UMS Concert Program, Wednesday Mar. 12 To 21: University Musical Society: Winter 2008 - Wednesday Mar. 12 To 21 --

Parent ID

UMS Concert Programs, Season CXXIX (2007-2008)

Day

12

Month

March

Year

2008

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programs_20080312b.pdf

Copyright

Creative Commons (Attribution, Non-Commercial, Share-alike)

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University Musical Society

OCR Text

Season: WINTER 2008
University Of Michigan, Ann Arbor

university musical society
Winter 08 University of Michigan Ann Arbor P2 Letters from the Presidents P5 Letter from the Chair
UMSLeadership 6 UMS Corporate and Foundation Leaders P14 UMS Board of DirectorsNational Council SenateAdvisory Committee 15 UMS StaffTeacher Advisory Committee
UMSlnfo 17 General Information P19 UMS Tickets
UMSAnnals 21 UMS History 22 UMS Venues and Burton Memorial Tower
UMSExperience 27 UMS Education Programs P33 UMS Student Programs
UMSSupport 37 Corporate Sponsorship and Advertising 37 Individual Donations P39 UMS Volunteers 41 Annual Fund Support 46 Annual Endowment Support 48 UMS Advertisers
Cover: Urban Bush Women and Compagnie Jant-Bi perform Les ecailles de la m?moire (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 & 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
Vice President, Corporate Affairs and Chair, Masco Corporation Foundation "Masco recognizes and appreciates the value the performing arts bring to the region and to our young people. We applaud the efforts of the University Musical Society for its diverse learning opportunities and the impact its programs have on our communities and the cultural leaders of tomorrow."
Erik H. Serr
Principal, Miller, Canfield, Paddock and Stone, P.LC "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
$50,000-599.999
Anonymous DTE Energy Foundation Esperance Family Foundation The Power Foundation
$20,000-549,999
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 Sams Ann Arbor Fund
UNIVERSITY MUSICAL S 0 C I E T Y of the University of Michigan
UMS BOARD OF DIRECTORS
Carl W. Herstein,
Chair James C. Stanley,
Wee Chair Kathleen Benton,
Secretary Michael C. Allemang,
Treasurer
Wadad Abed Carol L. Amster Lynda W. Berg D.J. Boehm Charles W. Borgsdorf Robert Buckler Mary Sue Coleman Hal Davis Al Dodds Aaron P. Dworkin Maxine J. Frankel
Patricia M. Garcia Anne Glendon David J. Herzig Christopher Kendall Melvin A. Lester Joetta Mial Lester P. Monts Roger Newton Philip H. Power Todd Roberts A. Douglas Rothwell
Edward R. Schulak John J. H. Schwarz Ellie Serras Joseph A. Sesi Anthony L. Smith Cheryl L. Soper Michael D. VanHemert
Chris Genteel, Board Fellow
UMS NATIONAL COUNCIL
Clayton E. Wilhite, Chair John Edman Janet Eilber
Eugene Grant Charles Hamlen David Heleniak
Toni Hoover Judith Istock Zarin Mehta
Herbert Ruben Russell Willis Taylor
UMS SENATE (former members of the UMS Board of Directors)
Robert G. Aldrich Herbert S. Amster Gail Davis Barnes Richard S. Berger Maurice S. Binkow Lee C. Bollinger Janice Stevens Botsford Paul C. Boylan Carl A. Brauer William M. Broucek Barbara Everitt Bryant Letitia J. Byrd Kathleen G. Charla Leon S. Cohan Jill A. Corr Peter B. Corr Ronald M. Cresswell Robert F. DiRomualdo Cynthia Dodd James J. Duderstadt David Featherman
Robben W. Fleming David J. Flowers George V. Fornero Beverley B. Geltner William S. Hann Randy J. Harris Walter L. Harrison Deborah S. Herbert Norman G. Herbert Peter N. Heydon Toni Hoover Kay Hunt Alice Davis Irani Stuart A. Isaac Thomas E. Kauper David B. Kennedy Gloria James Kerry Thomas C. Kinnear Marvin Krislov ' F. Bruce Kulp Leo A. Legatski
Earl Lewis Patrick B. Long Helen B. Love Judythe H. Maugh Paul W. McCracken Rebecca McGowan Barbara Meadows Alberto Nacif Shirley C. Neuman Jan Barney Newman Len Niehoff Gilbert S. Omenn Joe E. O'Neal John D. Paul Randall Pittman John Psarouthakis Rossi Ray-Taylor John W. Reed Richard H. Rogel Prudence L. Rosenthal Judy Dow Rumelhart
Maya Savarino Ann Schriber Erik H. Serr Harold T. Shapiro George I. Shirley John 0. Simpson Herbert Sloan Timothy P. Slottow Carol Shalita Smokier Jorge A. Solis Peter Sparling Lois U. Stegeman Edward D. Surovell James L. Telfer Susan B. Ullrich Eileen Lappin Weiser B. Joseph White Marina v.N. Whitman Clayton E. Wilhite Iva M. Wilson Karen Wolff
ADVISORY COMMITTEE
Andrea Smith, Chair Phyllis Herzig, Vice Chair Alice Hart, Secretary Betty Byrne, Treasurer Meg Kennedy Shaw, Past Chair
Randa Ajlouny MariAnn Apley Lorie Arbour Barbara Bach Rula Kort Bawardi Poage Baxter Nishta Bhatia Luciana Borbely
Mary Breakey Mary Brown Heather Byrne Janet Callaway Laura Caplan Cheryl Clarkson Wendy Comstock Jean Connell Phelps Connell Norma Davis Mary Dempsey Mary Ann Faeth Michaelene Farrell Sara Fink Susan Fisher
Kathy Goldberg Joe Grimley Susan Gutow Lynn Hamilton Charlene Hancock Raphael Juarez Jeri Kelch Jean Kluge Pam Krogness Julaine LeOuc Mary LeDuc Joan Levitsky Eleanor Lord Judy Mac Jane Maehr
Joanna McNamara Jeanne Merlanli Liz Messiter Kay Ness Sarah Nicoli Thomas Ogar Betty Palms Allison Poggi Lisa Psarouthakis Paula Rand Wendy Moy Ransom Stephen Rosoff Swanna Saltiel Agnes Moy Sarns Jamie Saville
Penny Schreiber Bev Seiford Ahda Silverman Loretta Skewes Nancy Stanley Karen Stutz Eileen Thacker Janet Torno Amanda Uhle Dody Viola Enid Wasserman Amy Weaver Ellen Woodman Mary Kate Zelenock
UMS STAFF
AdministrationFinance
Kenneth C. Fischer, President Luciana Borbely, Assistant to the
President John B. Kennard, Jr., Director of
Administration Beth Gilliland, Gift ProcessorIT
Assistant
Patricia Hayes, Senior Accountant John Peckham, Information Systems
Manager
Choral Union
Jerry Blackstone, Conductor and
Music Director
Jason Harris, Assistant Conductor Kathleen Operhall, Chorus Manager Nancy K. Paul, Librarian Jean Schneider, Accompanist Scott VanOrnum, Accompanist Donald Bryant, Conductor Emeritus
Development
Susan McClanahan, Director Susan Bozell, Manager of
Corporate Support Rachelle Lesko, Development
Assistant Lisa Michiko Murray, Manager of
Foundation and Government
Grants M. Joanne Navarre, Manager of
Annual Giving Marnie Reid, Manager of Individual
Support Lisa Rozek, Assistant to the Director
of Development Cynthia Straub, Advisory Committee
and Events Coordinator
EducationAudience Development
Ben Johnson, Director Bree Juarez, Education and
Audience Development Manager Mary Roeder, Residency
Coordinator Omari Rush, Education Manager
MarketingPublic Relations
Sara Billmann, Director Jim Leija, Public Relations Manager Mia Milton, Marketing Manager Erika Nelson, Assistant Marketing Manager
Production
Douglas C. Witney, Director Emily Avers, Production Operations
Director Jeffrey Beyersdorf, Technical
Manager
Programming
Michael J. Kondziolka, Director Mark Jacobson, Programming
Manager Carlos Palomares, Artist Services
Coordinator Claire C. Rice, Associate
Programming Manager
Ticket Services
Nicole Paoletti, Manager Sally A. Cushing, Ticket Office
Associate Suzanne Davidson, Assistant Ticket
Services Manager, Front-of-
House Coordinator
Jennifer Graf, Assistant Ticket
Services Manager Karen Jenks, Group Sales
Coordinator Parmiss Nassiri-Sheijani, Ticket
Office Assistant Sara Sanders, Assistant Front-of-
House CoordinatorTicket Office
Assistant Stephanie Zangrilli, Ticket Office
Associate Dennis Carter, Bruce Oshaben,
Brian Roddy, Head Ushers
Students
Catherine Allen Gabriel Bilen Greg Briley Caleb Cummings Elizabeth Dengate Vinal Desai Amy Fingerle Jonathan Gallagher Eboni Garrett-Bluford Charlie Hack William Hubenschmidt Max Kumangai-McGee Michael Lowney Ryan Lundin Michael Michelon Leonard Navarro Meg Shelly Ian Sinclair Andrew Smith Trevor Sponseller Liz Stover Robert Vuichard Julie Wallace Marc Zakalic
UMS TEACHER ADVISORY COMMITTEE
Abby Alwin Fran Ampey Robin Bailey Greta Barfield Joey Barker Alana Barter Judy Barthwell Rob Bauman Brita Beitler Elaine Bennett Ann Marie Borders Sigrid Bower Marie Brooks Susan Buchan
Deb Clancy Leslie Criscenti Karen Dudley Saundra Dunn Johanna Epstein Susan Filipiak Katy Fillion Delores Flagg Joey Fukuchi Jeff Gaynor Joyce Gerber Jennifer Ginther Bard Grabbe Walter Graves
Chrystal Griffin Nan Griffith Joan Grissing Linda Hyaduck Linda Jones Jeff Kass
Deborah Kirkland Rosalie Koenig Sue Kohfeldt Laura Machida Janet Mattke Jamie McDowell Jose Mejia Eunice Moore
Michelle Peet Anne Perigo Cathy Reischl Jessica Rizor Tracy Rosewarne Sandra Smith Julie Taylor Cayla Tchalo Dan Tolly Barbara Wallgren Joni Warner Kimberley Wright Kathryn Young
UMSlnfo
GENERAL INFORMATION
Barrier-Free Entrances
For persons with disabilities, all venues have barrier-free entrances. Wheelchair locations vary by venue; visit www.ums.orgtickets or call 734.764.2538 for details. Ushers are available for assistance.
Listening Systems
For hearing-impaired persons, Hill Auditorium, Power Center, and Rackham Auditorium are equipped with assistive listening devices. Earphones may be obtained upon arrival. Please ask an usher for assistance.
Lost and Found
For items lost at Hill Auditorium, Lydia Mendelssohn Theatre, Power Center, or Rackham Auditorium please call University Productions at 734.763.5213. For the Michigan Theater, call 734.668.8397. For St. Francis of Assisi, call 734.821.2111.
Parking
Please allow plenty of time for parking as the campus area may be congested. Parking is available in the Church Street, Maynard Street, Thayer Street, Fletcher Street, and Fourth Avenue structures for a minimal fee. Limited street parking is also available. Please allow enough time to park before the performance begins. UMS donors at the Patron level and above ($1,000) receive 10 complimentary park?ing passes for use at the Thayer Street or Fletcher Street structures in Ann Arbor.
UMS offers valet parking service for Hill Auditorium performances in the 0708 Choral Union series. Cars may be dropped off in front of Hill Auditorium beginning one hour before
each performance. There is a $20 fee for this service. UMS donors at the Leader level and above ($3,500-54,999) are invited to use this service at no charge.
Other recommended parking that may not be as crowded as on-campus structures: Liberty Square structure (formerly Tally Hall), entrance off of Washington Street between Division and State; about a two-block walk from most per?formance venues, $2 after 3 pm weekdays and all day SaturdaySunday. Maynard Street struc?ture, entrances off Maynard and Thompson between William and Liberty, $.80hr, free on Sunday.
For up-to-date parking information, please visit www.ums.org.
Refreshments
Refreshments are available in the lobby during intermissions at events in the Power Center, in the lower lobby of Hill Auditorium (beginning 75 minutes prior to concerts--enter through the west lobby doors), and in the Michigan Theater. Refreshments are not allowed in the seating areas.
Smoking Areas
University of Michigan policy forbids smoking in any public area, including the lobbies and restrooms.
Start Time
UMS makes every effort to begin concerts at the published time. Most of our events take place in the heart of central campus, which does have limited parking and may have several events occurring simultaneously in different theaters. Please allow plenty of extra time to park and find your seats.
Programming on WKAR Radio and Television offers you personal growth, an exploration of our world, programs and information that can help change your life.
Your member-supported public radio and television stations, say "thank you" for helping us fulfill our mission.
WKAR joins its cultural colleagues in celebrating Michigan State University's Year of Arts and Culture.
WKARG WKAR.org
.atecomers
Latecomers will be asked to wait in the lobby until seated by ushers. Most lobbies have been outfitted with monitors andor speakers so that atecomers will not miss the performance.
The late-seating break is determined by the artist and will generally occur during a suitable repertory break in the program (e.g., after the first entire piece, not after individual movements of classical works). There may be occasions where latecomers are not seated until intermis?sion, as determined by the artist. UMS makes every effort to alert patrons in advance when we know that there will be no late seating.
UMS tries to work with the artists to allow a flexible late-seating policy for family perform?ances.
UMS TICKETS
3roup Tickets
Treat 10 or more friends, co-workers, and family members to an unforgettable performance of live music, dance, or theater. Whether you have a group of students, a business gathering, a college reunion, or just you and a group of friends, the UMS Group Sales Office can help you plan the perfect outing. You can make it formal or casual, a special celebration, or just ?'riends enjoying each other's company. The many advantages to booking as a group include:
Reserving tickets before tickets go on sale to the general public
Discounts of 15-25 for most performances
Accessibility accommodations
No-risk reservations that are fully refundable up to 14 days before the performance
1-3 complimentary tickets for the group organizer (depending on size of group). Complimentary tickets are not offered for performances with no group discount.
For more information, please contact 734.763.3100 or e-mail umsgroupsalesO umich.edu.
Classical Kids Club
Parents can introduce their children to world-renowned classical music artists through the Classical Kids Club. For more information please see page P31.
NETWORK Tickets
Members of the UMS African American Arts Advocacy Committee receive discounted tickets to certain performances. For more information please see page P27.
Student Tickets
Discounted tickets are available for University students and teenagers. Information on all UMS University Student Ticketing programs can be found on page P33. Teen Ticket infor?mation can be found on page P31.
Gift Certificates
Available in any amount and redeemable for any of more than 70 events throughout our season, wrapped and delivered with your per?sonal message, the UMS Gift Certificate is ideal for weddings, birthdays, Christmas, Hanukkah, Mother's and Father's Days, or even as a housewarming present when new friends move to town.
UMS Gift Certificates are valid for 12 months from the date of purchase and do not expire at the end of the season. For more information, please visit www.ums.org.
Retums
If you are unable to attend a concert for which you have purchased tickets, you may turn in your tickets up to 15 minutes before curtain time by calling the Ticket Office. Refunds are not available; however, you will be given a receipt for an income tax deduction.
Ticket Exchanges
Subscribers may exchange tickets free of charge. Non-subscribers may exchange tickets for a $6 per ticket exchange fee. Exchanged tickets must be received by the Ticket Office
Info
(by mail or in person) at least 48 hours prior to the performance. The value of the tickets may be applied to another performance or will be held as UMS Credit until the end of the season. You may also fax a copy of your torn tickets to 734.647.1171. Lost or misplaced tickets cannot be exchanged. UMS Credit for this season must be redeemed by May 9, 2008.
HOW DO I BUY TICKETS
In Person:
League Ticket Office
911 North University Ave.
Hours:
Mon-Fri: 9am-5pm
Sat: 10am-1pm
By Phone:
734.764.2538
Outside the 734 area code, call toll-free 800.221.1229
By Internet:
www.ums.org
By Fax: 734.647.1171
By Mail:
UMS Ticket Office Burton Memorial Tower 881 North University Ave. Ann Arbor, Ml 48109-1011
@@@@On-site ticket offices at performance venues open 90 minutes before each performance and remain open through intermission of most events.
UMSAnnals
UMS HISTORY
Through a commitment to Presentation, Education, and the Creation of new work, the University Musical Society (UMS) serves Michigan audiences by bringing to our community an ongo-ng series of world-class artists, who represent the diverse spectrum of today's vigorous and exciting live performing arts world. Over its 128 ears, strong leadership coupled with a devoted community has placed UMS in a league of internationally recognized performing arts pre?senters. Today, the UMS seasonal program is a '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 in every facet of the live arts.
UMS grew from a group of local university and townspeople who gathered together for the study of Handel's Messiah. Led by Professor Henry Simmons Frieze and conducted by Professor Calvin Cady, the group assumed the name The Choral Union. Their first perform?ance of Handel's Messiah was in December of 1879 and this glorious oratorio has since been performed by the UMS Choral Union annually. As a great number of Choral Union mem?bers also belonged to the University, the University Musical Society was established in December 1880. UMS included the Choral Union and University Orchestra, and through?out the year presented a series of concerts fea?turing local and visiting artists and ensembles.
Since that first season in 1880, UMS has expanded greatly and now presents the very best from the full spectrum of the performing arts--internationally renowned recitalists and orchestras, dance and chamber ensembles, jazz and world music performers, and opera and theater. Through educational endeavors, commissioning of new works, youth programs, artist residencies, and other collaborative proj?ects, UMS has maintained its reputation for quality, artistic distinction, and innovation. UMS now hosts over 50 performances and more than 125 educational events each season. UMS has flourished with the support of a generous community that this year gathers in five differ?ent Ann Arbor venues.
The UMS Choral Union has likewise expanded their charge over their 128-year history. Recent collaborations have included the Grammy Award-winning recording of William Bolcom's Songs of Innocence and of Experience, as well as performances of John Adams's On the Transmigration of Souls with the Detroit Symphony Orchestra and Shostakovich's Symphony No. 13 ("Babi Yar") with the Kirov Orchestra of St. Petersburg.
While proudly affiliated with the University of Michigan, housed on the Ann Arbor campus, and a regular collaborator with many University units, UMS is a separate not-for-profit organi?zation that supports itself from ticket sales, corporate and individual contributions, founda?tion and government grants, special project support from U-M, and endowment income.
UMS VENUES AND BURTON MEMORIAL TOWER
Hill Auditorium
After an 18-month $38.6-million dollar renova?tion overseen by Albert Kahn Associates, Inc. and historic preservation architects Quinn EvansArchitects, Hill Auditorium re-opened to the public in January 2004. Originally built in 1913, renovations have updated Hill's infra?structure and restored much of the interior to its original splendor. Exterior renovations include the reworking of brick paving and stone retaining wall areas, restoration of the south entrance plaza, reworking of the west barrier-free ramp and loading dock, and improvements to landscaping.
Interior renovations included the creation of additional restrooms, the improvement of barrier-free circulation by providing elevators and an addition with ramps, the replacement
of seating to increase patron comfort, introduc?tion of barrier-free seating and stage access, the replacement of theatrical performance and audio-visual systems, and the complete replacement of mechanical and electrical infra?structure systems for heating, ventilation, and air conditioning.
Hill Auditorium seats 3,575.
Michigan Theater
The historic Michigan Theater opened January 5, 1928 at the peak of the vaudevillemovie palace era. Designed by Maurice Finkel, the 1,710-seat theater cost around $600,000 when it was first built. As was the custom of the day, the theater was equipped to host both film and live stage events, with a full-size stage, dressing rooms, an orchestra pit, and the Barton Theater Organ. At its opening, the theater was acclaimed as the best of its kind in the country. Since 1979, the theater has been operated by the not-for-profit Michigan Theater Foundation. With broad community support, the Foundation has raised over $8 million to restore and improve the Michigan Theater. The beautiful interior of the theater was restored in 1986.
In the fall of 1999, the Michigan Theater opened a new 200-seat screening room addi?tion, which also included expanded restroom facilities for the historic theater. The gracious facade and entry vestibule was restored in 2000
Power Center
The Power Center for the Performing Arts grew out of a realization that the University of Michigan had no adequate proscenium-stage theater for the performing arts. Hill Auditorium was too massive and technically limited for most productions, and the Lydia Mendelssohn Theatre was too small. The Power Center was built to supply this missing link in design and seating capacity.
In 1963, Eugene and Sadye Power, together with their son Philip, wished to make a major gift to the University, and amidst a list of
Jniversity priorities "a new theater" was men-ioned. The Powers were immediately interested, ealizing that state and federal governments vere unlikely to provide financial support for '.he construction of a new theater.
Opening in 1971 with the world premiere Df 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 nclude two large spiral staircases leading from the orchestra level to the balcony and the well-nown mirrored glass panels on the exterior. The lobby of the Power Center presently fea?tures two hand-woven tapestries: Modern Tapestry by Roy Lichtenstein and Volutes (Arabesque) by Pablo Picasso.
The Power Center seats approximately 1,400 people.
Arbor Springs Water Company is generously providing complimentary water to UMS artists backstage at the 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.
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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
Wednesday, March 12 through Friday, March 21, 2008
Leila Haddad and the 5
Gypsy Musicians of Upper Egypt
In the Trail of the Ghawazee Wednesday, March 12, 8:00 pm Power Center
SFJAZZ Collective 9
Thursday, March 13, 8:00 pm Hill Auditorium
San Francisco Symphony 11
Friday, March 14, 8:00 pm Hill Auditorium
J.S. Bach's St. Matthew Passion 17
Friday, March 21, 7:30 pm Hill Auditorium
1
January
4 FriEmerson String Quartet
16 WedJazz at Lincoln Center Orchestra with Wynton Marsalis: Ellington Love Songs
20 Sun Yuja Wang, piano
21 Mon Mos Def Big Band: Tribute to
Detroit's J Dilla 27 Sun Moiseyev Dance Company
February
1 FriAssad Brothers' Brazilian Guitar
Summit
2 SatA Celebration of the Keyboard
8 Fri Chicago Classical Oriental Ensemble
9 Sat Guarneri String Quartet and
Johannes String Quartet
10 Sun Wu Man, pipa, and the Bay Area
Shawm Band
14 ThuChristian Tetzlaff, violin
15 FriNoism08: NINA materialize sacrifice
16 SatAhmad Jamal
March
5 WedOrion String Quartet and
David Krakauer, clarinet 9 Sun Michigan Chamber Players (complimentary admission)
12 WedLeila Haddad and the
Gypsy Musicians of Upper Egypt
13 Thu-SHAZZ Collective:
A Tribute to Wayne Shorter
14 FriSan Francisco Symphony 21 FriBach's St. Matthew Passion 28-29 Fri-SatUrban Bush Women and
Compagnie Jant-Bi: Les ecailles de la memoire (The scales of memory)
April
2 WedLang Lang, piano
4 FriBrad Mehldau Trio
5 SatChoir of King's College, Cambridge 10 Thueighth blackbird
12 Saf-Lila Downs
18 FriMehr and Sher Ali:
Qawwali Music of Pakistan
19 SatBobby McFerrin, Chick Corea, and
Jack DeJohnette
20 Sun Andras Schiff: Beethoven Concert 3 22 fue Andras Schiff: Beethoven Concert 4
May
10 SatFord Honors Program: Sir James Galway
UMS Educational [vents
through Monday, March 31, 2008
All UMS educational activities are free, open to the public, and take place in Ann Arbor unless other?wise noted. For complete details and updates, please visit www.ums.org or contact the UMS education department at 734.647.6712 or umsed@umich.edu.
Lecture Series: American Jazz 101
A Focus on Contemporary Jazz
Monday, March 31, 7-8:45 pm Ann Arbor District Library, 343 South Fifth Avenue Led by Ellen Rowe, Associate Professor and Chair of Jazz Piano & Improvisation Studies, U-M School of Music, Theatre & Dance
Jazz has, from its early 20th-century inception, spawned a variety of subgenres, from New Or?leans Dixieland, big band-style swing, Bebop, a variety of Latin-jazz fusions, jazz-rock fusion, and later developments such as acid jazz, contempo?rary jazz, and world jazz.
This lecture series is designed for general audiences who love music, but want a more com?prehensive study of what is considered America's "classical" music...jazz. All lectures will feature broad overviews of each era of jazz through lis?tening, lecture, and recommended readings and recordings. Each lecture also corresponds with upcoming UMS concerts: Ahmad Jamal Trio, Brad Meldau Trio, and the SFJAZZ Collective.
A collaboration with 89.1 FM, the U-M School of Music, Theatre & Dance, and the Ann Arbor District Library.
presents Leila Haddad and the Gypsy Musicians of Upper Egypt
Leila Haddad, Dance, Choreography
Mohamed Mourad, Rababa, Suffara, Vocals Youssef Moubarak, Vocals, Rababa El Kinawy, Mizmar Ramadan Atta, Mizmar, Arghul Hanafy, Tabl baladi El Hamy Mohamed, Dohola, Duff, Rababa, Tura, Chant Abdallah Farah, Mizmar, Tabl baladi
Program Wednesday Evening, March 12, 2008 at 8:00 Power Center Ann Arbor
In the Trail
OF THE GHAWAZEE
This performance is approximately 90 minutes in length and will not include an intermission.
44th Performance of the 129th Annual Season 17th Annual Dance Series Funded in part by the National Endowment for the Arts, which believes that a great nation deserves great art. Media partnership provided by Michigan Radio, Between the Lines, Metro Times, and The Arab American News.
The photographing or sound and video recording of this performance or possession of any device for such recording is prohibited. Large print programs are available upon request.

In the Trail of the Ghawazee
"Life is like the Ghawazee, the Gypsy dancers from Upper Egypt, who dance but an instant for each and all." -Egyptian proverb
In this program, Leila Haddad, called "the Queen of Oriental dance" by Le Parisien, traces the steps of the little-known Ghawazee dancers. While the main route of the Roma (Gypsy) people was through the Balkans into Eastern Europe and finally to Spain, a branch found its way through the Arabi?an peninsula to Upper Egypt. Here the dances drew deeply on the mythical Nile as a source before mov?ing on to nourish the roots of many of the world's secular dance forms--including modern dance.
Improvisation guides the music of the virtuoso masters from Upper Egypt, who hover on the brink of the ecstatic trance state known as tarab. Ms. Haddad's pure, deeply learned solo performance follows the music's twists and tums in a choreog?raphy that shifts like the spirit of the moment.
Raqs Sharqi
No other dance form has been so mythologized as Middle Eastern dance. Popularized in the West as "belly dance" or "Oriental dance," it is known in the Arab world as raqs Sharqi. Variously as?sociated with exotic Eastern entertainment, fer?tility rites, and tawdry nightclubs, the genre has nevertheless stood the test of time and become a worldwide phenomenon. While it is impossible to determine its precise origins we do know that dance of a similar nature has survived since an?tiquity. Accounts from Roman times describe the "rapid and vigorous hip movements" of the Gad-etani dancers of Spain, and Egyptian tomb paint?ings depict both lithe dancers and musical instru?ments that are little different than those used to accompany the dance today.
While the Victorian fascination with the forbidden fruit of "Oriental" exotica led to many misconceptions, authentic Middle Eastern dance did find its way to the West in the Philadelphia Centennial Exposition of 1876 and the Paris In?ternational Exhibition of 1889. Nevertheless, the prevailing sentiment was that this dance form was associated with the sleazier side of life or with imagined stereotypes that culminated in vulgar-
ized Hollywood extravaganzas in the early to mid-20th century. However, from the mid-20th centu?ry onward, European and American dancers and dance ethnographers began studying the dance seriously during visits to Egypt and North Africa, which led to an explosion of interest in raqs Sharqi and regional folk dances.
Raqs Sharqi is prevalent throughout the Near and Middle East, but it is Egypt that is most often associated with this dance form. Egypt is home to hereditary dancers known as Ghawazee. Compris?ing a number of ethnic minorities, the Ghawazee are probably descended from Roma tribes that migrated from western India (Rajasthan) in the 11th century and onward. While their language, in colloquial Arabic, has little resemblance to that of the Roma, there are traces of Persian and other languages suggesting protracted sojoums during their migration. The Ghawazee were noted by Eu?ropean travelers as far back as the early-18th cen?tury. In the mid-19th century, Austrian diplomat and Orientalist Alfred Von Kremer wrote:
The most numerous tribe everywhere in Egypt is the Ghawazi; in every city, town, and village there are representatives of these arch seductresses, whose personal beauty makes them dangerous.
The Ghawazee were essentially traveling en?tertainers who moved from town to town, visiting fairs and festivals plying their trade and perform?ing for weddings and other festivities. Ghawazee women often danced in the streets accompanying themselves on sagat (finger cymbals) and passing the tambourine after their shows. They were ac?companied by their men folk on instruments such as the rababa (fiddle), zummara (double clarinet), and the mizmar (double reed) and tabl baladi (large double-sided drum) combination. The Gha?wazee were indeed considered by many to be the most beautiful women in Egypt. They were among Egypt's most fortunate citizens, often acquiring great wealth. They dressed in silk and wore ex?pensive jewelry including anklets, gold bracelets, and coins across their foreheads. Both men and women blackened their eyes with kohl and hen?naed their hands and feet as was the custom of the Egyptian middle and upper class.
As nomadic people, they developed an un?flattering reputation that led to their banishment from the north by Pasha Muhhamad AN in the mid-1830s. They then settled in towns and vil-
lages throughout Upper Egypt. One of the best known groups is the Banat Mazin family--Nawar Gypsies that settled in Luxor and were filmed in the 1970s and 1980s. The dispersal of the Gha-wazee across Egypt has, over time, resulted in an ancient dance style nearly being lost in its country of origin. Fortunately, artists such as Leila Haddad and dancers from Europe and America are now bringing this art to international communities.
Program note by Robert H. Browning.
Instrument Definitions
Rababa: Two-string spike fiddle
Suffara: Open-ended reed flute
Mizmar. Oboe
Arghul: Drone double clarinet
Tabl baladi: Large double-sided drum
Dohola: Large hand drum
Duff: Large frame drum
Tura: Set of large brass finger cymbals
Leila Haddad is recognized as one of the world's premier Oriental dancers, perform?ing raqs Sharqi, which is commonly referred to as "belly dance." Born in Djerba, Tunisia to a Berber family, and now living in France, she has studied many of the Arab world's dance forms by traveling from village to village. She has been at the forefront in bringing raqs Sharqi out of clubs and cabarets to the theatrical stage, winning it recognition as a noble art form and freeing it from the degrading connotations of the past. With her performances she has revived the dignity and tra?dition of Oriental dance and conveyed its latent sensuality as a tribute to femininity rather than subjugation to male images of women.
Her performances have taken her to major festivals and cultural institutions in Europe and the US. She has also appeared in films, such as L'Homme voile (Veiled Man) by Lebanese direc?tor Maroon Baghdadi and La Goutte d'or (Drop of Gold), by French film-maker Marcel Bluwal. A highly respected teacher, she opened her first Paris Oriental dance class in the mid-1980s--a bold move at a time when the dance form was unknown or poorly understood. Today she travels widely to teach dance and train new teachers.
Ms. Haddad was the first Oriental dancer to
perform at the 1988 Salon de la Danse festival in Paris. Some of her most important works include Dance of the Seven Veils, which was commissioned by the French city of Lille for its dance festival; Rouh and A la Recherche de Tanlt, two new works which were commissioned for the Danses Contempo-raines et Orientales Festival (1992); Aquarelles for the Theatre du Rond Point in Paris (1994); L'Orient d'une Danseuse--Reveries sur le Nil, which she choreographed for the Institut du Monde Arabe (1995); Nomades, which she created in 1996 for the Estivales festival in Paris; and Zikrayat, her work in homage to Oum Khalsoum which premiered at the Theatre Mogador in Paris (2000J.
In the Trail of the Ghawazee, which was first shown in its current form in February 2006 at the Theatre du Trianon in Paris, has been presented at the Images of Middle East festival in Denmark, the Middle East Festival at the National Museum in Singapore, the Mediterranean festival in Hong Kong, and many cities in France. Its original ver?sion was performed in 1993 at the Tempodrum in Berlin and the Austria Theater in Vienna with the Musicians du Nil.
Leila Haddad
This evening's performance marks the UMS debut of Leila Haddad and the Gypsy Musicians of Upper Egypt.
ums
and the
University of Michigan
Health System
present
SFJAZZ Collective
Joe Lovano, Tenor and Soprano Saxophones
Dave Douglas, Trumpet
Stefon Harris, Vibraphone
Miguel Zen6n, Alto Saxaphone
Robin Eubanks, Trombone
Renee Rosnes, Piano
Matt Penman, Bass
Eric Harland, Drums
Program
Thursday Evening, March 13, 2008 at 8:00 Hill Auditorium Ann Arbor
A Tribute to Wayne Shorter
Tonight's program will be announced by the artists from the stage and will not contain an intermission.
Please see the SFJAZZ Collective program for detailed information on tonight's performance.
45th Performance of the 129th Annual Season
14th Annual Jazz Series
TTie photographing or sound and video recording of this performance or possession of any device for such recording is prohibited.
Tonight's performance is sponsored by the University of Michigan Health System.
Special thanks to Robert Kelch, Executive Vice President for Medical Affairs, for his continued and generous support of the University Musical Society.
Media partnership provided by WEMU 89.1 FM, WDET 101.9 FM, and Metro Times.
The Steinway piano used in this evening's concert is made possible by William and Mary Palmer and by Hammell Music, Inc., Livonia, Michigan.
The SFJAZZ Collective appears by arrangement with International Music Network.
SFJAZZ is a leading US institution for jazz creation, presentation, and education. Now marking its 25th anniversary, SFJAZZ produces the San Francisco Jazz Festi?val, the SFJAZZ Collective, jazz classes for youth and adults, and more.
Large print programs are available upon request.
UMS ARCHIVESSFJAZZ Collective
This evening's performance marks Stefon Harris' second performance under UMS auspices. The vibraphonist made his UMS debut in April 1998 at Rackham Audito?rium in Marsalisi'Stravinsky, a production of the Chamber Music Society of Lincoln Center. Tonight also marks the second UMS performances of Miguel Zenon, Matt Penman, and Renee Rosnes following their debuts with the SFJAZZ Collective at the Michigan Theater in March 2006. Eric Harland makes his third UMS performance this evening after his jazz series debut as a member of the Charles Lloyd Quintet in November 2003. Robin Eubanks made his UMS debut in October 1995 with Slide Hampton and the Jazz Masters; tonight marks his fourth UMS appearance.
UMS welcomes the remaining Collective members who make their UMS debuts tonight.
and CFI Group present San Francisco Symphony Michael Tilson Thomas, Music Director and Conductor
Program Jean Sibelius Ludwig van Beethoven Friday Evening, March 14, 2008 at 8:00 Hill Auditorium Ann Arbor Symphony No. 7 in C Major, Op. 105 INTERMISSION Symphony No. 3 in E-flat Major, Op. 55 Allegro con brio Marcia funebre: Adagio assai Scherzo: Allegro vivace Finale: Allegro molto
46th Performance of the 129th Annual Season 129th Annual Choral Union Series The photographing or sound and video recording of this performance or possession of any device for such recording is prohibited. Tonight's performance is sponsored by CFI Group. Special thanks to Steven Whiting, Associate Dean for Graduate Studies and Associate Professor of Musicology, University of Michigan School of Music, Theatre & Dance, for his participation in tonight's Prelude Dinner. Media partnership provided by WGTE 91.3 FM and Observer & Eccentric newspapers. Special thanks to Tom Thompson of Tom Thompson Flowers, Ann Arbor, for his generous contribution of lobby floral art for tonight's concert. The San Fransisco Symphony's performance is generously supported by United Airlines. The San Francisco Symphony appears by arrangement with Columbia Artists Management, LLC. Large print programs are available upon request.

Symphony No. 7 in C Major, Op. 105
(1924)
Jean Sibelius
Born December 8, 1865 in Tavastehus
(Hameenlinna), Finland Died September 20, 1957 in Jarvenpaa
Symphony No. 7 begins with a soft triple rap on a drum. It is a summons to which the strings re?spond with a scale rising from the depths of the orchestra, arriving on a chord strange in sonority and harmonic implication. All this seems not the beginning of a discourse but like the resumption of one in progress. In a sense it is. Sibelius is an artist whose major statements are in conversation with one another: confirming, contradicting, al?ways continuing.
The work is a single movement, about 20 minutes long. Within that span, tempo and char?acter change often. The sequence seems to read with the following emphasis: ADAGIO--VIVA-CISSIMO--ADAGIO--Allegro molto moderato-ALLEGRO MODERATO--Vivace--Presto--ADA?GIO--Largamente molto--Affettuoso--Tempo I.
These changes are not of equal weight, and we do not hear all of them as structural or expres?sive markers. The purpose of these emphases is to indicate the real "movements." We can say Sibel?ius gives us an Adagio, which is the symphony's single biggest section; a scherzo-like Vivacissimo; a sonata-like Allegro moderato, reached by way of a brief reappearance of the Adagio; and a spa?cious and weighty coda, which actually begins with a brief Presto, but most of which consists of a final return to the Adagio.
What makes this arresting is how Sibelius has made these three movements plus coda into a single piece. Robert Layton has written: "The Sev?enth consummates the 19th-century search for symphonic unity." In this piece, changing tempi are not merely a condition of Sibelius's task; his control of speed is the key to his awesome mas?tery of transition.
After the work's mysterious opening we hear fragments of scales, in contrary motion, at differ?ent speeds, and in various rhythmic articulations. Then Sibelius lays down an extraordinary passage of rich polyphony for all the strings, divided into nine sections. This crescendo is a journey into day?light, toward C Major. Through the polyphonic thicket, a solemn proclamation of a single trom?bone asserts itself with effortless splendor. This
statement is the culmination of a process of con?centration. Now the music begins to diffuse and seeks escape from the magnetic field of C Major. The pace quickens until we find ourselves in the midst of a wild dance with rapidly alternating tat?toos of woodwinds and strings. This is the Viva-cissimo section. After a while we realize that the exceedingly fast notes have been subordinated to an enormously broader tempo. In other words, the fast notes are still there, but they are now the swirling accompaniment to the slow beats of the second Adagio. This new appearance of the trom?bone's command, more insistent than before and embedded in the sounds of heavy brass, marks one of the major articulation points in the work.
Again the pace quickens, leading to the en?ergetic "third movement," the Allegro moderate. In a typically Sibelian paradox, the moment of at?taining the highest speed also marks the begin?ning of another great slowing. Here, at the third Adagio, we hear the third great summons of the trombone. This time it leads to a climax more an?guished than any we have yet experienced in this symphony. Woodwinds and brass abandon the strings. Then comes collapse, descending harmo?nies, a fierce gripping of C Major, a violently dis?sonant crescendo cut off with terrifying finality.
After 1926, Sibelius, who lived until 1957, wrote no major composition that survives. Per?haps he felt that, while he had left room for that darkly elusive postscript, the great tone poem Tapiola, he could not add another symphony. He was a master of final cadences, and in that crunch of instruments converging on a chord of C Major in his Symphony No. 7 he had said, beyond recall, "The End."
Symphony No. 3 in E-flat Major, Op. 55,
"Eroica"(1805) Ludwig van Beethoven Born December 16, 1770 in Bonn, Germany Died March 26, 1827 in Vienna
In May 1804, Napoleon, who had been accept?able to Beethoven as a military dictator as long as he called himself First Consul, had himself crowned Emperor, and the disappointed and an?gry composer scratched out the words "intitolata Bonaparte" on the title page of his newly com?pleted symphony. Actually Beethoven blew hot
and cold on that issue. In August of that same year, he told the publishing firm of Breitkopf & Hartel in Leipzig that this symphony "is really called 'Ponaparte' [sic]." At some point, too, Beethoven penciled the words "Geschrieben auf Bonaparte" (Written on Bonaparte) on that mu?tilated title page. But the score of Symphony No. 3 as printed in October 1806 tells us that this is a sinfonia eroica, a "heroic symphony... composed to celebrate the memory of a great man."
"I'll pay another Kreuzer if the thing will only stop," a gallery wit called out at the public pre?miere of the "Eroica" in 1805. One critic conced?ed that in this "tremendously expanded, daring, and wild fantasia" there was no lack of "startling and beautiful passages in which the energetic and talented composer must be recognized," but he felt that the work "loses itself in lawlessness." Beethoven had given his audience plenty to be up?set about--a symphony half again as long as any they would have known, and one unprecedented in demands on orchestral virtuosity that almost certainly were met inadequately, unprecedented as well in the complexity of its polyphony, in the unbridled force of its rhetoric, in the weirdness of details like the famous "wrong" horn entrance in the first movement (the horn has already reached the home chord of E-flat while the violins are still preparing its arrival with a dissonance), and with procedures so radical as the disintegration of the theme at the end of the monumental "Funeral March."
Another newness in the "Eroica" is the shift of the center of gravity from the first movement to the "Finale." Facing a new challenge, Beethoven turned to old music; that is, he made a set of vari?ations on a theme he had first used in a group of contradances in 1800-01, which he had intro?duced at about the same time in the finale of his ballet The Creatures of Prometheus, and which had also yielded Fifteen Variations and a Fugue on an Original Theme ("Eroica Variations") in 1802. In the symphony he provides a grand, rhetorical introduction or "frame." After the witty explora?tion of the possibilities of the bass alone comes a powerful set of variations on the combined mel?ody and bass. He infuses his variations with po?lyphony throughout their course, and the vitality of texture this creates is one of the chief sources of the movement's propulsive energy. True to clas?sical tradition for variations, Beethoven slows the tempo near the end. The slow variations here are
a climax of towering force. Carefully Beethoven dismantles this structure: The music is almost an echo of the "disintegration" of the "Funeral March." Then he resumes speed to fulfill his "he?roic symphony" in triumphantly affirmative noise.
Program notes by Michael Steinberg.
Copyright O 2008 San Francisco Symphony.
Michael Tilson Thomas first conducted the San Francisco Symphony in 1974 and has been Music Director since 1995. A Los Angeles native, he studied with John Crown and Ingolf Dahl at the University of Southern California, becoming Music Director of the Young Musicians Foundation Debut Orchestra at 19 and working with Stravinsky, Boulez, Stockhausen, and Copland at the famed Monday Evening Con?certs. He was pianist and conductor for Piatigor-sky and Heifetz masterclasses and, as a student of Friedelind Wagner, an assistant conductor at Bayreuth. In 1969, Maestro Tilson Thomas won the Koussevitzky Prize and was appointed Assis?tant Conductor of the Boston Symphony. Ten days later he came to international recognition, replac?ing Music Director William Steinberg in mid-con?cert at Lincoln Center. He went on to become the BSO's Associate Conductor, then Principal Guest Conductor. He has also served as Director of the
Michael Tilson Thomas
Ojai Festival, Music Director of the Buffalo Phil?harmonic, a Principal Guest Conductor of the Los Angeles Philharmonic, and Principal Conductor of the Great Woods Festival. He became Principal Conductor of the London Symphony Orchestra in 1988 and now serves as Principal Guest Conduc?tor. For a decade he served as co-Artistic Direc?tor of Japan's Pacific Music Festival, which he and Leonard Bernstein inaugurated in 1990, and he continues as Artistic Director of the New World Symphony, which he founded in 1988. Maestro Tilson Thomas's recordings have won numerous international awards, and his recorded repertory reflects interests arising from work as conduc?tor, composer, and pianist. His television credits include broadcasts of the New York Philharmonic Young People's Concerts, and in 2004 he and the SFS launched Keeping Score on PBS-TV. His compositions include From the Diary of Anne Frank, ShowaShoa'h (commemorating the 50th anniversary of the Hiroshima bombing), Poems of Emily Dickinson, Urban Legend, Island Music, and Notturno. Among his honors are Columbia Uni?versity's Ditson Award for services to American music and Musical America's 1995 "Conductor of the Year" award. He is a Chevalier des Arts et des Lettres of France and has been elected to the American Academy of Arts and Sciences. Gramo?phone named him its 2005 "Artist of the Year."
The San Francisco Symphony (SFS) gave its first concerts in 1911 and has grown in ac?claim under a succession of music directors: Henry Hadley, Alfred Hertz, Basil Cameron, Issay Dobrowen, Pierre Monteux, Enrique Jorda, Josef Krips, Seiji Ozawa, Edo de Waart, Herbert Blomst-edt, and, since 1995, Michael Tilson Thomas. The SFS has won such recording awards as France's Grand Prix du Disque, Britain's Gramophone Award, and the US Grammy Award. For RCA Red Seal, Michael Tilson Thomas and the SFS have re?corded music from Prokofiev's Romeo and Juliet, Mahler's Das klagende Lied, Berlioz's Symphonie fantastique, two Copland collections, a Gershwin collection, Stravinsky ballets (Le Sacre du print-emps, The Firebird, and Persephone), and Charles Ives: An American Journey. Mahler's Symphony No. 6 inaugurated a Mahler cycle on the Symphony's own label and in 2003 captured a Grammy Award for "Best Orchestral Performance." In 2004, the
Tilson ThomasSFS recording of Mahler's Sympho?ny No. 3 captured the Grammy Award for "Best Classical Album," and last year their recording of Mahler's Symphony No. 7 captured Grammy Awards for "Best Orchestral Performance" and "Best Classical Album." Some of the world's most important conductors have been guests on the SFS podium, among them Bruno Walter, Leopold Stokowski, Leonard Bernstein, and Sir Georg Solti, and the list of composers who have led the Or?chestra includes Stravinsky, Ravel, Copland, and John Adams.
The SFS Youth Orchestra, founded in 1980, has become known around the world, as has the SFS Chorus, heard on recordings and on the soundtracks of such films as Amadeus and Godfather III. Adventures in Music, this season celebrating its 20th anniversary, brings music to every child in grades one through five in San Fran?cisco's public schools. SFS radio broadcasts, the first in America to feature symphonic music when they began in 1926, today carry the Orchestra's concerts across the country. In a multimedia pro?gram designed to make classical music accessible to people of all ages and backgrounds, the SFS has launched Keeping Score on PBS-TV, DVD, the internet (keepingscore.org), and radio (The MTT Files). San Francisco Symphony recordings are available at shopsfsymphony.org.
UMS ARCHIVES
Tonight's performance marks the San Francisco Symphony's seventh performance under UMS auspices, following their debut in October 1980 with conductor Edo de Waart. Michael Tilson Thomas makes his eighth UMS appearance since his debut in the April 1988 May Festival with the Pittsburgh Symphony Orchestra.
San Francisco Symphony Michael Tilson Thomas,
Music Director and Conductor
First Violins Alexander Barantschik
Concertmaster
Naoum Blinder Chair Nadya Tichman
Associate Concertmaster
San Francisco Symphony
Foundation Chair Mark Volkert
Assistant Concertmaster
79 Anniversary Chair Jeremy Constant
Assistant Concertmaster Mariko Smiley
Paula & John Gambs
Second Century Chair Melissa Kletnbart
Katharine Hanrahan Chair Yun Chu
Sharon Grebanier Naomi Kazama Hull Yukiko Kurakata
Catherine A. Mueller Chair Suzanne Leon Leor Maltinski
Isaac Stern Chair Diane Nicholeris Sarn Oliver Florin Parvulescu Victor Romasevich Catherine Van Hoesen Polina Sedukht Sarah Knutsont
Second Violins
Dan Nobuhiko Smiley
Principal
Dinner & Swig Families Chair Dan Carlson
Associate Principal
Audrey Avis Aasen-Hull Chair Paul Brancato
Assistant Principal Kum Mo Kim Raushan Akhmedyarova John Chisholm Cathryn Down Darlene Gray Amy Hiraga Frances Jeffrey Chunming Mo Kobialka Daniel Kobialka Kelly Leon-Pearce Elbert Tsai Robert Zelnick Chen Zhao Zoya Leybint Virginia Pricet Dan Bannert
Violas
Yun Jie Liu
Acting Principal
Jewett Chair Katie Kadarauch
Acting Associate Principal David Gaudry
Co-Acting Assistant Principal Adam Smyla
Co-Acting Assistant Principal
John Schoening Co-Acting Assistant Principal Lorry Lokey Second Century Chair
Nancy Ellis
Gina Femauer
Leonid Gesin
Christina King
Seth Mausner
Wayne Roden
Nanci Severance
Roxann Jacobsont
Virginia Lenzt
Tom Elliottt
Jenny Douglasst
Cellos
Michael Grebanier
Principal
Philip 5. Boone Chair Peter Wyrick
-4ssocare Principal Amos Yang
Assistant Principal Margaret Tait
Lyman & Carol Casey
Second Century Chair Barbara Andres Barbara Bogatin Jill Rachuy Srindel David Goldblatt Lawrence Granger Carolyn Mclntosh Anne Pinsker Peter She I ton
Christine & Pierre Lamond
Second Century Chair
Basses
Scott Pingel
Principal Larry Epstein
Associate Principal Stephen Tramontozzi
Assistant Principal
Richard & Rhoda Goldman
Chair
S.Mark Wright Charles Chandler Lee Ann Crocker Chris Gilbert Brian Marcus William Ritchen
Flutes
Tim Day
Principal
Caroline H. Hume Chair Robin McKee
Associate Principal
Catherine & Russell Clark
Chair Linda Lukas
Alfred S. S Dede Wilsey Chair Catherine Payne
Piccolo
Oboes
William Bennett Principal Edo de Waart Chair
James Gaffigan, Associate Conductor Benjamin Shwartz, Resident Conductor Herbert Blomstedt, Conductor Laureate
Jonathan Fischer
Associate Principal Pamela Smith
Dr. William D. Clinite Chair Russell deluna
English Horn
Joseph & Pauline Scafidi Chair
Clarinets Carey Bell
Principal
William R. S Gretchen B.
Kimbali Chair Luis Baez
Associate Principal
S-flat Clarinet David Neuman Ben Freimuth
Bass Clarinet
Bassoons
Stephen Paulson
Principal Steven Dibner
Associate Principal Rob Weir
Jacqueline & Peter Hoefer
Chair
Gregory Barbert Shawn Jonest Steven Braunstein
Contrabassoon
Horns
Robert Ward
Principal
Jeannik Mequet Littlefleld
Chair Bruce Roberts
Acting Associate Principal Jonathan Ring Kimberly Wright
Acting Assistant Principal Chris Coopert Doug Hullt Darby Hinshawt
Trumpets
Bill Williamst
Acting Principal
William G. Irwin
Charity Foundation Chair Glenn Fischthal
Associate Principal
Peter Pastreich Chair Mark Inouye
Ann L. & Charles B. Johnson
Chair Chris Bogios
Trombones
Paul Welcomer Acting Principal Robert L Samter Chair
Donna Parkest
John Engelkes Bass Trombone
Tuba
Jeffrey Anderson Principal James Irvine Chair
Harp
Douglas Rioth Principal
Timpani
David Herbert Principal
Percussion
Jack Van Geem
Principal
Carol Franc Buck Foundation
Chair
Raymond Froehlich Tom Hemphill James Lee Wyatt III
Keyboards
Robin Sutherland
Jean & Bill Lane Chair Marc Shapirot
Librarian
John G. Van Winkle
Principal Librarian
Nancy & Charles Geschke
Chair
On Leave
tActing member of the San
Francisco Symphony
The San Francisco Symphony string section utilizes revolving seating on a systematic basis. Players listed in alphabetical order change seats periodically.
John D. Goldman
President Brent Assink
Executive Director John Kieser
General Manager Gary Ginstling
Director of Communications
and External Affairs Gregg Gleasner
Director of Artistic Planning Robert Lasher
Director of Development Rebecca Blum
Orchestra Personnel
Manager Eric V. Johnson
Assistant Orchestra
Personnel Manager Joyce Cron Wessling
Manager, Tours and Media
Production Tim Carless
Production Manager Vance DeVost
Srage Manager Luree Baker
Stage Technician Dennis DeVost
Stage Technician
and Lawrence and Rebecca Lohr present St. Matthew Passion Composed by J.S. Bach Detroit Symphony Orchestra UMS Choral Union MSU Children's Choir Jerry Blackstone, Conductor Rufus Miiller, Evangelist Nikolay Borchev, Jesus Karina Gauvin, Soprano Susan Plans, Alto Steven Tharp, Tenor Marek Rzepka, Bass Branden Hood, Petrus, Pilatus, Judas, Pontifex Robert Stevenson, Pontifex 1 Ginger Thorne Hermann, Uxor Pilati William Stevenson, Pontifex II Karla Manson, Testis (Alto) Toni Micik, Ancilla 1 Adrian Leskiw, Testis (Tenor) Karen Isble, Ancilla II
Program Friday Evening, March 21, 2008 at 7:30 Hill Auditorium Ann Arbor This evening's performance is approximately three hours in length and includes one intermission.
47th Performance of the 129th Annual Season 129th Annual Choral Union Series The photographing or sound and video recording of this performance or possession of any device for such recording is prohibited. Tonight's performance is supported by Lawrence and Rebecca Lohr and the Frances Lohr Choral Union Endowment. Media partnership provided by WGTE 91.3 FM, Observers Eccentric newspapers, and WRCJ 90.9 FM. Special thanks to Anne Parsons, President and Executive Director of the Detroit Symphony Orchestra, for her participation in tonight's Prelude Dinner. Special thanks to Tom Thompson of Tom Thompson Flowers, Ann Arbor, for his generous contribution of lobby floral art for tonight's concert. The Detroit Symphony Orchestra's appearance is made by possible by the generous support of Guardian Industries through the Guardian Touring Fund. Ms. Gauvin and Mr. Tharp appear by arrangement with Thea Dispeker Inc. Artists Management. Ms. Platts appears by arrangement with Matthew Sprizzo Artists. Mr. Rzepka and Mr. Borchev appear by arrangement with Konzertdirektion Schmid. Mr. Miiller appears by arrangement with Gossage Artists Management. Large print programs are available upon request.