos Quartet in a performance of their renowned collaboration on Osvaldo Golijov's The Dreams and Prayers of Isaac the Blind. In 2004 he was invited to perform with his band, Klezmer Madness!, for the inaugural season of Carnegie Hall's new theater, Zankel Hall. That program in?volved a collaboration with renowned jazz pianist Uri Caine. He also performed at Zankel in a pro?gram with Dawn Upshaw of Golijov's Ayre which was released as a CD on Deutsche Grammophon, and which continues to tour. Mr. Krakauer per?formed music written for him by Osvaldo Golijov for the BBC documentary Holocaust, A Music Me?morial from Auschwitz, which won the Interna?tional Emmy in the performance category (2005). 2007 was a busy year for Mr. Krakauer in which
he performed in the New York premiere of the string orchestra version of the Golijov work, then toured with the Orion String Quartet featuring a new work by composer David del Tredici commis?sioned specifically for them by Music Accord. Also in 2007, he premiered a new clarinet concerto composed for him by Ofer Ben-Amots at Colo?rado Music Festival under the baton of Michael Christie, and with the Walla Walla Symphony.
Mr. Krakauer's discography contains some of the most important klezmer recordings of the past decade. His first release on the prestigious French jazz label Label Bleu (harmonia mundi usa), A New Hot One! was hailed a masterwork. His CD The Twelve Tribes, released in Fall 2002, was designated "Album of the Year" in the jazz category for the Preis der deutschen Schallplat-tenkritik in Germany. His newest release entitled Bubbemeises: Lies My Gramma Told Me, marks the first full collaboration between Mr. Krakauer and sampler master Socalled. Mr. Krakauer cites this CD as "...a whole new chapter in my life as a composer, a musician and a producer." Other CDs include the aforementioned recordings with the Kronos Quartet and with Dawn Upshaw, as well as chamber music recordings on the Musical Heri?tage and New York Philomusica labels, and two CDs in the Milken Archives series on American Jewish music recently released by Naxos.
Mr. Krakauer has had major profiles in The New York Times, The New Yorker, The Internation?al Herald Tribune, and Downbeat, Jazz Times, Jazz-iz, and Chamber Music magazines. He is on the clarinet and chamber music faculties of Mannes College of Music, the Manhattan School of Music and the Bard College Conservatory of Music.
UMS ARCHIVES
This evening's performance marks the Orion String Quartet's fourth performance under UMS auspices. The Quartet made their debut in 1996 with the Guarneri String Quartet at Rack-ham Auditorium.
Tonight's performance marks David Krakauer's second UMS appearance, following his debut in 2007 at Rackham Auditorium with Klezmer Madness! and Socalled.
David Krakauer
UMSExperience
UMS EDUCATION PROGRAMS
www.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?nities for students and members of the University community to further appreciate the artists on the UMS series.
UlVl!
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
Bank of Ann Arbor
Kathy Benton and Robert Brown
Borders Group, Inc.
The Dan Cameron Family
FoundationAlan and
Swanna Saltiel CFI Group
Chamber Music America Doris Duke Charitable
Foundation
DTE Energy Foundation The Esperance Family Foundation JazzNet Endowment Masco Corporation Foundation THE MOSAIC FOUNDATION (of
R. & P. Heydon) National Dance Project of the
New England Foundation for the Arts National Endowment for the Arts Noir Homes, Inc. Performing Arts Fund
Pfizer Global Research and
Development, Ann Arbor
Laboratories
Randall and Mary Pittman Prudence and Amnon Rosenthal
K-12 Education Endowment
Fund Target
Tisch Investment Advisory UMS Advisory Committee University of Michigan Credit
Union University of Michigan Health
System U-M Office of the Senior Vice
Provost for Academic Affairs U-M Office of the Vice President
for Research Wallace Endowment Fund
UMS 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
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 UMtK
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
$10,000-$!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 Stu3rt 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) NBA 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, P.L.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 Leo and Kathy Legatski Richard and Carolyn Lineback Mainstreet Ventures, Inc. Sally and Bill Martin
Susan McClanahan and Bill Zimmerman Merrill Lynch National City
Tom, Meghan, Mary and T.J. O'Keefe Pepper Hamilton LLP Philip and Kathy Power Red Hawk Bar & Grill Herbert and Ernestine Ruben
Don and Judy Dow Rumelhart
Alan and Swanna Saltiel
Sesi Lincoln Mercury Volvo Mazda
Craig and Susan Sincock
Nancy and Brooks Sitterley
Thomas B. McMullen Co.
Tisch Investment Advisory
United Bank and Trust
Ronald and Eileen Weiser
Whole Foods Market
Marion T. Wirick and James N. Morgan
Zanzibar Restaurant
Gerald B. and Mary Kate Zelenock
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 Neuliep and Patricia Pancioli
Eleanor and Peter Pollack
Rosebud Solutions
Lois A. Theis
Dody Viola
Robert O. 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 Knmm
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
TCP Bank
Jim Toy
Don and Carol Van Curler
Don and Toni Walker
Elise Weisbach
Roy and JoAn WeQel
Keith and Karlene Yohn
PATRON
$1,000-$2,499
Robert and Kathenne 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 Ballinger
Bradford and Lydia Bates
Beacon Investment Company
Astnd 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 Burteigh
Letitia J. Byrd
Amy and Jim Byrne
Betty Byrne
Jean W. Campbell
Patricia and Michael Campbell
David and Valerie Canter
Bruce and Jean Carlson
Carolyn M. Carty and Thomas H. Haug
John and Patricia Carver
Janet and Bill Cassebaum
Tsun and Siu Ying Chang
Anne Chase
Pat and George Chatas
James S. Chen
Leon S. Cohan
Hubert and Ellen Cohen
Lois and Avern Cohn
Cynthia and Jeffrey Colton
William J. and Ellen A. Conlin
Phelps and Jean Connetl
Jim and Connie Cook
Jane Wilson Coon and A. Rees Midgley, Jr.
Kathleen Crisped and Tom Porter
Judy and Bill Crookes
Julia Donovan Darlow and John O'Meara
Susan T. Darrow
Charles W. and Kathleen P. Davenport
Hal and Ann Davis
Sally and Larry DiCarlo
Andrzej and Cynthia Dlugosz
Alice Dobson
Molly Dobson
Heather and Stuart Dombey
John Dryden and Diana Raimi
Aaron Dworkin and Afa Sadykhly
Jack and Betty Edman
Joan and Emil Engel
David and Jo-Anna Featherman
Dede and Oscar Feldman
Yi-Tsi M. and Albert Feuerwerker
Susan A. Fisher
Susan Fisher and John Waidley
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 Melvm 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 Smillie Mohammad and J. Elizabeth
Othman Donna Parmelee and William
Nolting
Bertram and Elaine Pitt Peter and Carol Polverini Richard and Mary Price Produce Station Mrs. Gardner C. Quarton Donald Regan and Elizabeth
Axelson
Professor and Mrs. Raymond Reilly Maria and Rusty Restuccia Kenneth J. Robinson and Marcia
Gershenson Nancy and Doug Roosa Rosalie EdwardsVibrant Ann
Arbor Fund Doris E. Rowan Craig and Jan Ruff Agnes and David Sams Norma and Dick Sams 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. Sundeison Judy and Lewis Tann Target
Mrs. Robert M. Teeter Brad and Karen Thompson Louise Town ley
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 Nishta G. Bhatia
Seth Bonder
Bob and Sharon Bordeau
Catherine Brandon MD
David and Dr. Sharon Brooks
Donald R. and June G. Brown
Morton B. and Raya Brown
Dr. Frances E. Bull
H. D. Cameron
Susan and Oliver Cameron
Margot Campos
Carlisle Wortman Associates, Inc.
Jack and Wendy Carman
Drs. Andrew Caughey and Shelley
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 Lindy M. Cubba John G. and Mary R. Curtis Roderick and Mary Ann Daane Robert and Joyce Damschroder Norma and Peter Davis Ellwood and Michele Derr Linda Dintenfass and Ken Wisinski Cynthia M. Dodd Robert J and Kathleen Dolan Dallas C. Don Eva and Wolf Duvernoy Stefan and Ruth Fajans Elly and Harvey Falit Irene Fast
Margaret and John Faulkner Sidney and Jean Fine Carol Finerman Clare M. Fingerie Herschel and Adrienne Fink C. Peter and Beverly A. Fischer John and Karen Fischer Ray and Patricia Fitzgerald Howard and Margaret Fox Jason I. Fox Ann Friedman William Fulton Tom Gasloli Beverfy 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 INVIA 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 Her mine 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 Margohs Susan E. Martin and Randy Walker Margaret E. McCarthy Margaret and Harris McClamroch Dr. Paul W. McCractcen Joanna McNamara and Mel Guyer James M. Miller and Rebecca H.
Lehto
Myrna and Newell Miller Bert and Kathy Moberg Jeanne and Lester Monts Lewis and Kara Morgenstern Frieda H. Morgenstern Gavin Eadie and Barbara Murphy Elizabeth and Robert Oneal Mark and Susan Orringer Constance and David Osier Marie L. Panchuk Zoe and Joe Pearson Jean and Jack Peirce Margaret and Jack Petersen Elaine Piasecki Evelyn Pickard Juliet S. Pierson James Eng and Patricia Randle Anthony L. Reffells and Elaine A.
Bennett R. E. Reichert Marc and Stacy Renouf Retirement Income Solutions Timothy and Teresa Rhoades Richner & Richner Jeff and Huda Karaman Rosen Richard and Edie Rosenfeld Margaret and Haskell Rothstein Miriam Sandweiss Diane and Joseph Savin Tom Wieder and Susan 5chooner Ann and Thomas J. Schriber Drs. David E. and Monica S.
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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 Ins and Fred Whitehouse Leslie C. Whitfield Sally M. Whiting Reverend Francis E. Williams
Robert J. and Anne Marie Willis Lawrence and Mary Wise James and Gail Woods Dr. and Mrs. Clyde Wu Mayer and Joan Zald
ASSOCIATES
$250-$499
Dorit Adler
Thomas and Joann Adler Family Foundation
Helen and David Aminoff
Anonymous
Arboretum Ventures
Bert and Pat Armstrong
Jack and Jill Arnold
Frank and Nancy Ascione
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AT&T Foundation
Drs John and Lillian Back
Marian K Bailey
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Prof, and Mrs. Erling Blondal Bengtsson
Linda Bennett and Bob Bagramian
Rodney and Joan Bentz
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llene and William Birge
Beverly J. Bole
Amanda and Stephen Borgsdori
Victoria C. Botek and William M. Edwards
Susie Bozell
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Of Robert M Bradley and Dr Charlotte M. Mistretta
William R. Brashear
Joel Bregman and Elaine Pomeranz
Alexander and Constance Bridges
Pamela Brown
Trudy and Jonathan Bulkley
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Brent and Valerie Carey Thomas and Colleen Carey James W. and Mary Lou Carras
Dennis J. Carter
Margaret and William Caveney J Wehrley and Patricia Chapman Charles Reinhart Company Realtors Charles Stewart Mott Foundation John and Christine Chatas Linda Chatters and Robert Joseph
Taylor
Andy and Dawn Chien Kwang and Soon Cho Reginald and Beverly Ciokajlo Coffee Express Co. Theodore and Jean Cohn Edward and Anne Comeau MinorJ. Coon Peter and Celia Copeland Cliff and Kathy Cox Lloyd and Lois Crabtree Clifford and Laura Craig Merle and Mary Ann Crawford Mary C Crichton Connie D'Amato Timothy and Robin Damschroder Sunil and Merial Das Art and Lyn Powrie Davidge Ed and Elite Davidson Alice and Ken Davis John and Jean Debbink Nicholas and Elena Delbanco Elizabeth Dexter Mark and Beth Dixon Judy and Steve Dobson Elizabeth A. Doman Michael and Elizabeth Drake Mary P DuBois Elizabeth Duell Bill and Marg Dunifon
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Verbrugge
J. Martin Gillespie and Tara Gillespie Beverly Jeanne Gillrow Joyce L. Ginsberg David and Maureen Ginsburg Irwin Goldstein and Martha Mayo Eszter Gombosi Mitchell and Barbara Goodkin Enid M. Gosling and Wendy
Comstock
Mr. and Mrs. Charles and Janet Goss James and Maria Gousseff Michael Gowing
Mr and Mrs. Christopher L. Graham Martha and Larry Gray Jeffrey B. Green Daphne and Raymond Grew Mark and Susan Griffin Werner H. Grilk Bob and Jane Grover Robin and Stephen Gruber Anna Grrymala-Busse and Joshua
Berke
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Henkel
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Alan and Sandra Kortesoja
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Neal and Anne laurance
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Ken and Jane Lieberthal
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Dr. Daniel Little and Dr Bernadette
Untz
Rod and Robin Little Dr. and Mrs. Lennart H. Lofstrom Julie M. Loftin Naomi E. Lohr Charles R and Judy B. Lucas MeMn and Jean Manis Manpower, Inc. of Southeastern
Michigan
Ken and Lynn Marko W. Harry Marsden Laurie McCauley and Jessy Grizzle Peggy McCracken and Doug Anderson Liam T. McDonald James A Mclntosh James H. Mclntosh and Elaine K.
Gazda
Bill and Ginny McKeachie McNaughton & Gunn, Inc. Frances McSparran Nancy A. and Robert E. Meader Geriinda S. Melchiori PhD Warren and Hilda Merchant Sara Meredith and James Chavey Russ and Srigitte Merz Liz and Art Messiter Fei Fei and John Metzler Don and Lee Meyer Shirley and Bill Meyers Joetta Miai Leo and Sally Miedler Kitty and Bill Moeller Olga Moir Jean Marie Moran and Stefan V
Chmielewski
Patricia and Michael Morgan Mark and Lesley Mozola Roy and Susan Muir Thomas and Hedi Mulford Terence and Patricia Murphy Lisa Murray and Michael Gatti Drs Louis and Julie Jaffee Nagel Gerry and Joanne Navarre Frederick C Neidhardt Gayl and Kay Ness Susan and Richard Nisbett Eugene W Nissen Laura Nitzberg Arthur S. Nusbaum John and Gwen Nystuen Mrs Elizabeth Ong Kathleen I. Operhall David and Andrea Page William C. Panzer Karen Park and John Beranek Frank and Arlene Pasiey Shirley and Ara Paul Judith Ann Pavitt Donald and Evonne Plantinga Allison and Gregory Poggi Susan PoJIans and Alan Levy Bill and Diana Pratt Ann Preuss
Elisabeth and Michael Psarouthakis Maxwell and Marjorie Reade Stephen and Agnes Reading Michael J Redmond
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Riverbend Condominium
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Montmorency Michael and Kimm Sarosi Stephen J. and Kim Rosner Saxe SBC Foundation Jochen and Helga Schacht Frank J. Schauerte David and Marcia Schmidt Leonard Segel Harriet Selin Robert D. Shannon Matthew Shapiro and Susan Garetz David and Elvera Shappiho Jean and Thomas Shope Patricia Shure Edward and Kathy Silver Dr. Terry M. Silver Gene and Alida Sirverman Scon and Joan Singer Tim and Marie Slottow David and Renate Smith Greg and Meg Smith Robert W. Smith Ralph and Anita Sosin Doris and Larry Sperling Jim Spevak Jeff Spindler Judy and Paul Spradlin David and Ann Staiger Rick and Lia Stevens James L. Stoddard
Ellen M. Strand and Dennis C. Regan Clinton and Aileen Stroebel Donald and Barbara Sugerman Sam and Eva Taylor Steve and Diane Telian Mark and Patricia M. Tessler Textron
Mary H. Thieme Edwin J. Thomas Nigel and Jane Thompson Claire and Jeremiah Turcotte Dr. Hazel M. and Victor C. Turner. Jr. Alvan and Katharine Uhle Susan B. Ullrich Dr. Samuel C. and Evelyn Ursu Andrea and Douglas Van Houwelmg Hugo and Karla Vandersypen Mary Vandewiele Michael Van Tassel Dr. and Mrs. Edward Van Wesep Marie Vogt
Drs Harue and Tsuguyasu Wada Jack Wagoner Virginia Wait
Thomas and Mary Wakefield Charles R. and Barbara H. Wallgren Shaomeng Wang and Ju-Yun Li Jo Ann Ward John M. Weber
Deborah Webster and George Miller Mr. and Mrs. Larry Webster Jack and Jerry Weidenbach Lisa and Steve Weiss John, Carol and Ian Welsch Mary Ann Whipple Katherine E. White Nancy Wiernik I. W. and Beth Winsten Charlotte A. WoJfe Brian Woodcock Pris and Stan Woollams Phyllis B. Wright Bryant Wu
John and Mary Yablonky MaryGrace and Tom York Erik and Lineke Zuiderweg Gail and David Zuk
ANNUAL ENDOWMENT SUPPORT
September 1, 2006-November 1, 2007
The University Musical Society is grateful to those who made a gift to UMS endowment funds, which will benefit UMS audiences in the future. These gifts were matched by chal?lenge grants from the Wallace Foundation and the Doris Duke Charitable Foundation.
550,000 or more
Anonymous
Estate of Douglas Crary
Doris Duke Charitable Foundation
Estate of Dr. Eva L. Mueller
S20,000-S49,999
Bernard and Raquel Agranoff
Anonymous
Mr. and Mrs. Robert R. Gamble
Susan and Richard Gutow
David and Phyllis Herzig
Verne and Judy Istock
Sesi Investment
Herbert Sloan
S10,000-S19,999
Kathy Benton and Robert Brown
Toni M. Hoover
Robert and Pearson Macek
Estate of Melanie McCray
THE MOSAIC FOUNDATION (of R. & P.
Heydon)
James and Nancy Stanley Mary Vanden Belt
55,000-59,999
Herb and Carol Amster
Joan Akers Binkow
CFI Group, Inc.
Richard and Carolyn Lineback
Mrs. Robert E. Meredith
Susan B. Ullrich
Marina and Bob Whitman
Ann and Clayton Wilhite
$1,000-54,999
Michael Allemang and Janis Bobrin
Anonymous
Essel and Menakka Bailey
DJ and Dieter Boehm
Charles and Linda Borgsdorf
Jean W. Campbell
Barbara Mattison Carr
Jean and Ken Casey
Jane Wilson Coon and A. Rees Midgley, Jr.
Patricia Garcia and Dennis Dahlmann
Macdonald and Carolin Dick
Molly Dobson
Jack and Betty Edman
Charles and Julia Eisendrath
Dede and Oscar Feldman
James and Chris Froehlich
Dr. Sid Gilman and Dr. Carol Barbour
Paul and Anne Glendon
David W. and Kathryn Moore Heleniak
Debbie and Norman Herbert
Carl and Charlene Herstein
Robert M. and Joan F Howe
Jim Irwin
Gloria and Bob Kerry
Jill Latta and David Bach
Lawrence and Rebecca Lohr
Natalie Matovinovic
W. Joseph McCune and Georgiana M.
Sanders
Melinda and Bob Morris Elizabeth and Robert Oneal Mark and Susan Orringer Mrs. Charles Overberger (Betty) Richard Peterson Steve and Tina Pollock Jeff and Huda Karaman Rosen Corliss and Dr. J.C. Rosenberg Prudence and Amnon Rosenthal Nancy W. Rugani Norma and Dick Sams Frances U. and Scott K. Simonds Karl and Karen Weick Mac and Rosanne Whitehouse Jeanne and Paul Yhouse Jay and Mary Kate Zelenock
S10O-S999
Jerry and Gloria Abrams
Mrs. Bonnie Ackley
Anonymous
Arts League of Michigan
Lynne Aspnes
John U. Bacon
Daniel and Barbara Balbach
Gary Beckman and Karla Taylor
Harvey Berman and Rochelle Kovacs Berman
Inderpal and Martha Bhatia
Sandra L. and Stanley Bies
Jack Billi and Sheryl Hirsch
Sara Billmann and Jeffrey Kuras
Linda and Maurice Binkow
David and Martha Bloom
Blue Nile Restaurant
Mimi and Ron Bogdasanan
Paul Boylan
Carl A. Brauer, Jr.
Dale E. and Nancy M. Briggs
Jeannine and Robert Buchanan
Andrew and Emily Buchholz
Robert and Victoria Buckler
John and Janis Burkhardt
David Bury and Marianne Lockwood
Letitia J. Byrd
Carolyn M. Carty and Thomas H. Haug
Jack Cederquist and Meg Kennedy Shaw
Dr. Kyung and Young Cho
Donald and Astrid Cleveland
Michael and Hilary Cohen
Phelps and Jean Connell
Katharine Cosovich
Malcolm and Juanita Cox
George and Connie Cress
Mary C Crichton
Dana Foundation
David Lieberman Artists Representatives. Inc.
Linda Davis and Robert Richter
Neeta Deianey and Ken Stevens
Nicholas and Elena Delbanco
Steve and Lori Director
Judy and Steve Dobson
Cynthia M. Dodd
Robert J. and Kathleen Dolan
Hal and Ann Doster
Michele Eickholt and Lee Green
Janet Eilber
Bruce N. and Cheryl W. Elliott
Charles N. and Julie G, Ellis
Stefan and Ruth Fajans
Beth B. Fischer
Gerald B. and Catherine L. Fischer
Harold and Billie Fischer
Jeanne and Norman Fischer
Esther Floyd
Bob and Terry Foster
Lucia and Doug Freeth
Marilyn L. Friedman
Susan Froelich and Richard Ingram
Bart and Cheryl Frueh
Tavi Fulkerson
Bever ley and Gerson Geltner
Joyce and Steve Gerber
Heather and Seth Gladstein
Jack and Kathleen Glezen
Tom and Katherine Goldberg
William and Jean Gosling
Bob Green
Lewis R. and Mary A. Green
Linda and Richard Greene
Walt and Charlene Hancock
Carol I. Harrison
Alice and Clifford Hart Joyce and John Henderson J. Lawrence and Jacqueline
Stearns Henkel Bob and Barbara Hensinger Lorna and Mark Hildebrandt Helga and Jerry Hover Ann D. Hungerman Joyce M. Hunter Judith Hurtig
IATSE Local 395 Stagehands Independence Community
Foundation Keki and Alice Irani Mel and Myra Jacobs Harold Johnson Ben M. Johnson Robert L. and Beatrice H. Kahn Perry and Demse Kantner Christopher Kendall and Susan
Schilperoort John B. Kennard Nancy Keppelman and Michael
Smerza
Robert and Bonnie Kidd Paul and Leah Kileny Diane Kirkpatrick Dr. David E. and Heidi Castleman
Klein
Anne Kloack Gary and Barbara Krenz Daniel Krichbaum Amy Sheon and Marvin Knslov Ted and Wendy Lawrence Mary LeDuc Leo and Kathy Legatski Melvin A. Lester MD Donald and Carolyn Dana Lewis David Baker Lewis Emmy Lewislewis & Company Ken and Jane Lieberthal William and Lois Lovejoy John and Kathy Loveless Jimena Loveluck and Timothy
Veeser Emily Maltz
Ted and Teresa Marchese Nancy and Philip Margolis Mrs. Shirley D. Martin Mary and Chandler Matthews Jon McBride Susan McClanahan and Bill
Zimmerman Dores M. McCree Bill and Ginny McKeachie Joanna McNamara and Mel Guyer Barbara Meadows Shana Meehan Chase Joetta Mia I
John and Carla Michaud Patricia Mooradian Mary Morse
Lisa Murray and Michael Gatti Gerry and Joanne Navarre Frederick C. Neidhardt Gayl and Kay Ness Susan and Richard Nisbett Max and Patricia Noordhoorn Constance K. and Charles E.
Olson, Jr. Jan Onder
Constance and David Osier Anne Parsons and Donald Dietz Marv Peterson Nancy S. Pickus Julian and Evelyn Prince Steve and Ellen Ramsburgh
Stephen and Agnes Reading
John and Dot Reed
Dr. Riley Rees and Ms. Elly Wagner
Mamie Reid
Theresa Reid and Mark Hershenson
Sam and Janice Richards
Kenneth J. Robinson and Marcia
Gershenson Barbara A. Anderson and John H.
Romani
Doris E. Rowan Bill and Lisa Rozek Herbert and Ernestine Ruben Harry and Elaine Sargous Maya Savarino Ann and Thomas 1. Schriber Ruth Scodel
Ingnd and Clifford Sheldon Mikki Shepard Don and Sue Sinta Jim Skupski and Dianne Widzinski Andrea and William Smith Carl and Jan Smith Rhonda Smith Scott and Amy Spooner John and Lois Stegeman Victor and Marlene Stoeff ler Ronald Stowe and Donna Power
Stowe Doug Laycock and Teresa A.
Sullivan
Charlotte B Sundelson Mark and Patricia Tessler Denise Thai and David Scobey Carrie and Peter Throm John and Geraldine Topliss Jonathan Trobe and Joan
Lowenstein
Claire and Jeremiah Turcotte Elizabeth and Stephen Upton Thomas and Mary Wakefield Richard and Madelon Weber W. Scott Westerman, Jr. Sally M. Whiting Max Wicha and Sheila Crowley Frances A. Wright Phyllis B. Wright Bob and Betty Wurtz Jeanne and Paul Yhouse
S1-S99
Joseph S. Ajlouny
Anonymous
Arts Alliance of the Ann Arbor Area
Barbara B. Bach
Jenny Bilfield-Friedman and Joel
Friedman
Ed and Luciana Borbely Barbara Eventt Bryant Simon Carrington Mark Clague Edward and Ruth Cogen Hugh and Elly Cooper Jill Crane Sally Cushing Diana Engel
Bill Lutes and Martha Fischer Kristin Fontichiaro John N. Gardner Walter Helmreich Ken and Joyce Holmes Dr. Nancy Houk Dria Howlett
John and Patricia Huntington Mika and Danielle LaVaque-Manly Judie and Jerry Lax Rod and Robin Little
Georgine Loacker
Shelley MacMtllan and Gary Decker
Jaclin and David Marlm
Beth McNally
Ronald G. Miller
Shelley and Dan Morhaim
Mr. and Mrs. Warren J. Perlove
Julianne Pinsak
Eileen Pollack
Elisabeth and Michael Psarouthakis
Thomas and Sue Ann Reisdorph
Oman Rush
Margaret and Glen Rutila
Liz Silverstein
Lloyd and Ted St. Antoine
Peg Talburtt and Jim Peggs
Christina and Thomas Thoburn
Linda Tubbs
Harvey and Robin Wax
Warren Williams
Endowed Funds
77ie future success of the University Musical Society is secured in part by income from UMS's endowment. UMS extends its deepest apprecia?tion to the many donors who have established andor con?tributed to the following funds:
H. Gardner and Bonnie Ackley
Endowment Fund Herbert S. and Carol Amster Fund Catherine S. Arcure Endowment
Fund Carl and Isabelle Brauer
Endowment Fund Choral Union Fund Hal and Ann Davis Endowment
Fund Doris Duke Charitable Foundation
Endowment Fund Ottmar Eberbach Funds Epstein Endowment Fund JazzNet Endowment Fund William R. Kinney Endowment Fund Natalie Matovinovic Endowment
Fund
NEA Matching Fund Palmer Endowment Fund Mary R. Romig-deYoung Music
Appreciation Fund Prudence and Amnon Rosenthal
K-12 Education Endowment
Fund
Charles A. Sink Endowment Fund Catherine S. ArcureHerbert E.
Sloan Endowment Fund University Musical Society
Endowment Fund The Wallace Endowment Fund
Burton Tower Society
The Burton Tower Society recognizes and honors those very special friends who have included UMS in their estate plans. UMS is grateful for this important support, which will
continue the great traditions of artistic excellence, educational opportunities, and community partnerships in future years.
Bernard and Raquel Agranoff
Carol and Herb Amster
Mr. Neil P. Anderson
Dr. and Mrs. David G. Anderson
Catherine S. Arcure
Linda and Maurice Binkow
Elizabeth S. Bishop
Mr. and Mrs. W. Howard Bonn1
Mr. and Mrs. Pal E. Borondy
Carl and Isabelle Brauer
Barbara Everitt Bryant
Pat and George Chatas
Mr. and Mrs. John Alden Clark
H. Michael and Judith L. Endres
Dr. James F. Filgas
Ken and Penny Fischer
Ms. Susan Ruth Fischer
Beverley and Gerson Geltner
Paul and Anne Glendon
John and Martha Hicks
Mr. and Mrs. Richard Ives
Marilyn G. Jeffs
Thomas C. and
Constance M. Kinnear Diane Kirkpatrick Charlotte McGeoch Michael G. McGuire M. Haskell and Jan Barney Newman Len Niehoff
Dr. and Mrs. Frederick C. O'Dell Mr. and Mrs. Dennis M. Powers Mr. and Mrs. Michael Radock Mr. and Mrs. Jack Ricketts Mr. and Mrs. Willard L Rodgers Prudence and Amnon Rosenthal Margaret and Haskell Rothstein Irma J. Sklenar Herbert Sloan Art and Elizabeth Solomon Roy and JoAn Wettel Ann and Clayton Wilhite Mr. and Mrs. Ronald G Zollars
Tribute Gifts
Contributions have been received in honor andor mem?ory of the following individuals:
H. Gardner Ackley
Herb and Carol Amster
Robert G. Bartle
Abe Berman
Wendy Bethune and Roland Pender
Linda and Maurice Binkow
Mary Gene Birdsall
Carl and Isabelle Brauer
Charles and Evetyn Carver
Germaine Chipault
Cheryl Clarkson
Jon Cosovich
Arthur F. Cox, Jr.
Douglas D. Crary
Edith Dertch
Pauline DiPietro
John S. Dobson
Janel Fain
Ken and Penny Fischer
Sally Fleming
Sara B. Frank
Maxme and Stuart Frankel
Martha Gall
Jeffrey B. Green
Lila Green
Lisbeth Louise Hildebrandt Johnson
Harbeck Harold Haugh
Dr. Sidney S. Hertz
Robert Kelch MD
Francis W. Kefsey
Or. and Mrs. Edwin Marcus
Kenyatta Martin
Marilyn Mason
Valerie D. Meyer
James D. Moore
Ella Baker Munger
Holmes E. and Susan E. Newton
Raymond Peck
Gwen and Emerson Powne
Gail W. Rector
Steffi Reiss
Claire Rice
Amnon Rosenthal
Margaret E. Rothstein
Eric H. Rothstein
Nona Schneider
William J. Scott
Marvin Selin
Marjorie Merker Sell '39
Michael and Molina Serr
Sam Silverman
George E. Smith
Edith Marie Snow
Burnette Staebier
James Stanley
Charles R. Tieman
Francis V. Viola III
George and Ailie Wappula
Edward C.Weber
Raoul Weisman
CariH. Wilmot'19
Dr. Jan Winkelman
Peter Holderness Woods
Barbara E. Young
In-Kind Gifts
16 Hands
4 Seasons Perfume and
LingerieAllure Boutique Wadad Abed Abracadabra JewelryGem
Gallery
Acme Mercantile Benjamin Acosta-Hughes Bernie and Ricky Agranoff Alice Lloyd Residence Hall Carol and Herb Amster Blair Anderson Ann Arbor Art Center Ann Arbor Art Center Gallery
Shop
Ann Arbor Aviation Center Ann Arbor District Library Ann Arbor Framing Ann Arbor Hands-On Museum Ann Arbor Public Schools Ann Arbor Tango Club Ann Arbor's 107one Arbor Brewing Company Avanti Hair Designers Ayla & Company John U Bacon Bailey. Banks & Biddle Bana Salon and Spa Bob and Wanda Bartlett Joseph W. Becker Gary Beckman Bellanina Day Spa Kathy Benton and Robert
Brown Yehonatan Berick
Lynda Berg
Berry Goldsmiths
The Betty Brigade
Nishta Bhatia
Maurice and Linda Binkow
Jerry Blackstone
Bloomfield Gourmet Shoppe
Blue Nile
Boychoir of Ann Arbor
Enoch Brater
Beth BruceThe Carlisle
Collection Bob Buckler Jim Bumstein
Patty ButzkeOrbit Hair Design Cafe Zola Cake Nouveau Lou and Janet Callaway Camp Michigama Mary CampbellEveryday Wines Nathan Caplan Casey's Tavern Cass Technical High School Cesar Chavez High School Mignonette Cheng Cherry Republic The Chippewa Club Mark Clague Deb Clancy Coach Me Fit Cole Street Salon & Spa The Common Grill Community High School Community High School
Dance Program Complete Chiropractic and
Bodywork Therapy Howard CooperHoward
Cooper Import Center Liz Copeland James Corbett and Mary
Dempsey Curves Habte Dadi Gary Decker Judith DeWoskin Sally and Larry DiCark) Andrew S. DixonPersonal
Computer Advisor Heather Dombey Downtown Home & Garden DTE Energy Duggan Place Bed and
Breakfast Aaron Dworkin The Earte Restaurant Eastern Michigan University
Dance Department Eastern Michigan University
Department of Theater
Education Gillian Eaton Jack and Betty Edman Lisa and Jim Edwards El Bustan Funoun Anthony Elliott Juhe Ellison Equilibrium Espresso Royale Mary Ann Faeth Fantasy Forest
Jo-Anna and David Featherman Susan Filipiak Ucal Finley
Susan Fisher and John Waidley Kristin Fontichiaro
Frame Factory
Fran Coy Salon
Sara Frank
Maxine and Stuart Frankel
Traianos Gagos
Deborah Gabrion
Zvi Gitelman
Glass Academy LLC
Anne Glendon
Kathy and Tom Goldberg
The Golden Apple
Larry Greene
Greenstone's Fine Jewelry
Linda Gregerson
Tim Grimes
Groom & Go
Susan Guiheen
Susan and Richard Gutow
Walt and ChaHene Hancock
Lavinia Hart
Heather's Place
David W. and Kathryn Moore
Hetaniak
Carl and Charlene Herstein Hill Top Greenhouse and Farms Barbara Hodgdon The Homestead Bed and
Breakfast Hong Hua
Howell Nature Center Carol and Dan Huntsbarger
The Moveable Feast iguanaworks integrated Architecture Inward Bound Yoga Julie's Music Imagining America Mohammad Issa Andrew Jennings Mercy and Stephen Kasle Meg Kennedy Shaw Ken's Flower Shops Kerntown Concert House Patty and David Kersch Iman Khagani Kenneth Kiesler Tom and Liz Knight Knit A Round Yarn Shop Knit Pickers Joan Knoertzer Gayle LaVictoire Lynnae Lehfeldt Lori Lentini-Wilbur Richard LeSueur Bobbie and Myron Levine Lewis Jewelers Karen Lindenberg Logan An American
Restaurant Eleanor Lord Stephanie Lord Martin and Jane Maehr Manachi Especial de Alma Martha Cook Residence Hall Mary grove College Dance
Department
Chandler and Mary Matthews Marilyn McCormick Zarin Mehta Kate Mendeloff The Metro Cafe MFit Culinary Team MFit Fitness Center Michigan Theater Carla Milarch Miles of Golf
Jeff MoreAshley's Restaurant Morgan and York Mosaic Youth Theater Motawi Tileworks Vince Mountain Louis Nagel The Neutral Zone John Neville-Andrews M.Haskell and Jan Barney
Newman
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