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

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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 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.
Welcome to this performance of the 129th season of the University Musical Society (UMS).
All of us at the University of Michigan are proud of UMS, the nation's oldest university-related performing arts presenter that is distinctive nationally in several ways:
UMS has commissioned more than 50 new works since 1990, demonstrating its commit?ment to supporting creative artists in all disciplines. Two of these UMS commissions featured this term are works by renowned U-M composers: MacArthur Fellow Bright Sheng's String Quartet No. 5 for the Emerson String Quartet on January 4 and Pulitzer Prize-winning William Bolcom's Octet for Double Quartet for the Guarneri and Johannes String Quartets on February 9.
In the past three seasons, 54 of UMS pre?sentations have featured artists making their UMS debuts, a measure of UMS's commit?ment to new and emerging artists, and 55 have featured artists from outside the United States, highlighting UMS's belief that artistic expression can foster greater understanding and appreciation of diverse cultures. In con?junction with the University's ChinaNow Theme Year, UMS presents pianist Yuja Wang on January 20 and pipa player Wu Man on February 10, each in their UMS debut per?formance.
UMS has worked in partnership with more than 50 U-M academic units and more than 150 U-M faculty members during the past three years, in addition to more than 100 community-based partners. One of the most notable partnerships for UMS this season is with our School of Music, Theatre & Dance. Together they have brought the renowned contemporary chamber music ensemble
eighth blackbird to the campus on four occasions during which the group has worked with hundreds of students on campus and in the community. Their residency culminates in their UMS debut performance on April 10.
UMS is the only university-related presenter in the nation to have been honored by both the Wallace Foundation with its Excellence Award and the Doris Duke Charitable Foundation with its Leading College and University Presenter Award in the inaugural year of both endowment programs, a measure of the esteem with which UMS is regarded in the presenting field.
Thank you for attending this UMS perform?ance. Please join us for other UMS events and for performances, exhibitions, and cultural activ?ities offered by our faculty and students in U-M's many outstanding venues. To learn more about arts and culture at Michigan, visit the University's website at and click on "Museums and Cultural Attractions."
Mary Sue Coleman
President, University of Michigan
Welcome! It's great to have you with us at this UMS performance. I hope you enjoy the experience and will come to more UMS events between now and May 10 when we close our 200708 season with our annual Ford Honors Program. This year's program features a recital by flutist James Galway followed by a wonderful dinner organized by our Advisory Committee. You'll find all of our performances listed on page 2 of your program insert.
Our Fall Season included 31 performances featuring artists and ensembles representing 19 countries around the world. Wherever possible, we like to create opportunities for our audience members to meet the artists. Here is a sampling of photos from several of the events from the Fall Season:
Feel free to get in touch with me if you have any questions, comments, or problems. If you don't see me in the lobby, send me an e-mail message at or call me at 734.647.1174.
Very best wishes,
Kenneth C. Fischer UMS President
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
It is inspiring and humbling to serve on the Board of UMS, which is widely recognized as one of the world's leading arts presenters. UMS is committed to performance, education, and the creation of new works, and has a 128-year history of excellence in all three areas. Our task at UMS is to advance the arts, to the benefit of the national and international arts communities, the University of Michigan, our local community, and our present and future patrons.
Each of us has an important role to play in this endeavor, whether as an audience member at a performance or an educational activity, a donor, or a volunteer member of the Board, Senate, Advisory Committee, or the new UMS National Council, which is enhancing our visibility around the country. We all are fortunate to have an opportunity to contribute to the special history of UMS.
Arts organizations exist because those who came before us chose to take advantage of the same kind of opportunity. To me, this is exemplified by some?thing that I was once told by a producer before a theatrical performance. He took us into the theater and said that, despite the not insignificant cost of our tickets, we should know there was the equivalent of a $50 bill on every seat-the contribution made by others enabling us to enjoy that presentation.
The same is true for UMS. About half of the cost of what we do comes from ticket sales. The remainder comes from you and your predecessors in this hall. Some sat in the second balcony as students and experienced the transformative power of the arts. Some sat with friends for 30 years in the same section of Hill. And some witnessed children being excited and inspired at a youth performance. All have chosen to leave money on their seats.
When you take your seat, think about what others have done that makes your experience possible. I hope you will be inspired to contribute to the UMS legacy. Consider your opportunity to "leave money on your seat," through both your participation and financial contributions. Be an active part of UMS, and when a member of the next generation arrives, they will be thankful that they got your seat.
Carl W. Herstein
Chair, UMS Board of Directors
James G. Vella
President, Ford Motor Company Fund ( and Community Services 'Through music and the arts, we are inspired to broaden our horizons, bridge differences among cultures, and set our spirits free. We are proud to support the University Musical Society and acknowledge the important role it plays in our community."
David Canter
Senior Vice President, Pfizer, Inc. "The science of discovering new medicines is a lot like the art of music: to make it all come together, you need a diverse collection of 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!"
UMS gratefully acknowledges the support of the following foundations and government agencies.
$100,000 or more
Doris Duke Charitable
Foundation Michigan Council for Arts
and Cultural Affairs Michigan Economic
Development Corporation The Wallace Foundation
Anonymous DTE Energy Foundation Esperance Family Foundation The Power Foundation
Cairn Foundation Maxine and Stuart Frankel
Foundation National Dance Project of the
New England Foundation
for the Arts National Endowment for the
Arts The Whitney Fund at the
Community Foundation
for Southeastern Michigan
Chamber Music America
Arts Midwest Performing Arts
Fund Issa Foundations
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
Carl W. Herstein,
Chair James C. Stanley,
Wee Chair Kathleen Benton,
Secretary Michael C. Allemang,
Wadad Abed Carol L. Amster Lynda W. Berg D.J. Boehm Charles W. Borgsdorf Robert Buckler Mary Sue Coleman Hal Davis Al Dodds Aaron P. Dworkin Maxine J. Frankel
Patricia M. Garcia Anne Glendon David J. Herzig Christopher Kendall Melvin A. Lester Joetta Mial Lester P. Monts Roger Newton Philip H. Power Todd Roberts A. Douglas Rothwell
Edward R. Schulak John J. H. Schwarz Ellie Serras Joseph A. Sesi Anthony L. Smith Cheryl L. Soper Michael D. VanHemert
Chris Genteel, Board Fellow
Clayton E. Wilhite, Chair John Edman Janet Eilber
Eugene Grant Charles Hamlen David Heleniak
Toni Hoover Judith Istock Zarin Mehta
Herbert Ruben Russell Willis Taylor
UMS SENATE (former members of the UMS Board of Directors)
Robert G. Aldrich Herbert S. Amster Gail Davis Barnes Richard S. Berger Maurice 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
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
Kenneth C. Fischer, President Luciana Borbely, Assistant to the
President John B. Kennard, Jr., Director of
Administration Beth Gilliland, Gift ProcessorIT
Patricia Hayes, Senior Accountant John Peckham, Information Systems
Choral Union
Jerry Blackstone, Conductor and
Music Director
Jason Harris, Assistant Conductor Kathleen Operhall, Chorus Manager Nancy K. Paul, Librarian Jean Schneider, Accompanist Scott VanOrnum, Accompanist Donald Bryant, Conductor Emeritus
Susan McClanahan, Director Susan Bozell, Manager of
Corporate Support Rachelle Lesko, Development
Assistant Lisa Michiko Murray, Manager of
Foundation and Government
Grants M. Joanne Navarre, Manager of
Annual Giving Marnie Reid, Manager of Individual
Support Lisa Rozek, Assistant to the Director
of Development Cynthia Straub, Advisory Committee
and Events Coordinator
EducationAudience Development
Ben Johnson, Director Bree Juarez, Education and
Audience Development Manager Mary Roeder, Residency
Coordinator Omari Rush, Education Manager
MarketingPublic Relations
Sara Billmann, Director Jim Leija, Public Relations Manager Mia Milton, Marketing Manager Erika Nelson, Assistant Marketing Manager
Douglas C. Witney, Director Emily Avers, Production Operations
Director Jeffrey Beyersdorf, Technical
Michael J. Kondziolka, Director Mark Jacobson, Programming
Manager Carlos Palomares, Artist Services
Coordinator Claire C. Rice, Associate
Programming Manager
Ticket Services
Nicole Paoletti, Manager Sally A. Cushing, Ticket Office
Associate Suzanne Davidson, Assistant Ticket
Services Manager, Front-of-
House Coordinator
Jennifer Graf, Assistant Ticket
Services Manager Karen Jenks, Group Sales
Coordinator Parmiss Nassiri-Sheijani, Ticket
Office Assistant Sara Sanders, Assistant Front-of-
House CoordinatorTicket Office
Assistant Stephanie Zangrilli, Ticket Office
Associate Dennis Carter, Bruce Oshaben,
Brian Roddy, Head Ushers
Catherine Allen Gabriel Bilen Greg Briley Caleb Cummings Elizabeth Dengate Vinal Desai Amy Fingerle Jonathan Gallagher Eboni Garrett-Bluford Charlie Hack William Hubenschmidt Max Kumangai-McGee Michael Lowney Ryan Lundin Michael Michelon Leonard Navarro Meg Shelly Ian Sinclair Andrew Smith Trevor Sponseller Liz Stover Robert Vuichard Julie Wallace Marc Zakalic
Abby Alwin Fran Ampey Robin Bailey Greta Barfield Joey Barker Alana Barter Judy Barthwell Rob Bauman Brita Beitler Elaine Bennett Ann Marie Borders Sigrid Bower Marie Brooks Susan Buchan
Deb Clancy Leslie Criscenti Karen Dudley Saundra Dunn Johanna Epstein Susan Filipiak Katy Fillion Delores Flagg Joey Fukuchi Jeff Gaynor Joyce Gerber Jennifer Ginther Bard Grabbe Walter Graves
Chrystal Griffin Nan Griffith Joan Grissing Linda Hyaduck Linda Jones Jeff Kass
Deborah Kirkland Rosalie Koenig Sue Kohfeldt Laura Machida Janet Mattke Jamie McDowell Jose Mejia Eunice Moore
Michelle Peet Anne Perigo Cathy Reischl Jessica Rizor Tracy Rosewarne Sandra Smith Julie Taylor Cayla Tchalo Dan Tolly Barbara Wallgren Joni Warner Kimberley Wright Kathryn Young
Barrier-Free Entrances
For persons with disabilities, all venues have barrier-free entrances. Wheelchair locations vary by venue; visit www.ums.orgtickets or call 734.764.2538 for details. Ushers are available for assistance.
Listening Systems
For hearing-impaired persons, Hill Auditorium, Power Center, and Rackham Auditorium are equipped with assistive listening devices. Earphones may be obtained upon arrival. Please ask an usher for assistance.
Lost and Found
For items lost at Hill Auditorium, Lydia Mendelssohn Theatre, Power Center, or Rackham Auditorium please call University Productions at 734.763.5213. For the Michigan Theater, call 734.668.8397. For St. Francis of Assisi, call 734.821.2111.
Please allow plenty of time for parking as the campus area may be congested. Parking is available in the Church Street, Maynard Street, Thayer Street, Fletcher Street, and Fourth Avenue structures for a minimal fee. Limited street parking is also available. Please allow enough time to park before the performance begins. UMS donors at the Patron level and above ($1,000) receive 10 complimentary park?ing passes for use at the Thayer Street or Fletcher Street structures in Ann Arbor.
UMS offers valet parking service for Hill Auditorium performances in the 0708 Choral Union series. Cars may be dropped off in front of Hill Auditorium beginning one hour before
each performance. There is a $20 fee for this service. UMS donors at the Leader level and above ($3,500-54,999) 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
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.
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.
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
Classical Kids Club
Parents can introduce their children to world-renowned classical music artists through the Classical Kids Club. For more information please see page P31.
Members of the UMS African American Arts Advocacy Committee receive discounted tickets to certain performances. For more information please see page P27.
Student Tickets
Discounted tickets are available for University students and teenagers. Information on all UMS University Student Ticketing programs can be found on page P33. Teen Ticket infor?mation can be found on page P31.
Gift Certificates
Available in any amount and redeemable for any of more than 70 events throughout our season, wrapped and delivered with your per?sonal message, the UMS Gift Certificate is ideal for weddings, birthdays, Christmas, Hanukkah, Mother's and Father's Days, or even as a housewarming present when new friends move to town.
UMS Gift Certificates are valid for 12 months from the date of purchase and do not expire at the end of the season. For more information, please visit
If you are unable to attend a concert for which you have purchased tickets, you may turn in your tickets up to 15 minutes before curtain time by calling the Ticket Office. Refunds are not available; however, you will be given a receipt for an income tax deduction.
Ticket Exchanges
Subscribers may exchange tickets free of charge. Non-subscribers may exchange tickets for a $6 per ticket exchange fee. Exchanged tickets must be received by the Ticket Office
(by mail or in person) at least 48 hours prior to the performance. The value of the tickets may be applied to another performance or will be held as UMS Credit until the end of the season. You may also fax a copy of your torn tickets to 734.647.1171. Lost or misplaced tickets cannot be exchanged. UMS Credit for this season must be redeemed by May 9, 2008.
In Person:
League Ticket Office
911 North University Ave.
Mon-Fri: 9am-5pm
Sat: 10am-1pm
By Phone:
Outside the 734 area code, call toll-free 800.221.1229
By Internet:
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.
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.
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.
O 7
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
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
1 FriAssad Brothers' Brazilian Guitar
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
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)
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
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 or contact the UMS education department at 734.647.6712 or
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
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.
and the
University of Michigan
Health System
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
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.
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
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 (, and radio (The MTT Files). San Francisco Symphony recordings are available at
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
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
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
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
Michael Grebanier
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
Scott Pingel
Principal Larry Epstein
Associate Principal Stephen Tramontozzi
Assistant Principal
Richard & Rhoda Goldman
S.Mark Wright Charles Chandler Lee Ann Crocker Chris Gilbert Brian Marcus William Ritchen
Tim Day
Caroline H. Hume Chair Robin McKee
Associate Principal
Catherine & Russell Clark
Chair Linda Lukas
Alfred S. S Dede Wilsey Chair Catherine Payne
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
William R. S Gretchen B.
Kimbali Chair Luis Baez
Associate Principal
S-flat Clarinet David Neuman Ben Freimuth
Bass Clarinet
Stephen Paulson
Principal Steven Dibner
Associate Principal Rob Weir
Jacqueline & Peter Hoefer
Gregory Barbert Shawn Jonest Steven Braunstein
Robert Ward
Jeannik Mequet Littlefleld
Chair Bruce Roberts
Acting Associate Principal Jonathan Ring Kimberly Wright
Acting Assistant Principal Chris Coopert Doug Hullt Darby Hinshawt
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
Paul Welcomer Acting Principal Robert L Samter Chair
Donna Parkest
John Engelkes Bass Trombone
Jeffrey Anderson Principal James Irvine Chair
Douglas Rioth Principal
David Herbert Principal
Jack Van Geem
Carol Franc Buck Foundation
Raymond Froehlich Tom Hemphill James Lee Wyatt III
Robin Sutherland
Jean & Bill Lane Chair Marc Shapirot
John G. Van Winkle
Principal Librarian
Nancy & Charles Geschke
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.

St. Matthew Passion, BWV 244
Johann Sebastian Bach
Born March 21, 1685 in Eisenach, Germany
Died July 28, 1750 in Leipzig
The St. Matthew Passion was first performed in Leipzig on Good Friday in 1727 and again in 1729. It was performed on at least two additional occa?sions during Bach's lifetime, in 1736 and during the 1740s. Bach revised the score for both of these later performances, with the most important change being the addition of the final chorus of Part I ("0 Mensch bewein"), which he borrowed from the second version of his own St. John Pas?sion. Subsequently, the St. Matthew Passion fell into oblivion, until revived in 1829 by the 20-year-old Felix Mendelssohn; this occasion is generally thought to mark the beginning of the 19th cen?tury's "Bach renaissance."
The St. Matthew Passion was introduced to the US by the Handel and Haydn Society of Bos?ton, which offered excerpts in 1871, an almost complete performance in 1874, and, finally, on Good Friday 1879, the entire work.
Since the earliest days of Christianity, the story of the Crucifixion has been chanted as part of the Holy Week liturgy. At first, the entire text was entrusted to a single reader; by the 13th century, the parts were distributed among several singers and the reading became increasingly dramatized. The first polyphonic settings of the Passion date from the 15th century. After the Protestant Ref?ormation, Passion settings using Martin Luther's Bible translation became popular in Germany, and eventually started to expand on the actual Gospel narrative by including newly-written commen?taries set as arias and choruses. Bach's Passions, therefore, stand on the shoulders of a long line of predecessors, drawing on, synthesizing, and tran?scending their accomplishments.
Bach's obituary, signed by his son Carl Philipp Emanuel and his pupil Johann Friedrich Agricola, credited the composer with five Passion settings. One of these, the St. Luke Passion has since been shown not to be by Bach, and two works are lost (for one of these, the text and a few excerpts of the music survive). Of the remaining two, the St. John Passion, completed in 1724 and revised sev?eral times, is on a smaller scale and is often char?acterized by a more direct, dramatic approach. The St. Matthew Passion is longer, calls for one
of the vastest ensembles ever employed by Bach, and--although it certainly doesn't lack drama-takes more time for meditative reflection and for tender, lyrical feelings.
The music of both passions falls into several distinct categories:
(1) Biblical narrative: the words of the Gos?pel, sung to accompanied recitative by the Evangelist and the various other characters.
(2) Turbas, or choruses on Biblical texts con?taining the responses of the crowd.
(3) Arias preceded by accompanied recita?tives, using newly-written texts that con?tain commentaries on the narrative from an 18th-century Lutheran standpoint.
(4) Chorales, or Lutheran church hymns in?serted as moments of communal reflection on the action.
The first two of these categories had been part of the Passion from the beginning; the second two were added in the German "oratorio Passions" of the 17th and 18th centuries. As we shall see, Bach sometimes combines several of these categories in the same movement.
The St. Matthew Passion narrates the events of the last days of Jesus's life, from the Last Sup?per through the Crucifixion, in no fewer than 68 musical numbers. (The earlier editions contained Nos. 1 to 78, but the most recent Barenreiter score, followed in this performance and in these notes, renumbered the movements by combining some of the shorter recitatives and choruses into larger units.) Instead of discussing each number separately, the focus here is on the four catego?ries defined above, illustrating the more general points by referring to individual movements in the Passion.
(1) Biblical narrative. Bach's recitative differs from earlier Passion recitatives in the highly expressive nature of its melodic line. Far from being the mere imitation of speech that recitative is supposed to be according to most dictionaries, Bach's recita?tives (while scrupulously following the prosody of his text) place extreme demands on the singers. The recitatives have a wide vocal range, may be quite complex harmonically, and contain aria-like elements such as long melismas (groups of notes sung to the same syllable) to mark words of par?ticular importance.
The Evangelist, whose part is by far the most extensive, is much more than a mere narrator: he actively participates in the action; the melodic in?flections in his part offer a personal commentary on the events. His voice often rises to the highest register of the tenor voice, as a sign of intense emotion. At the moment where Peter becomes aware of his betrayal of Jesus, he reaches the highest note of his part (B-natural) and bursts out in an expressive melisma to the words "weinete bitterlich" (wept bitterly) [No. 38]. After Jesus's death, the Evangelist announces the earthquake in a highly evocative manner [No. 63]: the highest and the lowest notes of his range appear within the same phrase above a textually descriptive bass line (32nd-note tremolos).
Bach devoted special attention to the part of Jesus. The recitatives are usually accompanied by the continuo group only (organ, cello and double bass); however, when Jesus sings, He is accompa?nied by all the strings, enveloping His voice with a halo made of sounds (this was another specifically German Passion tradition). It is deeply symbolic that during Jesus' last words on the cross, "Eli, Eli, lama asabthani" (My God, My God, why hast thou forsaken me), the strings are silent.
The vocal style of Jesus is mostly simple and understated. A few particularly expressive mo?ments stand out, such as the long arioso at the Last Supper: "Trinket alle daraus" (Drink ye all of it) [No. 11], the angry outburst "Ich werde den Hirten schlagen" (I will strike the shepherd) [No. 14] and the moment of despair "Meine Seele ist betrubt" (My soul is troubled) [No. 18].
(2) The turbas of the St. Matthew Passion make ample use of two polyphonic techniques: imita?tion (successive entries on the same melodic ma?terial) and antiphony (two choruses contrasted or juxtaposed). In Part I, the turbas are relatively shorter; in Part II they increase in length, especially in the section where Jesus is being mocked by the people. One of the most unforgettable moments in the Passion, is, however, a chorus consisting of a single chord. When Pilate asks if he should save Jesus or Barabbas, the people exclaim "Barra-bam!" on a diminished seventh chord (the great?est dissonance known in Bach's time). Shortly thereafter, in response to Pilate's question "What shall I do with Jesus" the chorus sings "Lass ihn kreuzigen" (Have him crucified) to a fugue based on an intensely chromatic theme, whose notes are
intertwined in a shape that was perceived as sym?bolic of the cross [No. 45].
(3) The texts for the arias (usually preceded by ac?companied recitatives) were written by Christian Friedrich Henrici (1700-64), a Leipzig poet known under the pseudonym Picander. The soloists sing?ing the arias represent individual members of the congregation (or allegorical characters such as the Daughter of Zion) reacting to, and identifying with, the events as they unfold. They are closely related to the preceding narrative. For example, the scene where Peter betrays Jesus is immediate?ly followed by the exceptionally beautiful alto aria "Erbarme dich" (Have mercy), with its famous vio?lin solo [No. 39]. Similarly, the bass aria "Gebt mir meinen Jesum wieder" (Give me back my Jesus) [No. 42] amplifies the story of Judas's repentance in the preceding movement. In the narrative No. 63, Joseph of Arimathea asks Pilate for permission to bury Jesus, and in the last bass aria [No. 65], the soloist sings "Ich willJesum selbst begraben" (I want to bury Jesus myself), as if he were Joseph in person. There is a deeper theological signifi?cance in this, as the Lutheran religion emphasized the need for a strong personal empathy with the suffering of Christ.
All arias contain one or more instrumental solo parts. These so-called obbligato parts have a structural role in announcing the themes and providing interludes between the vocal sections; however, they have a second and even more im?portant role in setting the stage emotionally for the aria. The special atmosphere of the soprano aria "Aus Liebe" (For love) [No. 49] is largely due to the special instrumentation: flute and two oboes da caccia (the Baroque ancestors of the English horn). This aria deserves special mention for the absence of all bass instruments, which cre?ates an ethereal timbre found nowhere else in the Passion.
(4) German audiences in Bach's time were inti?mately familiar with the words and the melodies of the chorales, but Bach's harmonizations were new (and quite startling at times). Two melodies recur with some frequency throughout the Passion (al?though with different words each time): one is "O Haupt voll Blut und Wunden" (0 Head, all scarr'd and bleeding), the other "Herzliebster Jesu, was hast du verbrochen" (Ah, Jesus dear, what pre-
cept hast Thou broken). Other melodies are used occasionally. Bach chose the melodies and verses carefully to match the dramatic situation at hand. For instance, the scene in which Jesus tells his dis?ciples that one of them will betray him and they protest saying "Hen, bin ich's" (Lord, is it me) [No. 9], is immediately followed by the chorale "Ich bin's, ich sollte bussen" (It's me, I should re?pent it) [No. 10]. Similarly, at the moment of Je?sus' death, the chorus sings the chorale "Wenn ich einmal soil scheiden" (When comes my hour of parting) [No. 62]. NB--Incidentally, movement 9 is also of note as a famous instance of Bach's musical symbolism, since the words "Herr, bin ich's" are heard exactly 11 times in the chorus. The 12th disciple, Judas, will ask the same ques?tion in the receitative following the chorale.
Although most chorales are presented in four-part homophonic harmonizations, some are incorporated into more complex structures. No. 1 and No. 29, the movements opening and closing Part I, are monumental chorale fantasies. In No. 1, "Kommt ihr Tochter, helft mir klagen" (Come ye daughters, share my wailing), the two choruses engage in a dialog, with Chorus II interjecting the questions "Wen Wie Was" (Whom How What) etc., and Chorus I answering. Superim?posed on this whole structure, which already involves some rather elaborate counterpoint, the children's chorus intones the chorale "O Lamm Gottes, unschuldig" (O Lamb of God unspotted). Later in the work, in the grandiose "O Mensch bewein dein Sunde gross" (0 man, thy griev?ous sins bemoan) [No. 29], the sopranos' simple chorale melody soars high above the polyphonic lines of the orchestra and the three lower voices of the chorus. Another example of a more com?plex treatment of a chorale melody may be found in No. 19, where the chorale "Herzliebster Jesu," heard earlier in a simple version as No. 3, reap?pears embedded into a tenor recitative.
Some movements of the Passion fit none of the above categories. There are a few arias with chorus [Nos. 20, 30, 60] where the emotions of the individual are immediately set off against the responses of the community. This is also true of the duet with chorus "So ist mein Jesus nun gefangen" (Behold, my Jesus now is taken) [No. 27], but there are other circumstances that make this movement even more unusual. At this point in the action, Jesus is being held by the soldiers,
and the soprano and the alto lament this misfor?tune. Three times, the chorus interjects a dramatic plea calling for His release. The first two times the winding melodic lines of the two soloists are total?ly unaffected by these passionate calls; the third time, however, the soloists stop when the cho?rus sings "Lasst ihn, haltet, bindet nicht!" (Loose Him, halt ye, bind him not!) Soon thereafter, the tempo changes from Andante to Vivace, and a magnificent fugato for double chorus unfolds on the words "Sind Blitze, sind Donner in Wolken verschwunden" (Have lightning and thunder dis?appeared in the clouds) The real meaning of this question becomes clear if we read the rest of the text: are there no forces in nature to avenge this calamity Bach used a powerful means to express the question mark in music. He left the musical phrase open and unresolved on the dominant, and let a long general rest follow, after which the orchestra enters in a new key, totally unrelated to the preceding music. The passage from here to the end of the movement is one of the most dra?matic in the entire Passion.
Finally, a word about the final movement of the Passion, which is definitely also "one of a kind." It was a well-established tradition in Ger?many to conclude Passion settings with a chorus bidding Jesus "Rest well," and Bach ended both the St. John and the St. Matthew Passions that way. (In St. John, there is actually a simple closing chorale after the "Rest well" chorus.) The musical model of the final chorus in St. Matthew, how?ever, is an instrumental one: the rhythmic pat?tern underlying the chorus is clearly that of the Sarabande, the slow dance familiar from so many of Bach's suites. In this magnificent double cho?rus, grandiose tutti gestures alternate with softer episodes involving only one of the two choruses, or both in dialog. The final chord of the piece is preceded by a striking dissonance (a so-called ap-poggiatura) that seems to sum up in a nutshell the tragedy we have been witnessing.
Program note by Peter Laki.
Jerry Blackstone is Director of Choirs and Chair of the Conducting Department at the U-M School of Music, Theatre & Dance where he conducts the Chamber Choir, teaches conduct?ing at the graduate and undergraduate levels, and administers a choral program of 11 choirs. In
February 2006, he won two Grammy Awards ("Best Choral Performance" and "Best Clas?sical Album") as chorusmaster for the critically-acclaimed Naxos recording of William Bolcom's monumental Sonas of Inno-
cence and of Experience. In November 2006, the Chamber Choir under his direction presented a special invited performance at the inaugural na?tional convention of the National Collegiate Cho?ral Organization in San Antonio. Dr. Blackstone was also the recent recipient of the Maynard Klein Lifetime Achievement Award announced at the annual convention of the Michigan chapter of the American Choral Directors' Association (ACDA). Choirs prepared by Dr. Blackstone have appeared under the batons of Neeme Jarvi, Nicholas McGe-gan, Rafael Frubeck de Burgos, James Conlon, and Yitzak Perlman.
Dr. Blackstone is considered one of the coun?try's leading conducting teachers, and his students have received first-place awards and been finalists in both the graduate and undergraduate divisions of the ACDA biennial National Choral Conduct?ing Awards competition. US News and World Report ranks the graduate conducting programs at the University of Michigan first in the nation. Dr. Blackstone has appeared as festival guest con?ductor and workshop presenter in 28 states as well as in Hong Kong and in Australia.
In April 2004, Dr. Blackstone was named Conductor and Music Director of the UMS Cho?ral Union, a large chorus of community and uni?versity singers that frequently appears with the Detroit Symphony Orchestra and the Ann Arbor Symphony and presents yearly performances of Handel's Messiah.
Dr. Blackstone serves as Director of the U-M School of Music, Theatre & Dance Summer Programs for High School Students and Adults, which includes MPulse Ann Arbor, a series of music and performing arts camps for high school students from around the world held on the Ann Arbor campus. He also leads the Michigan Youth
Ensembles Program, offering advanced instru?mental and choral ensemble opportunities in Ann Arbor during the academic year for talented high school students throughout Michigan.
The BritishGerman tenor Rufus Miiller is a sought-after performer of early music and is a leading Evangelist in Bach's Passions: he gave the world premiere of Jonathan Miller's acclaimed production of the St Matthew Passion, which he also recorded for United and broadcast on BBC TV; he recently repeated his performance in a revival of the production at the Brooklyn Acad?emy of Music in New York. Rufus Muller's other recent performances as the Evangelist include Lucerne, Munich, Toronto, Calgary, New York, London, Birmingham, Goteborg, Stockholm, Co?penhagen, Dortmund, and at the Killaloe Festival in Ireland and the Berkshire Choral Festival in the US. His many performances of Messiah include regular appearances at Carnegie Hall in New York, a televised tour in Spain with Trevor Pin-nock and the English Concert, as well as perfor?mances in Canada, Denmark, Norway, Sweden, and the UK.
In demand for oratorio and opera, Mr. Muller has worked with many leading conductors includ?ing Franz Welser-Mbst, Sir John Eliot Gardiner, Roq-
er Norrington, Nicholas McGegan, and Ivan Fischer. He has given solo recitals in the Wig-more Hall and the Bar?bican Concert Hall in London as well as for BBC Radio, and in Mu?nich, Tokyo, Barcelona, Madrid, Utrecht, Paris, Salzburg, and New York. He has a regular partnership with the pianist Maria Joao Pires
with whom he has performed in Spain, Portugal, Germany, Ireland, Japan, and the UK.
Operatic roles include Lucano in L'Incoronazione di Poppea (Houston Grand Op?era), the title roles in Rameau's Pygmalion and Lully's Persee (Opera Atelier in Toronto), the title role in Monteverdi's Orfeo (Opera Zuid in The Netherlands), Aminta in Peri's Euridice (Opera de Normandie), Alessandro in Handel's Poro (Halle) and Lurcanio in Handel's Ariodante in Gottingen
Jerry Blackstone
Rufus Muller
with Nicholas McGegan, released on a prize-win?ning disc by Harmonia Mundi USA.
Other recordings include Bach's St John Passion and Bach Cantatas with John Elliot Gar?diner for DG Archiv, Mozart's Die Zauberflote and Beethoven's Choral Fantasia with Roger Nor-rington for EMI, Dowland's First Book of Airs with lutenist Christopher Wilson for ASV, and Haydn's 0 tuneful voice and songs by Benda with soprano Emma Kirkby for Hyperion.
Mr. Muller was born in Kent, England and was a choral scholar at New College, Oxford. He is currently studying in New York with Thomas Lo-Monaco. In 1985 he won first prize in the English Song Award in Brighton, and in 1999 he was a prize winner in the Oratorio Society of New York Singing Competition. He is Visiting Assistant Pro?fessor of Music at Bard College.
Russian baritone Nikolay Borchev was born in 1980. His musical education started at the age of seven at the Music Academy of Moscow with pi?ano, flute, and organ. At the age of 16 he began training his voice at Moscow's Tchaikowsky Con?servatory and continued at the Hochschule fur Musik Hanns Eisler in Berlin, taking part in several masterclasses. Mr. Borchev was a First Prize win?ner at the International Singing Competition. The young baritone performs with the Moscow vocal ensemble Ave Maria in Austria, Belgium, France, Germany, Latvia, Luxembourg, and Russia. He is a devoted concert singer and his repertoire includes major works by Bach, Beethoven, Handel, Mahler, Mendelssohn, Schubert, and Schumann.
On stage, Mr. Borchev has performed as Ma-latesta in Don Pasquale, Guglielmo in Cosi fan ruf?fe, Don Giovanni in Don Giovanni, Papageno in Die Zauberflote, Figaro in barbiere di Siviglia, and as Onegin in Eugen Onegin. Since the 0405 season, Mr. Borchev has been a member of the Bavarian State Opera in Munich.
Mr. Borchev has performed with the Akademie fur Alte Musik Berlin, the Freiburger Barockorchester, and London Mozart Players at many European fes?tivals. He has worked with some of the world's leading conductors: Ivor Bolton, Fabio Luisi, Rene Jacobs, Zubin Mehta, Kent Nagano, Andreas Sper-ing, and Marcello Viotti.
In 2006 Mr. Borchev sang Handel's Alexan?der Feast in Salzburg and Gottingen conducted by Rene Jacobs. At the Festwochen fur Alte Musik in Innsbruck he took part in a production of Don Giovanni under the baton of Maestro Jacobs and sang Haydn's ritorno di Tobia in Bruhl. He also sang in a production and a recording of Don Gio?vanni under the baton of Maestro Jacobs at the Baden-Baden Festival in Paris, Cologne, and Brus?sels. This season's engagements include operatic performances with the Bavarian State Opera, the TheStre Royal de la Monnaie, and performances in Berlin, Munich, Brussels, and Cologne.
Canada's superstar soprano Karina Gauvin has im?pressed audiences and critics all over the world. Her repertoire ranges from the music of Johann Sebastian Bach to Luciano Berio and she has sunq with many
major orchestras including the Chicago Symphony, Philadelphia Orchestra, Los Angeles Philharmonic, Montreal Symphony Orchestra, Akademie fur Alte Musik Berlin, Musica Antiqua Koln, Minne?sota Orchestra, Tafelmusik Baroque Orchestra, Les Violons du Roy, and Accademia Bizantina. On the operatic or concert stage, she has performed with conductors as diverse as Charles Dutoit, Kent Na?gano, Semyon Bichkov, Roger Norrington, Christo?pher Hogwood, Helmuth Rilling, Bernard Labadie, and Andrew Parrot. Also active as a recitalist, she has collaborated with several chamber music en?sembles and with pianists Marc-Andre Hamelin, Michael McMahon, and Roger Vignoles.
Her 0708 season offers a full lineup of im?portant engagements, including another American tour with Les Violons du Roy, performances with the Toronto and Quebec symphonies, and a recital for the Toronto Women's Musical Club. Overseas,
Nikolay Borchev
K.ii 111.i Gauvin
she sings the role of Teutile in Vivaldi's opera Mon-tezuma under Alan Curtis at the Theatre Champs Elysees as well as Pergolesi's Stabat Mater with Ottavio Dantone. In 2008, she portrays Manlio in Vivaldi's Tito Manlio at the Barbican in London.
Career highlights include Mozart's Requiem and Bach's Magnificatwith the Chicago Symphony under Helmuth Rilling, as well as her Carnegie Hall debut in Bach's Mass in b minor under the baton of Peter Schreier. In the spring of 2003 she sang the title role in Georg Conradi's opera Ariadne for the Boston Early Music Festival which was later released on the CPO label and nominated for a Grammy Award in 2006. On New Year's Day 2006, Ms. Gauvin's performance in Mahler's Symphony No. 2 with the WDR Sinfonieorchester Kbln was broadcast on Eurovision throughout Europe.
A prolific recording artist with 19 releases to her credit, Ms. Gauvin has been nominated consistently for the Juno Award over the past decade and has won the award twice. She won First Prize at the CBC Young Performers Competi?tion and received the Lieder and Public's prize at thes'Hertogenbosch International Vocal Competi?tion in the Netherlands. In 2000 she was honored with the Opus Award as "Performer of the Year." Other awards include the Virginia Parker Prize and the Maggie Teyte Memorial Prize in London. A graduate of the Montreal Conservatory of Music, Ms. Gauvin studied with Marie Daveluy.
British-born Cana?dian mezzo-soprano Susan Platts brings a uniquely-rich and wide-ranging voice to concert and recital repertoire for alto and mezzo-soprano. She is particularly acclaimed for her Mahler and Bach interpretations, which she has per?formed with orches?tras around the qlobe.
In May of 2004, as part of the Rolex Men?tor and Protege Arts Initiative, world-renowned soprano Jessye Normal chose Ms. Platts to be her protegee, selecting her from 26 candidates world?wide. Since then, she has had the honor of men?toring with Ms. Norman.
During past seasons, Ms. Platts has appeared with many orchestras, including the Philadelphia Orchestra, Teatro alia Scala, CBC Radio Orchestra, L'Orchestre de Paris, American Symphony Orches?tra, NAC Orchestra, Toronto Symphony Orches?tra, Vancouver Symphony Orchestra, Les Violons du Roy, the Oregon Bach Festival, and the Detroit Symphony. She has collaborated with various con?ductors including Christoph Eschenbach, Pincus Zuckerman, Sir Andrew Davis, Leon Botstein, Yoav Talmi, Mario Bernardi, Peter Oundjian, Bramwell Tovey, Helmuth Rilling, and Itzhak Perlman. Ms. Platts has also appeared on many of America's most distinguished art song series including the Vocal Arts Society at the Kennedy Center, the "Art of the Song" Series at Lincoln Center, and the Frick Museum recital series.
She has recorded Mahler's Das Lied von der Erde with Gary Bertini conducting the Tokyo Met?ropolitan Orchestra for Fontec Records, a CD of dramatic sacred art songs with Dalton Baldwin, Mahler's Lieder eines fahrenden Gesellen with the Smithsonian Chamber Players and Santa Fe Prof Musica for Dorian Records, and Brahms Opus 91 with Steven Dann and Lambert Orkis on the ATMA label.
Whether performing Bach or Rorem, Wag?ner or Donizetti, tenor Steven Tharp convinc?es critics and audiences alike that the work at hand is his specialty. Mr. Tharp has appeared with most of the major American orchestras, including the Chicago Symphony (under Sir
Georg Solti and Daniel Barenboim), the New York Philharmonic (under Kurt Masur), and the Cleve?land Orchestra (under Christoph von Dohnanyi), as well as the Royal Philharmonic and Hong Kong Philharmonic. His repertoire ranges from the great baroque and classical liturgical masterpieces to contemporary works.
Early in his operatic career, Mr. Tharp re?ceived awards from the Metropolitan Opera Na?tional Council and San Francisco Opera auditions. He has appeared with the Metropolitan Opera and other distinguished companies throughout
Steven Tharp
Susan Platts
the US, Canada, and in Europe. His operatic rep?ertoire of over forty roles includes the major tenor parts of Mozart and Handel.
With Will Crutchfield as pianist, Mr. Tharp presented The World of Schubert's Songs and The World of Heinrich Heine, both multi-evening lie-der series, at New York's Metropolitan Museum of Art. He performed at gala recitals celebrating Schubert's 200th birthday at the 92nd Street Y and Weill Recital Hall, and has appeared in recital at the Newport Chamber Music Festival and the Carmel Bach Festival in Caramoor. He is a frequent guest artist with the New York Festival of Song, most recently in Ned Rorem's new full-evening song-cycle. Evidence of Things Not Seen. The summer of 2007 brought his debut with the Philadelphia Orchestra both at Bravo! Vail Valley Music Festival and Saratoga Performing Arts Center.
He can be heard on Sir Georg Solti's Gram?my award-winning recording of Die Meistersinger for LondonDecca and excerpts of La Calisto, from the Glimmerglass Opera, released by BBC Music. His world-premiere recording of the complete songs of Edward MacDowell has recently been is?sued by Naxos American Classics.
Marek Rzepka, bass, was born in Miko)6w, Poland. Trained as a miner, he won first prize at the Kolobrzeg Festival in 1989 and thereupon began his vocal training in Cra?cow with Prof. Adam Szybowski. In 1993 he transferred to the Carl Maria von Weber Uni-
versity of Music in Dresden and continued his edu?cation, finishing post-graduate studies in 2000.
Mr. Rzepka's wide repertoire ranges from his?torical works to contemporary compositions from the genres of opera, oratorio, and recital. He has sung works such as Mozart's Requiem with the Cracow Philharmonie, Bach's St. Matthew Passion with the Dresden Kreuzchorand the Philharmonie Dresden, Mauricio Kagel's opera Aus Deutschland in Hamburg, Bach's Kaffeekantate with the Akad-emie fur Alte Musik, cantatas of J.S. Bach under the baton of Helmuth Rilling, works by A. Lotti and Zelenka conducted by Andrew Parrott, and has appeared in concerts with Steven Stubbs and Eduardo L6pez Banzo.
Recent performance venues include Milan's Auditorium, the Bologna Festival, the Schleswig-Holstein Music Festival, the Handel Festival in Halle, the Dresden Music Festival, the Schwetzin-gen Festival, the Rheingau Music Festival, and the Boston Early Music Festival. In October 2001, he received a teaching appointment for voice in the early music department at the Felix Mendelssohn-Bartholdy University of Music in Leipzig. A record?ing of Conradi's Ariadne, presented at the Bos?ton Early Music Festival and Tanglewood Festival (directed by Paul O'Dette and Steven Stubbs) was nominated for a Grammy Award.
The RIAS Kammerchor has invited him for several concerts in 2007 and 2008 and a CD pro?duction with the Akademie fur Alte Musik under the baton of Hans-Christoph Rademann. In March 2008 Mr. Rzepka performs Uberto in Pergolesi's La serva padrona with the ensemble Barrocade in Israel. In May 2008 he will sing compositions by Scarlatti and Durante with the Balthasar-Neu-mann-Ensemble under the baton of Thomas Hen-gelbrock at the Salzburger Pfingstfestspiele.
Branden C.S. Hood earned his Bachelor of Music in Opera EmphasisVocal Performance at The Boston Conservatory in 2005. There he received The Presser Foundation Award and the won the Encouragement Award from the Mario Lanza Institute. Mr. Hood received his Master of Music from The University of Michigan in 2007. While at The University of Michigan he created the roles of the Overseer in De Organizer, Signor Deluso in Signor Deluso, and Guglielmo in Cosi fan tutte. Mr. Hood is currently pursuing the Spe?cialist Degree, studying with Prof. Stephen West.
The internationally acclaimed Detroit Symphony Orchestra is the fourth-oldest symphony orchestra in the United States. In the 2008-09 Season, esteemed conductor Leonard Slatkin, called "America's Music Direc?tor" by The Los Angeles Times, becomes the 12th Music Director of the DSO.
The DSO is experienced live by over 400,000 people annually with a year-round performance schedule that includes classical, Pops, jazz, world music, holiday, young people's and free concerts. The 8 Days in June festival presents cutting-edge performances of classical, jazz and chamber mu-
Marek Rzepka
sic as well as drama, spoken word, film, lectures, visual art and more, all created around a central concept rooted in contemporary world issues. In the summertime, the DSO appears at such out?door venues as Meadow Brook Music Festival, Greenfield Village at The Henry Ford and the De?troit Metroparks.
The orchestra has earned awards and acco?lades for nearly 150 recordings since 1918, includ?ing its American Series for Chandos with Neeme Jarvi, and its Black Composers series. The DSO continues to be among the country's most widely heard orchestras with a radio broadcast series on national terrestrial stations through Public Radio International (PRI) and through XM Satellite radio. Past touring and residency destinations include Europe, the Lucerne Festival in Switzerland, Japan, the Hollywood Bowl, Florida, the Bravo! Colorado Festival, and the State of Michigan.
With one of the most extensive music educa?tion programs in the country, the DSO trains over 500 young classical and jazz musicians weekly and serves as an educational partner to the adja?cent Detroit School of Arts, a magnet public high school for 1,200 students. Over 75,000 Detroit area students participate in DSO educational ac?tivities, including school concerts and program?ming for families. The DSO's diversity programs include the pioneering Classical Roots concerts, part of the classical subscription series since 1978, and the African-American Fellowship program es?tablished in 1990.
Working in collaboration with Leonard Slatkin, Toronto Symphony Music Director Peter Oundjian serves as DSO Principal Guest Conduc?tor. He is also artistic director for 8 Days in June. Thomas Wilkins, Music Director of the Omaha (Neb.) Symphony, is Resident Conductor.
Throughout its 128-year history, the UMS Choral Union has performed with many of the world's distinguished orchestras and conductors.
Based in Ann Arbor under the aegis of the University Musical Society, the 175-voice Choral Union is known for its definitive performances of large-scale works for chorus and orchestra. 14 years ago, the Choral Union further enriched that tradition when it began appearing regularly with the Detroit Symphony Orchestra (DSO). The cho-
rus has recorded Tchaikovsky's The Snow Maiden with the orchestra for Chandos, Ltd.
Led by Grammy Award-winning Conductor and Music Director Jerry Blackstone, the UMS Choral Union was a participant chorus in a rare performance and recording of William Bolcom's Songs of Innocence and of Experience in Hill Au?ditorium in April 2004 under the baton of Leon?ard Slatkin for Naxos. The recording won four Grammy Awards in 2006, including "Best Choral Performance" and "Best Classical Album." The re?cording was also selected as one of the New York Times "Best Classical Music CDs of 2004."
The 0607 season included further collabo?rations with the DSO, including Mahler's Sympho?ny No. 2 (Rafael Frtibeck de Burgos, conductor) and John Adams's On the Transmigration of Souls (John Adams, conductor). Other performance highlights included Shostakovich's Symphony No. 13 ("Babi Yar") with the Kirov Orchestra of St. Petersburg (Valery Gergiev, conductor), the Verdi Requiem with the Ann Arbor Symphony (Arie Lipsky, conductor), and the 128th annual perfor?mances of Handel's Messiah in Hill Auditorium in December (Jerry Blackstone, conductor).
The 0506 season included collaborations with the DSO in Beethoven's Symphony No. 9, Mahler's Symphony No. 3, and a concert per?formance of Rossini's opera Tancredi. Additional performances included the Vaughan Williams Sea Symphony with the U-M School of Music's Sym?phony Orchestra conducted by Jerry Blackstone, and Shostakovich's Symphony No. 2 with the Kirov Orchestra of St. Petersburg, conducted by Valery Gergiev.
The MSU Children's Choir was the first of the choirs formed when the Michigan State University Children's Choir program began in 1993 with the founding of the MSU Commu?nity Music School.
The MSU Children's Choir performed on the Grammy Award-winning recording of William Bol?com's Songs of Innocence and of Experience, with University of Michigan ensembles, Leonard Slat-kin conducting. They collaborated with the UMS Choral Union in March of 2007 performing the Pulitzer Prize winning work On the Transmigration of Souls, with composer John Adams conducting the Detroit Symphony Orchestra. They sang in the premiere performance and recording of Symphony
No. 4 by composer Ellen Taaffe Zwilich, along with MSU cho?ral ensembles and the MSU Symphony Orchestra. In 2006 they premiered Mar-jan Helms' Voices of a Vanished World, a large-scale multi?media presentation exploring the emo?tional and spiritual implications of the
Holocaust, particularly as seen through the eyes of children. This two-hour work draws on the me?lodic contours and instrumental colors of Yiddish folk music, as well as Jewish liturgical chant.
The MSU Children's Choir has been cho?sen nine times, through audition, to perform for national, division, and state conventions of the American Choral Directors Association. They were the United States Representatives for the sixth World Symposium on Choral Music.
Thirty treble choral works have been com?missioned by the MSU Children's Choir and are
published with major choral publishing compa?nies. In March of 2005 the choir premiered John Burge's Angels' Voices with the Lansing Sympho?ny Orchestra conducted by Gustav Meier. Angels' Voices has since won the Association of Canadian Choral Conductors' 2006 Outstanding New Cho?ral Composition.
Mary Alice Stollak is the Founding and Ar?tistic Director of the Michigan State University Children's Choir. Ms. Stollak has appeared as fes?tival guest conductor and workshop presenter in twenty-two states as well as Argentina, Canada, Germany, Italy and Sweden. Her choirs have fre?quently appeared at National, Division and State American Choral Directors Association (ACDA) conventions. She was the 2001 recipient of the Maynard Klein Award for Lifetime Achieve?ment and Dedication to the Choral Art, given by the American Choral Directors Association of Michigan.
Mary Alice Stollak
This evening's performance marks the third UMS performance of Bach's St. Matthew Passion. The work was first performed as a UMS-produced event in April 2000 at Hill Auditorium, then by the Bach Collegium Japan at St. Francis of Assisi Catholic Church in April 2003.
This evening's performance marks Karina Gauvin's third performance under UMS auspices following her debut in December 2005 in Handel's Messiah at Hill Auditorium. Susan Platts and Steven Tharp return to Ann Arbor for their sixth and fourth performances respectively, following their debuts in the April 2000 production of St. Matthew Passion at Hill Auditorium. UMS welcomes Nikolay Borchev, Marek Rzekpa, and Rufus Muller, who make their UMS debuts tonight.
This evening's performance marks the Detroit Symphony Orchestra's 80th performance under UMS auspices following their first Ann Arbor concert in November 1919. The MSU Chil?dren's Choir performs with UMS for the second time after their debut in April 2004 in William Bolcom's Songs of Innocence and of Experience.
The UMS Choral Union began performing on December 16, 1879. Tonight's performance marks the UMS Choral Union's 409th appearance under UMS auspices. Tonight Dr. Blackstone makes his 12th UMS appearance following his debut leading the Choral Union in performances of Messiah in 2003 at the Michigan Theater.
Detroit Symphony Orchestra (members performing this evening notatedin bold type.)
nard Slatkin, Music Director Designate
sic Directorship endowed by the Kresge Foundation
Peter Oundjian, Principal Guest Conductor and Artistic Advisor Principal Guest Conductorship supported by the Mardigian Foundation Thomas Wilkins, Resident Conductor
Branford Marsalis, Fred A. and Barbara M. Erb Jazz Creative Director Chair Neeme Jarvi, Music Director Emeritus
First Violins
Emmanuelle Boisvert Concertmaster Kathehne Tuck Chair imberly A. Kaloyanides Kennedy
Associate Concertmaster Alan and Marianne Schwartz and Jean Shapero (Shapero Foundation) Chair
Hai-Xin Wu
Assistant Concertmaster Walker L. CislerlDetroit Edison Foundation Chair
Laura Rowe Assistant Concertmaster
Beatriz Budinszky
Sarah Crocker
Marguerite Deslippe-Dene
Gina DiBello
Elias Friedenzohn Joseph Goldman
Laurie Landers Goldman
Ni Mei
Eun Park
Linda Snedden-Smith
Ann Strubler
LeAnn Toth
Second Violins
I Geoffrey Applegate+
[ The Devereaux Family Chair
Adam Stepniewski + +
Alvin Score
Lilit Danielyan
Elayna Duitman
Ron Fischer
HuiJin" ; Robert Murphy
Felix Resnick j Lenore Sjoberg
Bruce Smith
Gregory Staples
Joseph Striplin
Marian Tanau
Alexander Mishnaevski+ I Julie and Ed Levy, Jr. Chair James VanValkenburg++ Caroline Coade Glenn Mellow Shanda Lowery-Sachs Hart Hollman Han Zheng HangSu Catherine Compton
Violoncellos Robert deMaine
James C. Gordon Chair Marcy Chanteaux++
Dorothy and Herbert
Graebner Chair John Thurman Mario DiFiore Robert Bergman Carole Gatwood' Barbara Hall HassanAA Haden McKay' Una O'Riordan Paul Wingert
Van Dusen Family Chair Stephen Molina Maxim Janowsky Linton Bodwin Stephen Edwards Craig Rifel Marshall Hutchinson Richard Robinson
Patricia Masri-Fletcher+ Winifred E. Polk Chair
Ervin Monroe+
Women's Association for
the DSO Chair Sharon Wood Sparrow Philip Dikeman++ Jeffery Zook
Jeffery Zook
Donald Baker-t-
Jack A. and Aviva Robinson
Chair Shelley Heron
Maggie Miller Chair Brian Ventura++ Treva Womble Kim Bryden
English Horn
Treva Womble
Theodore Oien+ Robert B. Semple Chair
Douglas Cornelsen PVS Chemicals, Inc. Him and Ann Nicholson Chair
Laurence Liberson++
Shannon Orme
E-Flat Clarinet
Laurence Liberson
Bass Clarinet Shannon Orme
Barbara Frankel and Ronald
Michalak Chair
Robert Williams
John and Marlene Boll Chair Victoria King Michael Ke Ma++ Marcus Schoon
Marcus Schoon
French Horns
Karl Pituch+ Bryan Kennedy Corbin Wagner Denise Tryon Mark Abbott David Everson++
Ram6n Parcells+
lee and Floy Barthel Chair Kevin Good Stephen Anderson++ William Lucas
Kenneth Thompkins+ Nathaniel Gurin++ Randall Hawes Michael Robinson Jr. ?
Bass Trombone
Randall Hawes
Wesley Jacobs+
Brian Jones+ Daniel Bauch++
Percussion Robert Pangborn+
Ruth. Roby and Alfred R.
Glancy III Chair Ian Dmg+ + Daniel Bauch
William Cody Knicely Chair
Scott Van Ornum
Craig Rifel
Robert Stiles+ Ethan Allen
Personnel Managers
Stephen Molina, Orchestra Personnel Manager
Alice Sauro, Assistant Orches?tra Personnel Manager
Conducting Assistant
Charles Greenwell
Stage Personnel
Frank Bonucci, Stage Manager
Larry Anderson, Department Head
Matthew Pons, Department Head
Michael Sarkissian, Depart?ment Head
Chairman of the Board
James B. Nicholson
President and Executive Director
Anne Parsons
Partial sponsorship provided by Warner, Norcross & Judd LLP and DSO's William Randolph Hearst Educational Endowment.
Activities of the Detroit Symphony Orchestra are made possible in part with the support of the National Endowment for the Arts, the Michigan Council for Arts and Cultural Affairs, and the city of Detroit. Detroit Symphony Orchestra is an affirmative action, equal op?portunity institution.
+ Principal
++ Assistant Principal
Acting Principal
A Extended Leave
AA On sabbatical
" These members may voluntarily revolve seating within the sec?tion on a regular basis.
" Members of the DSO for this performance.
? Orchestra Fellow
UMS Choral Union
Jerry Blackstone, Conductor and Musical Director
Jason Harris, Assistant Conductor
Jean Schneider and Scott VanOrnum, Accompanists
indicates member of Chamber Chorus
Kathleen Operhall, Chorus Manager
Nancy K. Paul, Librarian
Donald Bryant, Conductor Emeritus
Chorus I
Kathryn Borden
Jamie Bott
Debra Joy Brabenec
Anionia Chan
Cheryl D. Clarkson
Marie Ankenbruck Davis
Catherine Dupuis
Elizabeth Everson
Keiko Goto
Allison Lamana
Sally Lawton'
Katherine Lu
Linda Selig Marshall
Toni Marie Micik
Ann Ophoff
Ann Orwin
Carmen Price
Susan Schilperoort
Linda Smith
Elizabeth Starr
Jennifer Stevenson
Ashley Talsma
Virgina A. Thorne-Herrmann
Barbara Hertz Wallgren Barbara J. Weathers Mary Wigton Abigail Wolfe Karen Woolams
Olga Astapova Carol Barnhart Dody Blackstone Jeannette Faber Grace Gheen Kat Hagedorn Brianne Hawes Lynn Heberlein' Josephine Kasa-Vubu Jan Leventer Jean Leverich Karla K. Manson Patricia Kaiser McCloud Carol Milstein Kathleen Operhall Stephanie Overton Joy Schroeder Cindy Shindledecker
Hanna Song Connie Soves Gayle Beck Stevens Kate Styles Mara Terwilliger Carrie Throm Barbara Trevethan Cheryl Utiger Rebecca Wiseman Susan Wortman Stephanie Zangrilli
Gary Banks
Fr. Timothy J. Dombrowski
Steven Fudge
Roy Glover
Matthew Gray
Jason Harris
Choongwoo Ko
Adrian Leskiw
AT. Miller
Steve Overton
Ray Shuster
Joshua Smith
Patrick Tonks Jim VanBochove
Brian Altevogt
Sam Baetzel
Jeff Clevenger
Michael Coster"
Kenneth A. Freeman
Philip J. Gorman
Charles Lovelace
William Malone
Gerald Miller
Samuel Pazicni
Jeff Spindler
John Paul Stephens
William Stevenson
Robert Strozier
Jack Tocco
Thomas Trevethan
John F. Van Bolt
Diaan Van der Westhuizen
Chorus II
Ann Marie Borders
Mary Bowman
Ann K. Burke
Susan F. Campbell
Elizabeth Crabtree
Carrie Deierlein
Patricia L. Ehlers
Jennifer Freese
Kathleen Gage
Karen Isble
Alana Kirby
Etsuko Koyama
Loretta Lovalvo
Nancy K. Paul
Ann Payne
Margaret Dearden Petersen
Sara J. Peth
Julie Pierce
Vera Sacharin
Erin L. Scheffler
Sue Ellen Straub
Jane VanSteenis
Dr. Rachelle Barcus Warren
Margie Warrick
Linda Kaye Woodman
Kacie Wooster
Kathleen Young
Paula Allison-England Joan Arnold Laura Banducci
Katherine Brokaw
Lorraine Buis
Marilyn Finkbeiner
Michele M. Fluck
Norma Freeman
Allison Halerz
Nancy Heaton
Carol Kraemer Hohnke
Laura Kaplan
Katherine Klykylo
Cynthia Lunan
Fran Lyman
Jennifer McFarlane-Harris
Beth McNally
Marilyn Meeker
Caroline E. Mohai
Mary Morse
Sherrill Root
Susan Sinta
Beverly N. Slater
Meredith Sorenson
Katherine R. Spindler
Ruth A. Theobald
Barbara Tritten
Alice VanWambeke
Mary Beth Westin
Sandra K. Wiley
Michael I. Ansara
Jason Cloen
John W. Etsweiler III
Arthur Gulick
Steve Heath Bob Klaffke Mark A. Krempski Richard Marsh-Luis Diego Piedra Oriol Sans David Schnerer Carl Smith John Vovak Vincent Zuellig
Seth Aylesworth
William Baxter
William Beumel
David Bowen
John Dryden
Don Faber
James Head
Tim Krohn
John H. Kusmiss
Joseph D. McCadden
Nicholas Mischel
James Cousins Rhodenhiser
Renaudo Robinson
Donald Sizemore
Robert Stawski
Robert Stevenson
Steve Telian
Terril 0. Tompkins
Alexander VonHagen-Jamar
James Wessel Walker
James Williston
MSU Children's Choir
Judy Kabodian, Accompanist Mary Alice Stollak, Founding and Artistic Director
Elizabeth Akerly Dana Allswede Jenna Bolle Emily Brett Catherine Buckeis Grace Clark Claire Cooper Margot Couraud Abhijit Das Allison Dimick Sarah Dougherty Caitlin Eddy Erin Fillingham Hannah French Natasha Ghose Paige Grulke Megan Heeder Audrey Henry Lindsey Hirt Steven Hogan Evan
Hoopingarner Kate Hyne Antonia Iyer Rachel Kallman Adria Knol Kelsey Komyathy Emily KorytO Matthew Kribs Erin Lawrence
Kaitlin Markstrorr Mariah McClain Sierra McCoy Hilary McDaniel Amanda
McDowell Olivia McMurtry Jenna Payne Kelly Redmond Sophie Schmeltei Samantha Schrao m Catherine
Sherman Grace Snyder Nina Solis Melody Slokosa Caroline Stowe Sarah VanAcker Karlena Vozar Melanie Walker Kevin Ward Kiran Webster Kayla Wilfong Benjamin Wurst
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, or call the numbers listed below.
Please call 734.647.6712 or email for more information.
The UMS Adult and Community Engagement Program serves many different audiences through a variety of educational events. With over 100 unique regional, local, and university-based 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.
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.
Jazz at Lincoln Center Orchestra: Love Songs of Duke Ellington
Celebration of the Keyboard
Ahmad Jamal
SFJAZZ Collective: A Tribute to Wayne Shorter
Urban Bush WomenCompagnie Jant-Bi: Les ecailles de la memoires (The scales of memories)
Bobby McFerrin, Chick Corea, and Jack DeJohnette
Please call 734.615.0122 or email for more information.
UMS has one of the largest K--12 education ini?tiatives in the state of Michigan. Designated as a "Best Practice" program by ArtServe Michigan and the Dana Foundation, UMS is dedicated to making world-class performance opportunities and professional development activities available to K-12 students and educators.
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 for March events!
School FundraisersGroup Sales
Raise money for your school and support the arts. UMS offers a wide range of fundraising opportunities and discount programs for schools. It is one of the easiest and most rewarding ways to raise money for schools. For informa?tion contact or 734.763.3100.
Teacher Advisory Committee
This group of regional educators, school administrators, and K-12 arts education advo?cates advises and assists UMS in determining K-12 programming, policy, and professional development.
UMS is in partnership with the Ann Arbor Public Schools and the Washtenaw Intermediate School District as part of the Kennedy Center: Partners in Education Program. UMS also participates in the Ann Arbor Public Schools' "Partners in Excellence" program.
UMS Teen Programs
Teen Tickets
Teens can attend UMS performances at signifi?cant discounts. Tickets are available to teens for $10 the day of the performance (or on the Friday before weekend events) at the Michigan League Ticket Office and $15 beginning 90 minutes before the performance at the venue. One ticket per student ID, subject to availability.
Breakin' Curfew
Saturday, May 3, 8 PM
Power Center
In a special collaboration with the Neutral
Zone, Ann Arbor's teen center, UMS presents
this annual performance highlighting the area's
best teen performers.
UMS Family Programs
UMS is committed to programming that is appropriate and exciting for families. Please visit the family programs section of for a list of family-friendly performance opportunities.
The 0708 family series is sponsored by TOYOTA
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
DTE Energy Foundation The Esperance Family Foundation JazzNet Endowment Masco Corporation Foundation THE MOSAIC FOUNDATION (of
R. & P. Heydon) National Dance Project of the
New England Foundation for the Arts National Endowment for the Arts Noir Homes, Inc. Performing Arts Fund
Pfizer Global Research and
Development, Ann Arbor
Randall and Mary Pittman Prudence and Amnon Rosenthal
K-12 Education Endowment
Fund Target
Tisch Investment Advisory UMS Advisory Committee University of Michigan Credit
Union University of Michigan Health
System U-M Office of the Senior Vice
Provost for Academic Affairs U-M Office of the Vice President
for Research Wallace Endowment Fund
UMS offers five programs designed to fit stu?dents' lifestyles and save students money. Each year, 15,000 students attend UMS events and collectively save $300,000 on tickets through these programs. UMS offers students additional ways to get involved in UMS, with internship 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 UMM5 ' With support from the U-M Alumni Association
Arts Adventure Series
UMS, the U-M School of Music, Theatre & Dance, and Arts at Michigan have teamed up to offer the Arts Adventure Series, a package of three events each semester for just $35.
Arts at Michigan offers several programs designed to help students get involved in arts and cultural opportunities at the University of Michigan. Please visit for the latest on events, auditions, contests, fund?ing for arts initiatives, work and volunteer opportunities, arts courses, and more.
Internships and College Work-Study
Internships with UMS provide experience in performing arts administration, marketing, ticket sales, programming, production, and arts education. Semesterand year-long unpaid 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.
There are many ways to support the efforts of UMS, all of which are critical to the success of our season. We would like to welcome you to the UMS family and involve you more closely in our exciting programming and activities. This can happen through corporate sponsorships, business advertising, individual donations, or through volunteering. Your financial investment andor gift of time to UMS allows us to continue connecting artists and audiences, now and into the future.
When you advertise in the UMS program book you gain season-long visibility among ticket buyers while enabling an important tradition of providing audiences with the detailed program notes, artist biographies, and program descrip?tions that are so important to the performance experience. Call 734.764.6833 to learn how your business can benefit from advertising in the UMS program book.
As a UMS corporate sponsor, your organization comes to the attention of an educated, diverse and growing segment of not only Ann Arbor, but all of southeastern Michigan. You make possible one of our community's cultural treas?ures, and also receive numerous benefits from your investment. For example, UMS offers you a range of programs that, depending on your level of support, provide a unique venue for:
Enhancing corporate image
Cultivating clients
Developing business-to-business relationships
Targeting messages to specific demographic groups
Making highly visible links with arts and education programs
Recognizing employees
Showing appreciation for loyal customers
For more information, please call 734.647.1176.
We could not present our season without the invaluable financial support of individual donors. Ticket revenue only covers half of the cost of our performances and educational events. UMS donors help make up the differ?ence. If you would like to make a gift, please fill out and mail the form on page P40 or call 734.647.1175.
UMS Advisory Committee
The UMS Advisory Committee is an organiza?tion of over 70 volunteers who contribute approximately 7,000 hours of service to UMS each year. The purpose of the Advisory Committee is to raise funds for UMS's nationally-acclaimed arts education program through the events listed below. In addition, Advisory Committee members and friends provide assis?tance in ushering at UMS youth performances and assist in various other capacities through?out the season. Meetings are held every two months and membership tenure is three years. Please call 734.647.8009 to request more information.
Delicious Experiences
These special events are hosted by friends of UMS. The hosts determine the theme for the evening, the menu, and the number of guests they would like to entertain. It's a wonderful way to meet new people!
Ford Honors Program and Gala May 10, 2008
This year's program will honor renowned flutist James Galway as he receives the UMS Distinguished Artist award. Following the program and award presentation, the UMS Advisory Committee will host a gala dinner to benefit UMS Education programs. Please call 734.647.8009 for more information.
On the Road with UMS
Last September, over 300 people enjoyed an evening of food, music, and silent and live auc?tions, netting more than $80,000 to support UMS educational programs.
UMS Ushers
Without the dedicated service of UMS's Usher Corps, our events would not run as smoothly as they do. Ushers serve the essential functions of assisting patrons with seating, distributing pro?gram books, and providing that personal touch which sets UMS events apart from others.
The UMS Usher Corps is comprised of over 500 individuals who volunteer their time to make your concert-going experience more pleasant and efficient. Orientation and training sessions are held each fall and winter, and are open to anyone 18 years of age or older. Ushers may commit to work all UMS perform?ances in a specific venue or sign up to substi?tute for various performances throughout the concert season.
If you would like information about becoming a UMS volunteer usher, contact our Assistant Ticketing Manager, Front of House, Suzanne Davidson, at 734.615.9398 or e-mail
September 1, 2006-November 1, 2007
Thank you to those who make UMS programs and presentations possible. The cost of presenting world-class performances and education programs exceeds the rev?enue UMS receives from ticket sales. The difference is made up through the gener?ous support of individuals, corporations, foundations, and government agencies. We are grateful to those who have chosen to make a difference for UMS! This list includes donors who made an annual gift to UMS between September 1, 2006 and November 1, 2007. Due to space constraints, we can only list those who donated $250 or more. Every effort has been made to ensure the accuracy of this list. Please call 734.647.1175 with any errors or omissions. Listing of donors to endowment funds begins on page P46.
$100,000 or more
Doris Duke Charitable Foundation
Ford Motor Company Fund
Michigan Council for Arts and Cultural Affairs
Michigan Economic Development Corporation
Pfizer Global Research & Development:
Ann Arbor Laboratories University of Michigan Health System
DTE Energy
DTE Energy Foundation
Esperance Family Foundation
Northwest Airlines
The Power Foundation
Borders Group
Cairn Foundation
Brian and Mary Campbell
CFI Group
Charles H. Gershenson Trust
Detroit Auto Dealers Association Charitable
Foundation Fund Ford Motor Company Fund Maxine and Stuart Frankel Foundation Kaydon Corporation KeyBank Robert and Pearson Macek
Masco Corporation
National Endowment for the Arts
National Dance Project of the New England
Foundation for the Arts Gilbert Omenn and Martha Darling Mr. and Mrs. Laurence A. Price ProQuest
Dennis and Elite Serras Toyota The Whitney Fund at the Community
Foundation for Southeastern Michigan Ann and Clayton Wilhite
$10,000-$ 19,999
Michael Allemang and Janis Bobrin
AMGEN Foundation, Inc.
The Ann Arbor News
Arts at Michigan
Arts PresentersMetLife Foundation Award for Arts
Access in Underserved Communities Emily Bandera and Richard Shackson Bank of Ann Arbor
Linda and Maurice Binkow Philanthropic Fund Carl and Isabelle Brauer Fund Chamber Music America Charter One Bank
Maxine and Stuart Frankel Foundation GlaxoSmithKline Foundation Eugene and Emily Grant David and Phyllis Herzig LaSalle Bank
Lawrence and Rebecca Lohr Charlotte McGeoch Mrs. Robert E. Meredith
Donald L. Morelock
(of R. & P. Heydon) NEA Jazz Masters on Tour Jane and Edward Schulak Barbara Furin Sloat TIAA-CREF
Universal Classics Group Concord Music
University of Michigan Credit Union Marina and Bob Whitman
Morris and Beverly Baker Foundation
Paulett Banks
Edward Surovell RealtorsEd and Natalie
Carl and Charlene Herstein Miller, Canfield, Paddock and Stone, P.L.C. M. Haskell and Jan Barney Newman Performing Arts Fund A. Douglas and Sharon J. Rothwell James and Nancy Stanley
Mrs. Bonnie Ackley
Herb and Carol Amster
Ann Arbor Automotive
Arnold and Janet Aronoff
Blue Nile Restaurant
Mr. and Mrs. Thomas P. Capo
Dave and Pat Clyde
Comerica Bank
Al and Kendra Dodds
Jim and Patsy Donahey
Ken and Penny Fischer
llene H. Forsyth
Sue and Carl Gingles
Paul and Anne Glendon
Tom and Katherine Goldberg
Linda and Richard Greene
David W. and Kathryn Moore Heleniak
Debbie and Norman Herbert
Honigman Miller Schwartz and Cohn LLP
Mohamad and Hayat Issalssa
David and Sally Kennedy Jill Latta and David Bach Leo and Kathy Legatski Richard and Carolyn Lineback Mainstreet Ventures, Inc. Sally and Bill Martin
Susan McClanahan and Bill Zimmerman Merrill Lynch National City
Tom, Meghan, Mary and T.J. O'Keefe Pepper Hamilton LLP Philip and Kathy Power Red Hawk Bar & Grill Herbert and Ernestine Ruben
Don and Judy Dow Rumelhart
Alan and Swanna Saltiel
Sesi Lincoln Mercury Volvo Mazda
Craig and Susan Sincock
Nancy and Brooks Sitterley
Thomas B. McMullen Co.
Tisch Investment Advisory
United Bank and Trust
Ronald and Eileen Weiser
Whole Foods Market
Marion T. Wirick and James N. Morgan
Zanzibar Restaurant
Gerald B. and Mary Kate Zelenock
Jerry and Gloria Abrams
Bernard and Raquel Agranoff
Raymond and Janet Bernreuter
Suzanne A. and Frederick J. Beutler
Joan Akers Binkow
Edward and Mary Cady
Mary Sue and Kenneth Coleman
Mr. and Mrs. George W. Ford
Sara and Michael Frank
General Motor Powertrain-Willow Run Plant
Susan and Richard Gutow
Dr. H. David and Dolores Humes
Keki and Alice Irani
Robert L. and Beatrice H. Kahn
U-M Michigan Union
Noir Homes
Virginia and Gordon Nordby
Mrs. Charles Overberger (Betty)
Martin Neuliep and Patricia Pancioli
Eleanor and Peter Pollack
Rosebud Solutions
Lois A. Theis
Dody Viola
Robert O. and Darragh H. Weisman
Max Wicha and Sheila Crowley
Jim and Barbara Adams
Susan and Alan Aldworth
Bob and Martha Ause
Essel and Menakka Bailey
Robert and Wanda Bartlett
Charles and Linda Borgsdorf
Elizabeth Brien and Bruce Conybeare
Jeannine and Robert Buchanan
Robert and Victoria Buckler
Barbara and A! Cain
Jean and Ken Casey
Anne and Howard Cooper
Beverley and Gerson Geltner
General Motors Corporation
William and Ruth Gtlkey
Dr. Sid Gilman and Dr. Carol Barbour
John and Helen Griffith
Janet Woods Hoobler
Herbert Katz
Shirley Y. and Thomas E. Kauper
Gloria and Bob Kerry
Samuel and Marilyn Krimm
Amy Sheon and Marvin Krislov
Donald J. and Carolyn Dana Lewis
Jeff Mason and Janet Netz
Ernest and Adele McCarus
William C. Parkinson
Richard and Lauren Prager
Jim and Bonnie Reece
John and Dot Reed
Duane and Katie Renken
Barbara A. Anderson and John H. Romani
Corliss and Dr. J.C. Rosenberg
Prudence and Amnon Rosenthal
Dr. Nathaniel H. Rowe
John J. H. Schwarz, MD
Muaiad and Aida Shihadeh
Loretta M. Skewes
TCF Bank
Jim Toy
Don and Carol Van Curler
Don and Toni Walker
Elise Weisbach
Roy and JoAn Wetzel
Keith and Karlene Yohn
Robert and Katherine Aldrich
Michael and Suzan Alexander
Anastasios Alexiou
Dr. and Mrs. David G. Anderson
Jonathan Ayers and Teresa Gallagher
Lesli and Christopher Ballard
Walter and Mary Ballinger
Bradford and Lydia Bates
Beacon Investment Company
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 Burleigh
Letitia J. Byrd
Amy and Jim Byrne
Betty Byrne
Jean W. Campbell
Patricia and Michael Campbell
David and Valerie Canter
Bruce and Jean Carlson
Carolyn M. Carty and Thomas H. Haug
John and Patricia Carver
Janet and Bill Cassebaum
Tsun and Siu Ying Chang
Anne Chase
Pat and George Chatas
James S. Chen
Leon S. Cohan
Hubert and Ellen Cohen
Lois and Avern Cohn
Cynthia and Jeffrey Cotton
William J. and Ellen A. Conlin
Phelps and Jean Connell
Jim and Connie Cook
Jane Wilson Coon and A. Rees Midgley, Jr.
Kathleen Crispell and Tom Porter
Judy and Bill Crookes
Julia Donovan Dariow 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. Caller
Patricia Garcia and Dennis
Prof. David M. Gates Thomas and Barbara Gelehrter Karl and Karen Gotting Cozette T. Grabb Elizabeth Needham Graham Walter Z. Graves
Susan M. Smith and Robert H. Gray Bob Green
Leslie and Mary Ellen Guinn Helen C. Hall
Jeanne Harrison and Paul Hysen Alice and Clifford Han 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 Jeri Kelch David and Gretchen Kennard Connie and Tom Kinnear Diane Kirkpatrick Philip and Kathryn Klintworth Carolyn and Jim Knake Charles and Linda Koopmann Bud and Justine Kulka Scott and Martha Larsen Ted and Wendy Lawrence Melvin A. Lester MD Myron and Bobbie Levine Carolyn and Paul Lichter Patricia Little and Raymond
Barbehenn Jean E. Long
Richard and Stephanie Lord John and Cheryl MacKrell Cathy and Edwin Marcus Ann W. Martin and Russ Larson Marilyn Mason Natalie Matovinovic Mary and Chandler Matthews Judythe and Roger Maugh Carole J. Mayer Raven McCrory W. Joseph McCune and
Georgiana M. Sanders Griff and Pat McDonald Mercantile Bank of Michigan Henry D. Messer and Carl A. House Paul Morel
Alan and Sheila Morgan Melinda and Bob Morris Cyril Moscow Nustep, Inc. Marylen S. Oberman Marysia Ostafin and George Smilhe Mohammad and J. Elizabeth
Othman Donna Parmelee and William
Bertram and Elaine Pitt Peter and Carol Polverini Richard and Mary Price Produce Station Mrs. Gardner C. Quarton Donald Regan and Elizabeth
Professor and Mrs. Raymond Reilly Maria and Rusty Restuccia Kenneth J. Robinson and Marcia
Gershenson Nancy and Doug Roosa Rosalie EdwardsVibrant Ann
Arbor Fund Doris E. Rowan Craig and Jan Ruff Agnes and David Sams Norma and Dick Sarns Maya Savarino Schakolad Chocolate Factory Erik and Carol Serr Janet and Michael Shatusky Frances U. and Scott K. Simonds Dr. Bernard Sivak and Dr. Loretta
Jim Skupski and Dianne Widzinski Dr. Rodney Smith Kate and Philip Soper Lloyd and Ted St. Antoine Michael B. Staebler John and Lois Stegeman Victor and Marlene Stoeffler Dr. and Mrs. Stanley Strasius David and Karen Stutz Charlotte B. Sundelson Judy and Lewis Tann Target
Mrs. Robert M. Teeter Brad and Karen Thompson Louise Townley
Jack and Marilyn van der Velde Bruce and Betsy Wagner Florence S. Wagner Robert D. and 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
3POINT Machine. Inc.
Wadad Abed
Roger Albin and Nili Tannenbaum
Christine W. Alvey
Catherine M. Andrea
Dr. and Mrs. Rudi Ansbacher
Harlene and Henry Appelman
Ralph Lydic and Helen Baghdoyan
Mary and Al Bailey
Robert L. Baird
Laurence R. and Barbara K. Baker
Reg and Pat Baker
Nan Barbas and Jonathan Sugar
David and Monika Barera
Norman E. Barnett
Frank and Lindsay Tyas Bateman
Harry Benford
Linda and Ronald Benson
L. S. Berlin
Naren K. and Nishta G. Bhatia
Seth Bonder
Bob and Sharon Bordeau
Catherine Brandon MD
David and Dr. Sharon Brooks
Donald R. and June G. Brown
Morton B. and Raya Brown
Dr. Frances E. Bull
H. D. Cameron
Susan and Oliver Cameron
Margot Campos
Carlisle Wortman Associates, Inc.
Jack and Wendy Carman
Drs. Andrew Caughey and Shelley
John and Camilla Chiapuns Dr. Kyung and Young Cho Janice A. Clark Brian and Cheryl Clarkson Tris and Edna Coffin Jeanne Raisler and Jonathan Cohn Wayne and Melinda Colquitt Arnold and Susan Coran Malcolm and Juamta 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 Wismski Cynthia M. Dodd Robert J. and Kathleen Dolan Dallas C.Dort Eva and Wolf Duvernoy Stefan and Ruth Fajans Elly and Harvey Falit Irene Fast
Margaret and John Faulkner Sidney and Jean Fine Carol Finerman Clare M. Fingerle Herschel and Adrienne Fink C. Peter and Beverly A. Fischer John and Karen Fischer Ray and Patricia Fitzgerald Howard and Margaret Fox Jason I. Fox Ann Friedman William Fulton Tom Gasloli Beverly Gershowitz Ronald Gibala and Janice Grichor Paul and Suzanne Gikas Zita and Wayne Gillis Amy and Glenn Gottfried Jill Gramz
Dr. John and Renee M. Greden Anna and Robert Greenstone Ingrid and Sam Gregg Arthur W. Gulick MD Don P. Haefner and Cynthia J.
Stewart Tom Hammond
Martin D and Connie D. Harris Susan Harris Alfred and Therese Hero Herb and Dee Hildebrandt Peter Hinman and Elizabeth Young Sun-Chien and Betty Hsiao Ralph and Del Hulett Ann D. Hungerman Thomas and Kathryn Huntzicker Eugene and Margaret Ingram 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 Hermine Roby Klingler Regan Knapp and John Scudder Michael J. Kondziolka and Mathias-
Philippe Florent Badin Dr. and Mrs. Melvyn Korobkin Rebecca and Adam Kozma Barbara and Ronald Kramer Dr. and Mrs. Gerald Krause Jane Laird Marilyn and Dale Larson
John K. Lawrence and Jeanine A.
De Lay
Richard LeSueur Ken and Jane Lieberthal Marilyn and Martin Lindenauer E. Daniel and Kay M. Long Frances Lyman Brigitte and Paul Maassen Pamela J. Mackintosh Nancy and Philip Margolis Susan E. Martin and Randy Walker Margaret E. McCarthy Margaret and Harris McClamroch Dr. Paul W. McCracken Joanna McNamara and Mel Guyer James M. Miller and Rebecca H.
Myrna and Newell Miller Bert and Kathy Moberg Jeanne and Lester Monts Lewis and Kara Morgenstern Frieda H. Morgenstern Gavin Eadie and Barbara Murphy Elizabeth and Robert Oneal Mark and Susan Orringer Constance and David Osier Marie L. Panchuk Zoe and Joe Pearson Jean and Jack Peirce Margaret and Jack Petersen Elaine Piasecki Evelyn Pickard Juliet S. Pierson James Eng and Patricia Randle Anthony L. Reffells and Elaine A.
Bennett R. E. Reichert Marc and Stacy Renouf Retirement Income Solutions Timothy and Teresa Rhoades Richner & Richner Jeff and Huda Karaman Rosen Richard and Edie Rosenfeld Margaret and Haskell Rothstein Miriam Sandweiss Diane and Joseph Savin Tom Wieder and Susan Schooner Ann and Thomas J. Schriber Drs. David E. and Monica S.
Schteingart Julie and Mike Shea Howard and Aliza Shevrin George and Gladys Shirley Carl P. Simon and Bobbi Low Sandy and Dick Simon Elaine and Robert Sims Don and Sue Sinta trma J. Sklenar Andrea and William Smith David and Renate Smith Mrs. Gretchen Sopcak Joseph H. Spiegel Andrea and Gus Stager Mr. and Mrs. Gary R. Stahle James and Naomi Starr Virginia and Eric Stein Eric and Ines Storhok Cynthia Straub Ellen and Jeoffrey Stross Brian and Lee Talbot Craig Timko Fr. Lewis W. Towler Jeff and Lisa Tulin-Silver Dr. Sheryl S. Ulin and Dr. Lynn T.
Steven and Christina Vantrease Shirley Verrett
Drs. Bill Lee and Wendy Wahl Elizabeth and David Walker Enid Wasserman Carol Weber
Angela Welch and Lyndon Welch Iris and Fred Whttehouse Leslie C.Whitfield Sally M. Whiting Reverend Francis E. Williams
Robert J. and Anne Marie Willis Lawrence and Mary Wise James and Gail Woods Dr. and Mrs. Clyde Wu Mayer and Joan Zald
Dont Adler
Thomas and Joann Adler Family
Helen and David Aminoff Anonymous Arboretum Ventures Bert and Pat Armstrong Jack and Jill Arnold Frank and Nancy Ascione Penny and Arthur Ashe AT&T Foundation Drs John and Lillian Back Marian K. Bailey Bruce Baker and Genie Wolfson Daniel and Barbara Balbach John and Ginny Bareham Frank and Gail Beaver Prof, and Mrs Erling Blondal
Linda Bennett and Bob Bagramian Rodney and Joan Bentz Dr. Rosemary R Berardi Sandra L. and Stanley Bies llene and William Birge Beverly J Bole
Amanda and Stephen Borgsdorf Victoria C. Botek and William M.
Edwards Susie Bozell Paul and Anna Bradley Dr. Robert M. Bradley and Dr.
Charlotte M Mtstretta William R. Brashear Joel Bregman and Elaine Pomeranz Alexander and Constance Bridges Pamela Brown Trudy and Jonathan Bulkley Tony and Jane Burton Heather Byrne Nathan and Laura Caplan Brent and Valerie Carey Thomas and Colleen Carey James 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
Andy and Dawn Chien Kwang and Soon Cho Reginald and Beverly Ciokajlo Coffee Express Co. Theodore and Jean Cohn Edward and Anne Comeau Minor J. Coon Peter and Celia Copeland Cliff and Kathy Cox Lloyd and Lois Crabtree Clifford and Laura Craig Merle and Mary Ann Crawford Mary C. Crichlon Connie D'Amato Timothy and Robin Damschroder Sunil and Merial Das Art and Lyn Powrie Davidge Ed and Ellie Davidson Alice and Ken Davis John and Jean Debbink Nicholas and Elena Delbanco Elizabeth Dexter Mark and Beth Dixon Judy and Steve Dobson Elizabeth A. Doman Michael and Elizabeth Drake Mary P. DuBois Elizabeth Duell Bill and Marg Dumfon
Peter and Grace Duren
Swati Dutta
Jane E. Dutton
Bradley Dyer
Dr. Alan S. Eiser
Mary Ann Faeth
Mark and Karen Falahee
Or and Mrs. S. M. Farhat
Phil and Phyllis Fellin
James and Flora Ferrara
Dr. James F. Filgas
David Fink and Marina Mata
Dr. Lydia Fischer
Jessica Fogel and Lawrence Weiner
Paula L. Bockenstedt and David A. Fox
Hyman H. Frank
Jerrold A. and Nancy M Frost
Philip and Renee Frost
Carol Gaghardi and David Flesher
Barbara and James Garavaglia
Allan and Harriet Gelfond
Beth Genne and Allan Gibbard
Deborah and Henry Gerst
Elmer G. Gilbert and Lois M
J. Martin Gillespie and Tara Gillespie Beverly Jeanne Giltrow Joyce L. Ginsberg David and Maureen Ginsburg Irwm Goldstein and Martha Mayo Eszter Gombosi Mitchell and Barbara Goodkin EmdM Gosling and Wendy
Mr. and Mrs. Charles and Janet Goss James and Maria GousseH Michael Gowing
Mr and Mrs Christopher L Graham Martha and Larry Gray Jeffrey B Green Daphne and Raymond Grew Mark and Susan Griffin Werner H Grilk Bob and Jane Grover Robin and Stephen Gruber Anna Grzymala-Busse and Joshua
Ken and Margaret Guire H&R Block Foundation George and Mary Haddad M Peter and Anne Hagrwara Yoshiko Hamano Walt and Charlene Hancock Naomi Gottlieb Harrison and
Theodore Harrison DDS Tricia and Steve Hayes Anne Heacock Rose and John Henderson J. Lawrence and Jacqueline Stearns
Keith and Marcelle Henley Kathy and Rudi Hentschel James and Ann Marie Hitchcock Mary Ann and Don Hitt Ronald and Ann Holz Robert and Barbara Hooberman Linda Samuelson and Joel Howell Mabelle Hsueh Harry and Ruth Huff Heather Hurlburt and Darius Sivin Robert B. Ingling John H. and Joan L Jackson Beverly P. Jahn Dr. David and Tina Jahn Mark and Linda Johnson Mary and Kent Johnson Paul and Olga Johnson Jack and Sharon Kaibfleisch Mr. and Mrs. Irving Kao Arthur A Kaselemas MD Penny Kennedy Roland and Jeanette Kibler Don and Mary Kiel Richard and Patricia King Fred and Sara King James and Jane Kister Dr. David E. and Heidi Castleman Klein Steve and Shira Klein Anne F. Kloack Joseph and Marilynn Koko&zka
Alan and Sandra Kortesoja
Barbara and Michael Kratchman
Doris and Don Kraushaar
Gary and Barbara Krenz
Mary and Charles Krieger
Bert and Geraldine Kruse
Donald John Lachowicz
Kathy and Timothy Laing
Neal and Anne Laurance
Laune and Robert LaZebnik
David Lebenbom
Julame and John Le Due
John and Theresa Lee
Sue Leong
Metvyn and Joan Levitsky
Jacqueline H. Lewis
David Baker Lewis
Ken and Jane Lieberthal
Don and Erica Undow
Michael and Debra Lisull
Michael Charles LJtt
Dr Daniel Little and Dr. Bernadette
Rod and Robin Little
Dr and Mrs. Lennart H. Lofstrom
Julie M Loftin
Naomi E. Lohr
Charles P. and Judy B. Lucas
Melvm and Jean Manis
Manpower. Inc of Southeastern
Ken and Lynn Marko W. Harry Marsden Laurie McCauley and Jessy Grizzle Peggy McCracken and Doug Anderson (Jam T. McDonald James A. Mclntosh James H. Mclntosh and Elaine K
Bill and Ginny McKeachie McNaughton & Gunn, Inc. Frances McSparran Nancy A. and Robert E. Meader Gerlmda S. Melchiori PhD Warren and Hilda Merchant Sara Meredith and James Chavey Russ and Brigitte Merz Liz and Art Messiter Fei Fei and John Metzler Don and Lee Meyer Shirley and Bill Meyers Joetta Mial Leo and Salty Miedler Kitty and Bill Moeller Olga Moir Jean Marie Moran and Stefan V.
Patricia and Michael Morgan Mark and Lesley Mozola Roy and Susan Muir Thomas and Hedi Mutford 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 Wilham C. Panzer Karen Park and John Beranek Frank and Arlene Pasley Shirley and Ara Paul Judith Ann Pavitt Donald and Evonne Plantinga Allison and Gregory Poggi Susan Pollans and Alan Levy Bill and Diana Pratt Ann Preuss
Elisabeth and Michael Psarouthakis Maxwell and Marjorie Reade Stephen and Agnes Reading Michael J. Redmond
Mamie Reid and Family
Alice Rhodes
Betty Richart
Constance Rinehart
Riverbend Condominium
Jack and Aviva Robinson
Jonathan and Anala Rodgers
Dr. Susan M Rose
Jean P Rowan
Bob and Susan Rowe
Rosemarie Rowney
Carol 0. Rugg and Richard K.
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d Performing
St. Matthew Passion
J.S. Bach
Passio Domini nostri J.C. Passion of our Lord jesus Christ
Secundum Evangalistam Matthaciim according to St. Matthew
Poesia per Dominum Henrici Text by Christian Henrici
alias Picander also known as Picander
.S. Bach's original title page inscription
Friday, March 21, 2008
Hill Auditorium
Part I
1. Kommt, ihr Tdchter, helft mir klagen -UMS Choral Union, MSU Children's Choir
2. Da Jesus diese Rede vollendet hatte -Mr. MCiller (Evangelist), Mr. Borchev (Jesus)
3. Herzliebster Jesu, was hast du verbrochen -Chorale: UMS Choral Union,
MSU Children's Choir
4a. Da versammleten sich die Hohenpriester-Mr. Muller (Evangelist)
4b. Ja nicht auf das Fest -Chamber Choir
4c. Dan nun Jesus war zu Bethanien -Mr. Muller (Evangelist)
4d. Wozu dienet dieser Unrat -UMS Choral Union
4e. Da das Jesus merkete -Mr. Muller (Evangelist), Mr. Borchev (Jesus)
5. Recitative: Du lieber Heiland du -Ms. Platts
6. Aria: Buss und Reu -Ms. Platts
7. Da ging hin der Zwolfen einer -Mr. Muller (Evangelist), Mr. Hood (Judas)
8. Aria: Blute nur, du liebes Herz -Ms. Gauvin
9a. Aber am ersten Tage der siissen Brot -Mr. Muller (Evangelist)
9b. Wo willst du, dass wir dir bereiten -Chamber Choir
9c. Er sprach: Gehet hin in die Stadt -Mr. Muller (Evangelist), Mr. Borchev (Jesus)
9d. Und sie wurden sehr betriibt -Mr. Muller (Evangelist)
9e. Herr, bin ichs -Chamber Choir
10. Ich bins, ich sollte biissen -Chorale: UMS Choral Union
11. Er antwortete und sprach -Mr. Muller (Evangelist), Mr. Borchev (Jesus)
12. Recitative: Wiewohl mein Herz in Tranen schwimmt -Ms. Gauvin
13. Aria: Ich will dir mein Herze schenken -Ms. Gauvin
14. Und da sie den Lobgesang gesprochen hatten -Mr. Muller (Evangelist),
Mr. Borchev (Jesus)
15. Erkenne mich, mein Hiiter -Chorale: UMS Choral Union, MSU Children's Choir
16. Petrus aber antwortete -Mr. Muller (Evangelist), Mr. Borchev (Jesus),
Mr. Hood (Petrus)
17. Ich will hier bei dir stehen -Chorale: UMS Choral Union, MSU Children's Choir
18. Da kam Jesus mit ihnen zu einem Hofe -Mr. Muller (Evangelist), Mr. Borchev (Jesus)
19. Recitative: O Schmerz! hier zittert das gequalte Herz -Mr. Tharp, Chamber Choir
20. Aria: Ich will bei meinem Jesu wachen -Mr. Tharp, Chamber Choir
21. Und ging hin ein wenig -Mr. Muller (Evangelist), Mr. Borchev (Jesus)
22. Recitative: Her Heiland fallt vor seinem Vater nieder -Mr. Rzepka
23. Aria: Gerne will ich mich bequemen -Mr. Rzepka
24. Und er kam zu seinen Jiingern -Mr. Muller (Evangelist), Mr. Borchev (Jesus)
25. Was mein Gott will, das gscheh allzeit -Chorale: UMS Choral Union
26. Und er kam und fand sie aber schlafend -Mr. Muller (Evangelist), Mr. Borchev (Jesus),
Mr. Hood (Judas)
27a. Aria: So ist mein Jesus nun gefangen -Ms. Gauvin , Ms. Platts, UMS Choral Union
27b. Sind Blitze, sind Donner-UMS Choral Union
28. Und siehe, einer aus denen -Mr. Muller (Evangelist), Mr. Borchev (Jesus)
29. O Mensch, bewein dein Siinde gross -UMS Choral Union, MSU Children's Choir
'Part II
30. Aria: Ach, nun ist mein Jesus hin -Ms. Platts, Chamber Choir
31. Die aber Jesum gegriffen hatten -Mr. Muller (Evangelist)
32. Mir hat die Welt triiglich gericht' -Chorale: UMS Choral Union
33. Und wiewohl viel falsche Zeugen herzutraten -Mr. Muller (Evangelist),
Mr. Stevenson (Pontifex), Ms. Manson (Testis I), Mr. Leskiw (Testis II)
34. Recitative: Mein Jesus schweigt zu falschen Liigen stille -Mr. Tharp
35. Aria: Geduld -Mr. Tharp
36a. Und der Hohepriester antwortete -Mr. Muller (Evangelist), Mr. Borchev (Jesus),
Mr. Stevenson (Pontifex)
36b. Er ist des Todes schuldig -UMS Choral Union 36c. Da speieten sie aus -Mr. Muller (Evangelist) 36d. Weissage uns, Christe -UMS Choral Union 37. Wer hat dich so geschlagen -Chorale: UMS Choral Union 38a. Petrus aber sass draussen im Palast-Mr. Muller (Evangelist), Ms. Micik (Ancilla I),
Ms. Isble (Ancilla II), Mr. Hood (Petrus)
38b. Wahrlich, du bist auch einer von denen -Chamber Choir 38c. Da hub er an, sich zu verfluchen -Mr. Muller (Evangelist), Mr. Hood (Petrus)
39. Aria: Erbarme dich -Ms. Platts
40. Bin ich gleich von dir gewichen -Chorale: UMS Choral Union
41a. Des Morgens aber hielten alle Hohepriester -Mr. Muller (Evangelist),
Mr. Hood (Judas)
41b. Was gehet uns das an -UMS Choral Union 41c. Und er warf die Silberlinge in den Tempel -Mr. Muller (Evangelist),
Mr. Stevenson (Pontifex)
42. Aria: Gebt mir meinen Jesum wieder-Mr. Rzepka
43. Sie hielten aber einen Rat -Mr. Muller (Evangelist), Mr. Borchev (Jesus),
Mr. Hood (Pilatus)
44. Befiehl du deine Wege -Chorale: UMS Choral Union
45a. Auf das Fest aber hatte der Landpf leger Gewohnheit -Mr. Muller
(Evangelist), Mr. Hood (Pilatus), Ms. Hermann (Uxor Pilati) 45b. Lass ihn kreuzigen -UMS Choral Union 46. Wie wunderbarlich ist doch diese Strafe -Chorale: UMS Choral Union
47. Der Landpfleger sagte -Mr. Muller (Evangelist), Mr. Hood (Pilatus)
48. Recitative: Er hat uns alien wohlgetan -Ms. Gauvin
49. Aria: Aus Liebe will mein Heiland sterben -Ms. Gauvin 50a. Sie schrieen aber noch mehr -Mr. Muller (Evangelist) 50b. Lass ihn kreuzigen -UMS Choral Union
50c. Da aber Pilatus sahe -Mr. Muller (Evangelist), Mr. Hood (Pilatus)
50d. Sein Blut komme iiber uns -UMS Choral Union
50e. Da gab er ihnen Barrabam los -Mr. Muller (Evangelist)
51. Recitative: Erbarm es Gott -Ms. Platts
52. Aria: Konnen Tranen meiner Wangen -Ms. Platts 53a. Da nahmen die Kriegsknechte -Mr. Muller (Evangelist) 53b. Gegriisset seist du, Jiidenkonig -UMS Choral Union 53c. Und speieten ihn an -Mr. Muller (Evangelist)
54. O Haupt voll Blut und Wunden -Chorale: UMS Choral Union
55. Und da sie ihn verspottet hatten -Mr. Muller (Evangelist)
56. Recitativo: Ja freilich will in uns das Fleisch und Blut -Mr. Rzepka
57. Aria: Komm, susses Kreuz -Mr. Rzepka
58a. Und da sie an die Statte kamen -Mr. Muller (Evangelist)
58b. Der du den Tempel Gottes zerbrichst -UMS Choral Union
58c. Desgleichen auch die Hohenpriester-Mr. Muller (Evangelist)
58d. Andern hat er geholfen -UMS Choral Union
58e. Deshleichen schmaheten ihn auch die Morder -Mr. Muller (Evangelist)
59. Recitative: Ach Golgotha -Ms. Platts
60. Aria: Sehet, Jesus hat die Hand -Ms. Platts, Chamber Choir
61a. Und von der sechsten Stunde an -Mr. Muller (Evangelist), Mr. Borchev (Jesus)
61b. Der rufet dem Elias -UMS Choral Union
61c. Und bald lief einer unter ihnen -Mr. Muller (Evangelist)
61d. Halt! lass sehen -UMS Choral Union
61e. Aber Jesus schriee abermal -Mr. Muller (Evangelist)
62. Wenn ich einmal soil scheiden -Chorale: UMS Choral Union
63a. Und siehe da, der Vorhang im Tempel zerriss -Mr. Muller (Evangelist)
63b. Wahrlich, dieser ist Gottes Sohn gewesen -UMS Choral Union
63c. Und es waren viel Weiber da -Mr. Muller (Evangelist)
64. Recitative: Am Abend, da es kiihle war -Mr. Rzepka
65. Aria: Mache dich, mein Herze, rein -Mr. Rzepka 66a. Und Joseph nahm den Lieb -Mr. Muller (Evangelist) 66b. Herr, wir haben gedacht -UMS Choral Union
66c. Pilatus sprach zu ihnen -Mr. Muller (Evangelist), Mr. Hood (Pilatus)
67. Recitative: Nun ist der Herr zur Ruh gebracht -Ms. Gauvin, Ms. Platts, Mr. Tharp,
Mr. Rzepka, Chamber Choir
68. Wir setzen uns mit Tranen nieder -UMS Choral Union
Special Thanks to the Ann Arbor Academy of Early Music for the use of their positive organ.

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