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UMS Concert Program, Friday Mar. 28 To Apr. 05: University Musical Society: Winter 2008 - Friday Mar. 28 To Apr. 05 --

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Day
28
Month
March
Year
2008
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Rights Held By
University Musical Society
OCR Text

Season: WINTER 2008
University Of Michigan, Ann Arbor

UMS
WINTER 2008 SEASON UNIVERSITY OF MICHIGAN ANN, ARBOR
university musical society
Winter 08 University of Michigan Ann Arbor
P2 Letters from the Presidents
5 Letter from the Chair
UMSLeadership 6 UMS Corporate and Foundation Leaders
P14 UMS Board of DirectorsNational Council
SenateAdvisory Committee
P15 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
33 UMS Student Programs
UMSSupport 37 Corporate Sponsorship and Advertising
37 Individual Donations
39 UMS Volunteers
41 Annual Fund Support
46 Annual Endowment Support
48 UMS Advertisers
Cover: Urban Bush Women and Compagnie Jant-Bi perform ies Gcailles de la memoire (The scales of memory) at the Power Center on Friday, March 28 and Saturday, March 29, 2008.

FROM THE U-M PRESIDENT
Welcome to this performance of the 129th season of the University Musical Society (UMS).
All of us at the University of Michigan are proud of UMS, the nation's oldest university-related performing arts presenter that is distinctive nationally in several ways:
UMS has commissioned more than SO new works since 1990, demonstrating its commit?ment to supporting creative artists in all disciplines. Two of these UMS commissions featured this term are works by renowned U-M composers: MacArthur Fellow Bright Sheng's String Quartet No. 5 for the Emerson String Quartet on January 4 and Pulitzer Prize-winning William Bolcom's Ocfef for Double Quartet for the Guarneri and Johannes String Quartets on February 9.
In the past three seasons, 54 of UMS pre?sentations have featured artists making their UMS debuts, a measure of UMS's commit?ment to new and emerging artists, and 55 have featured artists from outside the United States, highlighting UMS's belief that artistic expression can foster greater understanding and appreciation of diverse cultures. In con?junction with the University's ChinaNow Theme Year, UMS presents pianist Yuja Wang on January 20 and pipa player Wu Man on February 10, each in their UMS debut per?formance.
UMS has worked in partnership with more than 50 U-M academic units and more than 150 U-M faculty members during the past three years, in addition to more than 100 community-based partners. One of the most notable partnerships for UMS this season is with our School of Music, Theatre & Dance. Together they have brought the renowned contemporary chamber music ensemble
eighth blackbird to the campus on four occasions during which the group has worked with hundreds of students on campus and in the community. Their residency culminates in their UMS debut performance on April 10.
UMS is the only university-related presenter in the nation to have been honored by both the Wallace Foundation with its Excellence Award and the Doris Duke Charitable Foundation with its Leading College and University Presenter Award in the inaugural year of both endowment programs, a measure of the esteem with which UMS is regarded in the presenting field.
Thank you for attending this UMS perform?ance. Please join us for other UMS events and for performances, exhibitions, and cultural activ?ities offered by our faculty and students in U-M's many outstanding venues. To learn more about arts and culture at Michigan, visit the University's website at www.umich.edu and click on "Museums and Cultural Attractions."
Sincerely,
Mary Sue Coleman
President, University of Michigan
FROM THE UMS PRESIDENT
Welcome! It's great to have you with us at this UMS performance. I hope you enjoy the experience and will come to more UMS events between now and May 10 when we close our 200708 season with our annual Ford Honors Program. This year's program features a recital by flutist James Galway followed by a wonderful dinner organized by our Advisory Committee. You'll find all of our performances listed on page 2 of your program insert.
Our Fall Season included 31 performances featuring artists and ensembles representing 19 countries around the world. Wherever possible, we like to create opportunities for our audience members to meet the artists. Here is a sampling of photos from several of the events from the Fall Season:
Above: (Clockwise from top left)
Cellist Yo-Yo Ma backstage at Hill Auditorium with 8-year-old fan Forrest Flesher, whose mother Carol Gagliardi had painted a portrait of the cellist
Cambodian dancers from the Pamina Devi performance with a young fan at the Meet & Greet in the Power Center Lobby
Canadian tenor Ben Heppner with concert sponsors Maurice and Linda Binkow at the Filarmonica della Scala afterglow on the Hill Mezzanine
Feel free to get in touch with me if you have any questions, comments, or problems. If you don't see me in the lobby, send me an e-mail message at kenfisch@umich.edu or call meat 734.647.1174.
Very best wishes,
Kenneth C. Fischer UMS President
Singer Dianne Reevet at the NETWORK reception hosted by Habte Dadi and Almaz Lessanework at the Blue Nile restaurant
Hungarian pianist Andras Schiff in the Green Room at Rackham Auditorium with Ann Arbor piano teacher Natalie Matovinovic and two of her students
Breakin' Curfew curators from Ann Arbor's teen center, The Neutral Zone, following a presentation to UMS staff
FROM UMS CHAIRMAN, CARL HERSTEIN
It is inspiring and humbling to serve on the Board of UMS, which is widely recognized as one of the world's leading arts presenters. UMS is committed to performance, education, and the creation of new works, and has a 128-year history of excellence in all three areas. Our task at UMS is to advance the arts, to the benefit of the national and international arts communities, the University of Michigan, our local community, and our present and future patrons.
Each of us has an important role to play in this endeavor, whether as an audience member at a performance or an educational activity, a donor, or a volunteer member of the Board, Senate, Advisory Committee, or the new UMS National Council, which is enhancing our visibility around the country. We all are fortunate to have an opportunity to contribute to the special history of UMS.
Arts organizations exist because those who came before us chose to take advantage of the same kind of opportunity. To me, this is exemplified by some?thing that I was once told by a producer before a theatrical performance. He took us into the theater and said that, despite the not insignificant cost of our tickets, we should know there was the equivalent of a $50 bill on every seat-the contribution made by others enabling us to enjoy that presentation.
The same is true for UMS. About half of the cost of what we do comes from ticket sales. The remainder comes from you and your predecessors in this hall. Some sat in the second balcony as students and experienced the transformative power of the arts. Some sat with friends for 30 years in the same section of Hill. And some witnessed children being excited and inspired at a youth performance. All have chosen to leave money on their seats.
When you take your seat, think about what others have done that makes your experience possible. I hope you will be inspired to contribute to the UMS legacy. Consider your opportunity to "leave money on your seat," through both your participation and financial contributions. Be an active part of UMS, and when a member of the next generation arrives, they will be thankful that they got your seat.
Sincerely,
Carl W. Herstein
Chair, UMS Board of Directors
UMSLeadership
CORPORATE AND FOUNDATION LEADERS
James G. Vella
President, Ford Motor Company Fund and Community Services "Through music and the arts, we are inspired to broaden our horizons, bridge differences among cultures, and set our spirits free. We are proud to support the University Musical Society and acknowledge the important role it plays in our community."
David Canter
Senior Vice President, Pfizer, Inc. "The science of discovering new medicines is a lot like the art of music: to make it all come together, you need a diverse collection of bril?liant people. In order to get people with world-class talent you have to offer them a special place to live and work. UMS is one of the things that makes Ann Arbor quite spe?cial. In fact, if one were making a list of things that define the quality of life here, UMS would be at or near the very top. Pfizer is honored to be among UMS's patrons."
Robert P. Kelch
Executive Vice President for Medical Affairs, University of Michigan Health System "The arts are an important part of the University of Michigan Health System. Whether it's through per?formances for patients, families, and visitors spon?sored by our Gifts of Art program, or therapies such as harmonica classes for pulmonary patients or music relaxation classes for cancer patients, we've seen firsthand the power of music and performance. That's why we are proud to support the University Musical Society's ongoing effort to bring inspiration and entertainment to our communities."
Douglass R. Fox
President, Ann Arbor Automotive "We at Ann Arbor Automotive are pleased to support the artistic variety and program excellence given to us by the University Musical Society."
Laurel R. Champion
Publisher, The Ann Arbor News "The people at The Ann Arbor News are honored and pleased to partner with and be supportive of the University Musical Society, which adds so much depth, color, excite?ment, and enjoyment to this incredible community."
Timothy G. Marshall
President and CEO, Bank of Ann Arbor "A commitment to the community can be expressed in many ways, each different and all appropriate. Bank of Ann Arbor is pleased to continue its long term support of the University Musical Society by our sponsorship of the 0708 season."
Habte Dadi
Manager, Blue Nile Restaurant 'At the Blue Nile, we believe in giving back to the community that sustains our business. We are proud to support an organization that provides such an important service to Ann Arbor."
George Jones
President and CEO, Borders Group, Inc. "Borders embraces its role as a vital, contributing member of the community that reaches out to connect with people. We know that what our customers read, listen to, and watch is an integral part of who they are and who they aspire to be. Borders shares our community's passion for the arts and we are proud to continue our support of the University Musical Society."
Claes Fornell
Chairman, CFI Group, Inc.
"The University Musical Society is a marvelous magnet for attracting the world's finest in the performing arts. There are many good things in Ann Arbor, but UMS is a jewel. We are all richer because of it, and CFI is proud to lend its support."
Charles E. Crone, Jr.
Ann Arbor Region President, Comerica Bank "Our communities are enriched when we work together. That's why we at Comerica are proud to support the University Musical Society and its tradition of bringing the finest in performing arts to our area."
Fred Shell
Vice President, Corporate and Government Affairs, DTE Energy
"The DTE Energy Foundation is pleased to support exemplary organizations like UMS that inspire the soul, instruct the mind, and enrich the community."
Edward Surovell
President, Edward Surovell Realtors
"Edward Surovell Realtors and its 300 employees and sales asso?ciates are proud of our 20-year relationship with the University Musical Society. We honor its tradition of bringing the world's leading performers to the people of Michigan and setting a standard of artistic leadership recognized internationally."
Leo Legatski
President, Elastizell Corporation of America "Elastizell is pleased to be involved with UMS. UMS's strengths are its programming--innovative, experimental, and pioneering--and its education and outreach programs in the schools and the community."
Kingsley P. Wootton
Plant Manager, GM Powertrain Ypsilanti Site "Congratulations on your 129th season! Our community is, indeed, fortunate to have an internationally renowned musical society. The extraordinary array of artists; the variety, breadth and depth of each season's program; and the education and community component are exceptional and are key ingredients in the quality of life for our community, region, and state. It is an honor to contribute to UMS!"
Carl W. Herstein
Partner, Honigman Miller Schwartz and Conn LLP "Honigman is proud to support non-profit organizations in the communities where our partners and employees live and work. We are thrilled to support the University Musical Society and commend UMS for its extraordinary programming, com?missioning of new work, and educational outreach programs."
Mohamad Issa
Director, Issa Foundation
"The Issa Foundation is sponsored by the Issa family, which has been established in Ann Arbor for the last 30 years, and is involved in local property management as well as area pub?lic schools. The Issa Foundation is devoted to the sharing and acceptance of culture in an effort to change stereotypes and promote peace. UMS has done an outstanding job bringing diversity into the music and talent of its performers."
Bill Koehler
District President, KeyBank
"KeyBank remains a committed supporter of the performing arts in Ann Arbor and we commend the University Musical Society for it's contribution to the community. Thank you, UMS. Keep up the great work!"
Dennis Serras
Owner, Mainstreet Ventures, Inc. 'As restaurant and catering service owners, we consider ourselves fortunate that our business provides so many opportunities for supporting the University Musical Society and its continuing success in bringing internationally acclaimed talent to the Ann Arbor community."
Sharon J. Rothwell
Vice President, Corporate Affairs and Chair, Masco Corporation Foundation 'Masco recognizes and appreciates the value the performing arts bring to the region and to our young people. We applaud the efforts of the University Musical Society for its diverse learning opportunities and the impact its programs have on our communities and the cultural leaders of tomorrow."
Erik H. Serr
Principal, Miller, Canfield, Paddock and Stone, P.L.C 'Miller Canfield proudly supports the University Musical Society for bringing internationally-recognized artists from a broad spectrum of the performing arts to our community, and applauds UMS for offering another year of music, dance, and theater to inspire and enrich our lives."
John W. McManus
Regional President, National City Bank
'National City Bank is proud to support the efforts of the
University Musical Society and the Ann Arbor community."
Michael B. Staebler
Senior Partner, Pepper Hamilton LLP The University Musical Society is an essential part of the great quality of life in southeastern Michigan. We at Pepper Hamilton support UMS with enthusiasm."
Joe Sesi
President, Sesi Lincoln Mercury Volvo Mazda "The University Musical Society is an important cultural asset for our community. The Sesi Lincoln Mercury Volvo Mazda team is delighted to sponsor such a fine organization."
Thomas B. McMullen
President, Thomas B. McMullen Co., Inc. "I used to feel that a U-M-Ohio State football ticket was the best ticket in Ann Arbor. Not anymore. UMS provides the best in educational and artistic entertainment."
Robert R. Tisch
President, Tisch Investment Advisory "Thank you, Ann Arbor, for being a wonderful community in which to live, raise a family, and build a successful business."
Tom Thompson
Owner, Tom Thompson Flowers
'Judy and I are enthusiastic participants in the UMS family. We appreciate how our lives have been elevated by this relationship."
Yasuhiko "Yas" Ichihashi
President, Toyota Technical Center "Toyota Technical Center is proud to support UMS, an organization with a long and rich history of serving diverse audiences through a wide variety of arts programming."
Robert K. Chapman
Chairman and Chief Executive Officer, United Bank & Trust ? "At United Bank & Trust, we believe the arts play an impor' tant role in evolving the quality of life and vibrancy of the community. So it is with great pleasure that United supports the University Musical Society and the cultural excellence they provide to our area."
Jeff Trapp
President, University of Michigan Credit Union "Thank you to the University Musical Society for enriching our lives. The University of Michigan Credit Union is proud to be a part of another great season of performing arts."
Susan Bellinson
Director of Marketing and Community Relations, Whole Foods "Whole Foods Market is delighted to support the University Musical Society. Our city is most fortunate to be the home of this world-class organization!"
FOUNDATION AND GOVERNMENT SUPPORT
UMS gratefully acknowledges the support of the following foundations and government agencies.
$100,000 or more
Doris Duke Charitable
Foundation Michigan Council for Arts
and Cultural Affairs Michigan Economic
Development Corporation The Wallace Foundation
$50,000-599,999
Anonymous DTE Energy Foundation Esperance Family Foundation The Power Foundation
$20,000-549,999
Cairn Foundation Maxine and Stuart Frankel
Foundation National Dance Project of the
New England Foundation
for the Arts National Endowment for the
Arts The Whitney Fund at the
Community Foundation
for Southeastern Michigan
$10,000-519,999
Chamber Music America
$5,000-59,999
Arts Midwest Performing Arts
Fund Issa Foundations
$1,000-54,999
Eugene and Emily Grant
Family Foundation Martin Family Foundation THE MOSAIC FOUNDATION
(of R. & P. Heydon) Millman Harris Romano
Foundation Sarns Ann Arbor Fund
UNIVERSITY MUSICAL S 0 C I E T Y of the University of Michigan
UMS BOARD OF DIRECTORS
Carl W. Herstein,
Chair James C. Stanley,
Wee Chair Kathleen Benton,
Secretary Michael C. Allemang,
Treasurer
Wadad Abed Carol L. Amster Lynda W. Berg D.J. Boehm Charles W. Borgsdorf Robert Buckler Mary Sue Coleman Hal Davis Al Dodds Aaron P. Dworkin Maxine J. Frankel
Patricia M. Garcia Anne Glendon David J. Herzig Christopher Kendall Melvin A. Lester Joetta Mial Lester P. Monts Roger Newton Philip H. Power Todd Roberts A. Douglas Rothwell
Edward R. Schulak John J. H. Schwarz Ellie Serras Joseph A. Sesi Anthony L. Smith Cheryl L. Soper Michael D. VanHemert
Chris Genteel, Board Fellow
UMS NATIONAL COUNCIL
Clayton E. Wilhite, Chair John Edman Janet Eilber
Eugene Grant Charles Hamlen David Heleniak
Toni Hoover Judith Istock Zarin Mehta
Herbert Ruben Russell Willis Taylor
UMS SENATE (former members of the UMS Board of Directors)
Robert G. Aldrich Herbert 5. 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. Harm Randy J. Harris Walter L. Harrison Deborah S. Herbert Norman G. Herbert Peter N. Heydon Toni Hoover Kay Hunt Alice Davis Irani Stuart A. Isaac Thomas E. Kauper David B. Kennedy Gloria James Kerry Thomas C. Kinnear Marvin Krislov F. Bruce Kulp Leo A. Legatski
Earl Lewis Patrick B. Long Helen B. Love Judythe H. Maugh Paul W. McCracken Rebecca McGowan Barbara Meadows Alberto Nacif Shirley C. Neuman Jan Barney Newman Len Niehoff Gilbert S. Omenn Joe E. O'Neal John D. Paul Randall Pittman John Psarouthakis Rossi Ray-Taylor John W. Reed Richard H. Rogel Prudence L. Rosenthal Judy Dow Rumelhart
Maya Savarino Ann Schriber Erik H. Serr Harold T. Shapiro George I. Shirley John 0. Simpson Herbert Sloan Timothy P. Slottow Carol Shalita Smokier Jorge A. Solis Peter Sparling Lois U. Stegeman Edward D. Surovell James L. Telfer Susan B. Ullrich Eileen Lappin Weiser B. Joseph White Marina v.N. Whitman Clayton E. Wilhite Iva M. Wilson Karen Wolff
ADVISORY COMMITTEE
Andrea Smith, Chair Phyllis Herzig, Wee Chair Alice Hart, Secretary Betty Byrne, Treasurer Meg Kennedy Shaw, Past Chair
Randa Ajlouny ManAnn Apley Lorie Arbour Barbara Bach Rula Kort Bawardi Poage Baxter Nishta Bhatia Luciana Borbely
Mary Breakey Mary Brown Heather Byrne Janet Cailaway Laura Caplan Cheryl Clarkson Wendy Comstock Jean Connell Phelps Connel! 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 LeDuc Mary LeDuc Joan Levttsky Eleanor Lord Judy Mac Jane Maehr
Joanna McNamara Jeanne Merlanti Liz Messiter Kay Ness Sarah Nicoli Thomas Ogar Betty Palms Allison Poggi Lisa Psarouthakis Paula Rand Wendy Moy Ransom Stephen Rosoff Swanna Saltiel Agnes Moy Sarns Jamie Saville
Penny Schreiber Bev Seiford Alida Silverman Loretta Skewes Nancy Stanley Karen Stutz Eileen Thacker Janet Torno Amanda Uhle Dody Viola Enid Wasserman Amy Weaver Ellen Woodman Mary Kate Zelenock
UMS STAFF
AdministrationFinance
Kenneth C. Fischer, President Luciana Borbely, Assistant to the
President John B. Kennard, Jr., Director of
Administration Beth Gilliland, Gift ProcessorIT
Assistant
Patricia Hayes, Senior Accountant John Peckham, Information Systems
Manager
Choral Union
Jerry Blackstone, Conductor and
Music Director
Jason Harris, Assistant Conductor Kathleen Operhall, Chorus Manager Nancy K. Paul, Librarian Jean Schneider, Accompanist Scott VanOrnum, Accompanist Donald Bryant, Conductor Emeritus
Development
Susan McClanahan, Director Susan Bozell, Manager of
Corporate Support Rachelle Lesko, Development
Assistant Lisa Michiko Murray, Manager of
Foundation and Government
Grants M. Joanne Navarre, Manager of
Annual Giving Marnie Reid, Manager of Individual
Support Lisa Rozek, Assistant to the Director
of Development Cynthia Straub, Advisory Committee
and Events Coordinator
EducationAudience Development
Ben Johnson, Director Bree Juarez, Education and
Audience Development Manager Mary Roeder, Residency
Coordinator Omari Rush, Education Manager
MarketingPublic Relations
Sara Billmann, Director Jim Leija, Public Relations Manager Mia Milton, Marketing Manager Erika Nelson, Assistant Marketing Manager
Production
Douglas C. Witney, Director Emily Avers, Production Operations
Director Jeffrey Beyersdorf, Technical
Manager
Programming
Michael J. Kondziolka, Director Mark Jacobson, Programming
Manager Carlos Palomares, Artist Services
Coordinator Claire C. Rice, Associate
Programming Manager
Ticket Services
Nicole Paoletti, Manager Sally A. Cushing, Ticket Office
Associate Suzanne Davidson, Assistant Ticket
Services Manager, Front-of-
House Coordinator
Jennifer Graf, Assistant Ticket
Services Manager Karen Jenks, Group Sales
Coordinator Parmiss Nassiri-Sheijani, 77dref
Office Assistant Sara Sanders, Assistant Front-of-
House CoordinatorTicket Office
Assistant Stephanie Zangrilli, Ticket Office
Associate Dennis Carter, Bruce Oshaben,
Brian Roddy, Head Ushers
Students
Catherine Allen Gabriel Bilen Greg Briley Caleb Cummings Elizabeth Dengate Vinal Desai Amy Fingerle Jonathan Gallagher Eboni Garrett-Bluford Charlie Hack William Hubenschmidt Max Kumangai-McGee Michael Lowney Ryan Lundin Michael Michelon Leonard Navarro Meg Shelly Ian Sinclair Andrew Smith Trevor Sponseller Liz Stover Robert Vuichard Julie Wallace Marc Zakalic
UMS TEACHER ADVISORY COMMITTEE
Abby Alwin Fran Ampey Robin Bailey Greta Barfield Joey Barker Alana Barter Judy Barthwell Rob Bauman Brita Beitler Elaine Bennett Ann Marie Borders Sigrid Bower Marie Brooks Susan Buchan
Deb Clancy Leslie Criscenti Karen Dudley Saundra Dunn Johanna Epstein Susan Filipiak Katy Fillion Delores Flagg Joey Fukuchi Jeff Gaynor Joyce Gerber Jennifer Ginther Bard Grabbe Walter Graves
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Michelle Peet Anne Perigo Cathy Reischl Jessica Rizor Tracy Rosewarne Sandra Smith Jutie Taylor Cayla Tchalo Dan Tolly Barbara Wallgren Joni Warner Kimberley Wright Kathryn Young
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GENERAL INFORMATION
Barrier-Free Entrances
For persons with disabilities, all venues have barrier-free entrances. Wheelchair locations vary by venue; visit www.ums.orgtickets or call 734.764.2538 for details. Ushers are available for assistance.
Listening Systems
For hearing-impaired persons, Hill Auditorium, Power Center, and Rackham Auditorium are equipped with assistive listening devices. Earphones may be obtained upon arrival. Please ask an usher for assistance.
Lost and Found
For items lost at Hill Auditorium, Lydia Mendelssohn Theatre, Power Center, or Rackham Auditorium please call University Productions at 734.763.5213. For the Michigan Theater, call 734.668.8397. For St. Francis of Assisi, call 734.821.2111.
Parking
Please allow plenty of time for parking as the campus area may be congested. Parking is available in the Church Street, Maynard Street, Thayer Street, Fletcher Street, and Fourth Avenue structures for a minimal fee. Limited street parking is also available. Please allow enough time to park before the performance begins. UMS donors at the Patron level and above ($1,000) receive 10 complimentary park?ing passes for use at the Thayer Street or Fletcher Street structures in Ann Arbor.
UMS offers valet parking service for Hill Auditorium performances in the 0708 Choral Union series. Cars may be dropped off in front of Hill Auditorium beginning one hour before
each performance. There is a $20 fee for this service. UMS donors at the Leader level and above ($3,500-$4,999) are invited to use this service at no charge.
Other recommended parking that may not be as crowded as on-campus structures: Liberty Square structure (formerly Tally Hall), entrance off of Washington Street between Division and State; about a two-block walk from most per?formance venues, $2 after 3 pm weekdays and all day SaturdaySunday. Maynard Street struc?ture, entrances off Maynard and Thompson between William and Liberty, $.80hr, free on Sunday.
For up-to-date parking information, please visitwww.ums.org.
Refreshments
Refreshments are available in the lobby during intermissions at events in the Power Center, in the lower lobby of Hill Auditorium (beginning 75 minutes prior to concerts--enter through the west lobby doors), and in the Michigan Theater. Refreshments are not allowed in the seating areas.
Smoking Areas
University of Michigan policy forbids smoking in any public area, including the lobbies and restrooms.
Start Time
UMS makes every effort to begin concerts at the published time. Most of our events take place in the heart of central campus, which does have limited parking and may have several events occurring simultaneously in different theaters. Please allow plenty of extra time to park and find your seats.
Latecomers
Latecomers will be asked to wait in the lobby until seated by ushers. Most lobbies have been outfitted with monitors andor speakers so that latecomers will not miss the performance.
The late-seating break is determined by the artist and will generally occur during a suitable repertory break in the program (e.g., after the first entire piece, not after individual movements of classical works). There may be occasions where latecomers are not seated until intermis?sion, as determined by the artist. UMS makes every effort to alert patrons in advance when we know that there will be no late seating.
UMS tries to work with the artists to allow a flexible late-seating policy for family perform?ances.
UMS TICKETS
Group Tickets
Treat 10 or more friends, co-workers, and family members to an unforgettable performance of live music, dance, or theater. Whether you have a group of students, a business gathering, a college reunion, or just you and a group of friends, the UMS Group Sales Office can help you plan the perfect outing. You can make it formal or casual, a special celebration, or just friends enjoying each other's company. The many advantages to booking as a group include:
Reserving tickets before tickets go on sale to the general public
Discounts of 15-25 for most performances
Accessibility accommodations
No-risk reservations that are fully refundable up to 14 days before the performance
1-3 complimentary tickets for the group organizer (depending on size of group). Complimentary tickets are not offered for performances with no group discount.
For more information, please contact 734.763.3100 or e-mail umsgroupsalesO umich.edu.
Classical Kids Club
Parents can introduce their children to world-renowned classical music artists through the Classical Kids Club. For more information please see page P31.
NETWORK Tickets
Members of the UMS African American Arts Advocacy Committee receive discounted tickets to certain performances. For more information please see page P27.
Student Tickets
Discounted tickets are available for University students and teenagers. Information on all UMS University Student Ticketing programs can be found on page P33. Teen Ticket infor?mation can be found on page P31.
Gift Certificates
Available in any amount and redeemable for any of more than 70 events throughout our season, wrapped and delivered with your per?sonal message, the UMS Gift Certificate is ideal for weddings, birthdays, Christmas, Hanukkah, Mother's and Father's Days, or even as a housewarming present when new friends move to town.
UMS Gift Certificates are valid for 12 months from the date of purchase and do not expire at the end of the season. For more information, please visit www.ums.org.
Retums
If you are unable to attend a concert for which you have purchased tickets, you may turn in your tickets up to 15 minutes before curtain time by calling the Ticket Office. Refunds are not available; however, you will be given a receipt for an income tax deduction.
Ticket Exchanges
Subscribers may exchange tickets free of charge. Non-subscribers may exchange tickets for a $6 per ticket exchange fee. Exchanged tickets must be received by the Ticket Office
Info
(by mail or in person) at least 48 hours prior to the performance. The value of the tickets may be applied to another performance or will be held as UMS Credit until the end of the season. You may also fax a copy of your torn tickets to 734.647.1171. Lost or misplaced tickets cannot be exchanged. UMS Credit for this season must be redeemed by May 9, 2008.
UMSAnnals
UMS HISTORY
Through a commitment to Presentation, Education, and the Creation of new work, the University Musical Society (UMS) serves Michigan audiences by bringing to our community an ongo?ing series of world-class artists, who represent the diverse spectrum of today's vigorous and exciting live performing arts world. Over its 128 years, strong leadership coupled with a devoted community has placed UMS in a league of internationally recognized performing arts pre?senters. Today, the UMS seasonal program is a reflection of a thoughtful respect for this rich and varied history, balanced by a commitment to dynamic and creative visions of where the oerforming arts will take us in this new millen?nium. Every day UMS seeks to cultivate, nurture, and stimulate public interest and participation in every facet of the live arts.
UMS grew from a group of local university and townspeople who gathered together for the study of Handel's Messiah. Led by Professor Henry Simmons Frieze and conducted by Professor Calvin Cady, the group assumed the name The Choral Union. Their first perform?ance of Handel's Messiah was in December of 1879 and this glorious oratorio has since been performed by the UMS Choral Union annually. As a great number of Choral Union mem?bers also belonged to the University, the University Musical Society was established in December 1880. UMS included the Choral Union and University Orchestra, and through?out the year presented a series of concerts fea?turing local and visiting artists and ensembles.
Since that first season in 1880, UMS has expanded greatly and now presents the very best from the full spectrum of the performing arts--internationally renowned recitalists and orchestras, dance and chamber ensembles, jazz and world music performers, and opera and theater. Through educational endeavors, commissioning of new works, youth programs, artist residencies, and other collaborative proj?ects, UMS has maintained its reputation for quality, artistic distinction, and innovation. UMS now hosts over 50 performances and more than 125 educational events each season. UMS has flourished with the support of a generous community that this year gathers in five differ?ent Ann Arbor venues.
The UMS Choral Union has likewise expanded their charge over their 128-year history. Recent collaborations have included the Grammy Award-winning recording of William Bolcom's Songs of Innocence and of Experience, as well as performances of John Adams's On the Transmigration of Souls with the Detroit Symphony Orchestra and Shostakovich's Symphony No. 13 ("Babi Yar") with the Kirov Orchestra of St. Petersburg.
While proudly affiliated with the University of Michigan, housed on the Ann Arbor campus, and a regular collaborator with many University units, UMS is a separate not-for-profit organi?zation that supports itself from ticket sales, corporate and individual contributions, founda?tion and government grants, special project support from U-M, and endowment income.
UMS VENUES AND BURTON MEMORIAL TOWER
Hill Auditorium
After an 18-month $38.6-million dollar renova?tion overseen by Albert Kahn Associates, Inc. and historic preservation architects Quinn EvansArchitects, Hill Auditorium re-opened to the public in January 2004. Originally built in 1913, renovations have updated Hill's infra?structure and restored much of the interior to its original splendor. Exterior renovations include the reworking of brick paving and stone retaining wall areas, restoration of the south entrance plaza, reworking of the west barrier-free ramp and loading dock, and improvements to landscaping.
Interior renovations included the creation of additional restrooms, the improvement of barrier-free circulation by providing elevators and an addition with ramps, the replacement
of seating to increase patron comfort, introduc?tion of barrier-free seating and stage access, the replacement of theatrical performance and audio-visual systems, and the complete replacement of mechanical and electrical infra?structure systems for heating, ventilation, and air conditioning.
Hill Auditorium seats 3,575.
Michigan Theater
The historic Michigan Theater opened January 5, 1928 at the peak of the vaudevillemovie palace era. Designed by Maurice Finkel, the 1,710-seat theater cost around $600,000 when it was first built. As was the custom of the day, the theater was equipped to host both film and live stage events, with a full-size stage, dressing rooms, an orchestra pit, and the Barton Theater Organ. At its opening, the theater was acclaimed as the best of its kind ir the country. Since 1979, the theater has been operated by the not-for-profit Michigan Theater Foundation. With broad community support, the Foundation has raised over $8 million to restore and improve the Michigan Theater. The beautiful interior of the theater was restored in 1986.
In the fall of 1999, the Michigan Theater opened a new 200-seat screening room addi?tion, which also included expanded restroom facilities for the historic theater. The gracious facade and entry vestibule was restored in 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, togethe 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 }f 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 jnique level of intimacy. Architectural features nclude two large spiral staircases leading from he orchestra level to the balcony and the well-mown mirrored glass panels on the exterior. The lobby of the Power Center presently fea-ures two hand-woven tapestries: Modern Tapestry by Roy Lichtenstein and Volutes Arabesque) by Pablo Picasso.
The Power Center seats approximately 1,400 people.
rbor Springs Water Company is generously providing zomplimentary water to UMS artists backstage at the ower Center throughout the 0708 season.
iackham Auditorium "ifty years ago, chamber music concerts in nn 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 lorne of the Kelsey Museum. When Horace H. iackham, a Detroit lawyer who believed strongly in the importance of the study of luman history and human thought, died in 1933, his will awarded the University of Michigan the funds not only to build the Horace H. Rackham Graduate School which houses Rackham Auditorium, but also to estab?lish a $4 million endowment to further the development of graduate studies. Even more emarkable than the size of the gift is the fact hat neither he nor his wife ever attended the Jniversity of Michigan.
Designed by architect William Kapp and architectural sculptor Corrado Parducci,
Rackham Auditorium was quickly recognized as the ideal venue for chamber music. In 1941, UMS presented its first chamber music festival with the Musical Art Quartet of New York per?forming three concerts in as many days, and the current Chamber Arts Series was born in 1963. Chamber music audiences and artists alike appreciate the intimacy, beauty, and fine acoustics of the 1,129-seat auditorium, which has been the location for hundreds of chamber music concerts throughout the years.
St. Francis of Assisi Catholic Church
Dedicated in 1969, St. Francis of Assisi Catholic Church has grown from 248 families when it first started to more than 2,800 today. The present church seats 1,000 people and has ample free parking. In 1994, St. Francis pur?chased a splendid three manual "mechanical action" organ with 34 stops and 45 ranks, built and installed by Orgues Letourneau from Saint Hyacinthe, Quebec. Through dedication, a commitment to superb liturgical music and a vision to the future, the parish improved the acoustics of the church building, and the reverberant sanctuary has made the church a gathering place for the enjoyment and con?templation of sacred a cappella choral music and early music ensembles.
Burton Memorial Tower
Seen from miles away, Burton Memorial Tower is one of the most well-known University of Michigan and Ann Arbor landmarks. Designed by Albert Kahn in 1935 as a memorial to U-M President Marion Leroy Burton, the 10-story tower is built of Indiana limestone with a height of 212 feet. The carillon, one of only 23 in the world, is the world's fourth heaviest containing 55 bells and weighing a total of 43 tons. UMS ha occupied administrative offices in this building since its opening, with a brief pause in the year 2000 for significant renovations.
o
Winter 2008 Season 129th Annual Season I
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
Friday, March 28 through Saturday, April 5, 2008
Urban Bush Women and Compaigne Jant-Bi 3
Les ecailles de la memoire (The scales of memory)
Friday, March 28, 8:00 pm Saturday, March 29, 8:00 pm Power Center
Lang Lang 13
Wednesday, April 2, 8:00 pm Hill Auditorium
Brad Mehldau Trio 21
Friday, April 4, 8:00 pm Michigan Theater
Choir of King's College, Cambridge 25
Saturday, April 5, 8:00 pm Hill Auditorium
THE 129TH UMS SEASON
Winter 2D08
March
5 Wed Orion 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 SFJAZZ Collective:
A Tribute to Wayne Shorter
14 Fri San Francisco Symphony 21 FriBach's St. Matthew Passion 28-29 Fri-SatUrban Bush Women and
Compagnie Jant-Bi: Les ecailles de la memoire (The scales of memory)
April
2 WedLang Lang, piano
4 FriBrad Mehldau Trio
5 SatChoir of King's College, Cambridge 10 Thu eighth blackbird
12 SatLila Downs 18Fr-Mehrand Sher AN: Qawwali Music of Pakistan
19 SatBobby McFerrin, Chick Corea, and
Jack DeJohnette
20 Sun Andras Schiff: Beethoven Concert 3 22 Tue Andras Schiff: Beethoven Concert 4
May
10 SatFord Honors Program: Sir James Galway
UMS Educational Events
through Sunday, April 6, 2008
All UMS educational activities are free, open to the public, and take place in Ann Arbor unless other?wise noted. For complete details and updates, please visit www.ums.org or contact the UMS education department at 734.647.6712 or umsed@umich.edu.
Urban Bush Women and Compagnie Jant-Bi
Artist Interview
Jawole Willa Jo Zollar, Artistic Director,
Urban Bush Women
Saturday, March 29, 11:00 am-)2:30 pm, Forum Hall, Palmer Commons, 100 Washtenaw Avenue
Robin Wilson, former member of Urban Bush Women and professor in the U-M Department of Dance, interviews Jawole Willa Jo Zollar, Artistic Director of Urban Bush Women.
Masterclass: Compagnie Jant-Bi
Saturday, March 29, 1:00-3:00 pm Power Center Stage, 121 Fletcher Street
A member of Senegal's all-male Compagnie Jant-Bi leads an African dance masterclass for members of the university and community. A collaboration with the U-M School of Music, Theatre & Dance.
presents
Les ecailles de la memoire (The scales of memory)
A collaboration between
Compagnie Jant-Bi Urban Bush Women
Choreography, Germaine Acogny and Jawole Willa Jo Zollar
In collaboration with the dancers
Original music composed and performed by
Fabrice Bouillon-LaForest with Frederic Bobin, Guitars
Compagnie Jant-Bi
Babacar Ba, Cire Beye, Abdoulaye Kane, Pape Ibrahima Ndiaye (Kaolack), Ousmane Ndiaye (Bane), Bertrand Tchebe Saky, Abib Sow
Urban Bush Women
Maria Bauman, Nora Chipaumire, Catherine Denecy, Paloma McGregor, Love Muwwakkil, Samantha Speis, Bennalldra Williams
Associate Artistic Director, Nora Chipaumire Lighting Design, J. Russell Sandifer Costume Design, Naoko Nagata Technical Supervisor, Heidi Eckwall Technical Assistant, Josina Manu Assistant to Germaine Acogny, Longa Fo Eyeoto Assistant to Jawole Zollar, Christine King Company Manager, Nikki Johnson
Program
Friday Evening, March 28, 2008 at 8:00 Saturday Evening, March 29, 2008 at 8:00 Power Center Ann Arbor
Tonight's performance is approximately 85 minutes in duration and will not include an intermission.
48th and 49th Performances of the 129th Annual Season
17th Annual Dance Series
The photographing or sound recording of this performance or posses?sion of any device for such photographing or sound recording is prohibited.
Funded in part by the National Endowment for the Arts, which believes that a great nation deserves great art, and by the National Dance Project of the New England Foundation for the Arts, with lead funding from Doris Duke Charitable Foundation. Additional funding provided by the Andrew W. Mellon Foundation, The Ford Foundation, and JPMorgan Chase.
Media partnership provided by Michigan Radio, Between the Lines, Metro Times, WEMU 89.1 FM, and Michigan ChronicleFront Page.
Special thanks to the U-M School of Music, Theatre & Dance, Robin Wilson, Rhonda Greene, and Idy Ciss, for their participation in this residency.
Les dailies de la memore (The scales of memory) was co-commissioned by DANCECIeveland with funding from the 2006 Joyce Award and Christopher Newport University's Ferguson Center for the Arts. This work was developed via a series of creative residencies hosted by the Maggie Allesee National Center for Choreography at Florida State University, the Brooklyn Academy of Music, and L'Ecole des Sables.
Les ecailles de la memoire (The scales of memory) was made possible by the Do?ris Duke Fund for Dance of the National Dance Project, a program administered by the New England Foundation for the Arts with funding from the Doris Duke Charitable Foundation and the Ford Foundation. Additional funding was gener?ously provided by Creative Capital Foundation Multi-Arts Production Fund (MAP) with funding from The Rockefeller Foundation, The Buddy Fund for Justice at Rockefeller Philanthropy Advisors, and a Florida State University Cornerstone Arts and Humanities Program Enhancement Grant. Public support comes from The National Endowment for the Arts and the New York State Council on the Arts.
Urban Bush Women appears by arrangement with IMG Artists, New York, NY.
Compagnie Jant-Bi appears by arrangement with Cathy Pruzan Artist Representative.
Large print programs are available upon request.
Other Music and Sound Score Credits
Christine King, Vocals
Drummers of L'Ecole des Sables, Senegal
Abdoulaye Diop, Oumar Fandy Diop, Ndeye Seek, Ousmane Sene
Sampled beat box originally performed by Ba-bacar Ba. Wolof flows written and performed by Pape Ibrahima Ndiaye (Kaolack)
"Ode Mystique No. 919," by Rumi; read by Nora Chipaumire and Catherine Denecy
"Khinshasa Theme," music by Frederic Bobin Fabrice Bouillon-Laforest, Composition, Mixing and Keyboards, Berimbau, Percussion, Vocals
Artist's Statement Germaine Acogny
It's a dream that has become a reality through the choreographic creation of Les ecailles de la me-moire (The scales of memory). To bring together, to unite Africa and its Diaspora...what way could be better than through dance When I met Ja?wole Zollar at the University of Florida in Gaines?ville for the first time in 2004, I immediately felt her telluric force. This was what was needed, I felt, to assert together the Contemporary Negri-tude, proclaimed in the '60s by Cesaire, Damas, and Senghor. We knew that it was a big challenge that would need more than just choreographic skills. Trust, openness, intuition, respect, love, and awareness were a few of the basic ingredients needed to bring our two worlds together. I thank Jawole for sharing this wonderful experience with me. Out of all my collaborations this has been the most complete, satisfying, and enriching one, an experience I would not have missed. I thank the dancers of the two companies, the Urban Bush Women and Jant-Bi, for their patience, energy, imagination, and participation in this creation: they have helped me give life, through their bod?ies, to all of the images and emotions teeming in my head which were made complete with the fantastic sounds of the musical creation by the composer Fabrice Bouillon. Two strong, inde?pendent women, 14 wonderful dancers, a very talented and inspired composer, a completely ab-
sorbing and fascinating costume designer, a magi?cal lighting designer, and a dedicated team all around demonstrating great respect and human warmth--what a chance to work under these conditions! I thank my husband Helmut Vogt for his attentive presence and support and the sensi?bility and generosity of all the partners that made this project possible.
Artist's Statement Jawole Willa Jo Zollar
Through Les ecailles de la memoire, we--Ger-maine, Helmut, Nora, and the men and women of both companies and I--have come to the comple?tion of a cycle of exploration and collaboration that has encompassed two continents; our collec?tive and personal histories and narratives; embod?ied research in Tallahassee at sites like the Kings-ley Plantation, southern Baptist churches and the Hanging Tree; and embodied research in Goree, Dakar club life, and village ceremonies in Senegal. To work from one's heart with a fellow traveler is always a great honor and privilege. To work from the depth of one's soul and to have the trust that there will be an honoring of the vulnerability it takes to work from such a deep place is a rare and precious experience. When I met Germaine at the Conference of Contemporary Art in Gainesville, Florida, I knew there was a special connection of heart and soul like no other I have experienced; this friendship continues to affirm and illuminate my unfolding artistic journey. It is a great honor and privilege to work with the powerful women of Urban Bush Women, the open hearts of the men of Jant-Bi, the choreographic vision of Nora Chipaumire, and the wisdom, joyous nature, and honesty of Helmut and Germaine.
Production Notes From the Composer Fabrice Bouillon-LaForest
From Africa to America, the story of a whole people can be told by strings and wood, voices and skins. Leaving skins and voices to the danc?ers, I choose the guitar as a bond between dif?ferent times and spaces in history, echoes from the traditional kora, reminiscences of blues and jazz, percussive and noisy loops from our mod-
ern world: the guitar is the instrument of resis?tance and memory par excellence. To talk about the past, I also used the Brazilian berimbau, an?other amazing tool people have created to make their traditions and spirit endure through the dark times of slavery. Obvious proof of their in?telligence, this barbaric institution abolished, the berimbau stands still, as music often does. But of course, this is not only about celebrating the past. The present is a big free field and, with the won?derful guitarist and composer Frederic Bobin, we tried and spanned the many sides and the many sounds of the classical guitar. Using the guitar was our way to question the legacy of African culture through an instrument that once was the voice of the oppressor. I imagined music for The scales of memory as an endless mirror game between now and then, noise and silence, celebrating freedom and love within the darkest hours of time.
Compagnie Jant-Bi was created in 1998 with dancers who had participated in the first professional workshop of the Interna?tional Centre for Traditional and Contemporary African Dancers, L'Ecole des Sables in Toubab Di-
alaw, Senegal, under the artistic direction of Ger-maine Acogny. The first choreography of the com?pany, Le Coq est Mort, was created for eight male dancers in 1999, by the German choreographer Susanne Linke and the Israeli co-choreographer Avi Kaiswer. Le Coq est Mort toured throughout Europe and North America including such theaters as Theatre de la Ville in Paris, FIND in Montreal, Jacob's Pillow, The Kennedy Center, and Arizona State University. Compagnie Jant-Bi works closely with the International Centre for Traditional and Contemporary African Dances, L'Ecole des Sables in Toubab Dialaw, on the coast in the south of Dakar. The principal aim of the Centre is to supply African dancers with professional training in tradi?tional and contemporary African dance and to de?velop and promote contemporary African dance. The Centre is also a meeting point and a place of exchange for dancers and choreographers belong?ing to the African Diaspora and different cultures from all over the world. The company continues this international cultural exchange by creating works that reflect the spirit of the Centre. By cre?atingforming contacts with choreographers from other cultures and incorporating different dance styles, a fusion between their culture and the es?sence of African dance is obtained.
photo t. Amo ???? ft
For Urban Bush Women (UBW), creating dance and creating community are essential?ly linked. Founded in 1984 by choreographer Jawole Willa Jo Zollar, Urban Bush Women seeks to bring the untold and under-told histories and stories of disenfranchised people to light through dance. The company achieves this through a woman-centered perspective, as members of the African Diaspora community, in order to create a more equitable balance of power in the dance world and beyond.
Urban Bush Women is based in Brooklyn, New York. UBW has been presented extensively in New York City and has toured throughout the US, Asia, Australia, Europe, and South America. Festival appearances include Jacob's Pillow, Spo-leto USA, National Black Arts Festival, Dance Um?brella UK, and Lincoln Center Festival. The Com?pany has been commissioned by major presenters nationwide, and counts among its honors a 1992 New York Dance and Performance Award (BES?SIE); the 1994 Capezio Award for "Outstanding Achievement in Dance"; and 1998 and 2004 Doris Duke Awards for New Work from the American Dance Festival. The Urban Bush Women repertory consists of 32 works choreographed by Ms. Zollar including ambitious collaborations with jazz artist David Murray; poets Laurie Carlos and Carl Han?cock Rux; directors Steve Kent and Elizabeth Her-ron; and the National Song and Dance Company of Mozambique (supported by The Ford Founda?tion's Africa Exchange Program). To celebrate its 20th anniversary season in 2004, the company launched PROJECT NEXT GENERATION, a com?missioning award to an emerging female chore?ographer. Past recipients whose work was part of the UBW repertory during the 2005-2007 seasons include Bridget L. Moore and Camille A. Brown. In 2007, Urban Bush Women re-staged Blondell Cummings' seminal solo from 1981, Chicken Soup, deemed an American Masterpiece by the National Endowment for the Arts. Long-term community engagement residencies culminating in public performances have been undertaken in New Orleans, Sarasota, Philadelphia, New Haven, Tallahassee, Riverside (California), Flint (Michi?gan), and San Diego. Urban Bush Women also produces an annual Summer Institute for training artists and activists in UBW community engage?ment techniques. The 2008 Summer Institute will take place July 25-August 3 in Brooklyn.
UMS ARCHIVES
This weekend's performances mark Urban Bush Women's fourth and fifth appearances under UMS auspices. The company made their UMS debut in January 1993 in a program featuring choreography by Jawole Willa Jo Zollar at the Power Center. This weekend's performances mark Compagnie Jant-Bi's UMS debut.
Germaine Acogny (Co-choreographer) is Senegalese and French in origin and founded her first dance studio in Dakar in 1968. Thanks to the influence of the body move?ments she had inherited from her grandmother, a Yoruba priest, and to her learning of traditional African dances and Occidental dances (classic and modern), Ms. Acogny has given birth to her own dancing technique. Between 1977 and 1982 she was director of Mudra Afrique (Dakar), created by Maurice Bejart and the president L.S. Senghor. In 1980, she wrote a book entitled African Dance, edited in three different languages. Once Mudra Afrique closed, she moved to Brussels to work with Maurice Bejart's company and organized international African dance workshops that had great success among the European audiences. This same experience was repeated in Fang-houme, a small village in Casamance in the south of Senegal. Ms. Acogny dances, choreographs, and teaches all over the world and has become an emissary of African dance and culture. Together with her husband, Helmut Vogt, she founded the Studio-Ecole-Ballet-Theatre du 3e Monde in 1985 in Toulouse, France. In 1987, after a brief respite from performing, she worked with Peter Gabriel on a video clip and created her solo Sahel. In 1995, she decided to return to Senegal with the aim of creating an International Centre for Traditional and Contemporary African Dances that would serve as a meeting point for dancers coming from Africa and from all over the world, and a place of education for dancers from the whole of Africa that could guide them towards a contemporary
African dance. This academy, L'Ecole des Sables, is now located in Toubab Dialaw, approximately 35 miles from Dakar. Ms. Acogny and co-chore?ographer Kota Yamazaki were recognized in 2007 with a New York Dance and Performance Award (BESSIE) for their creation Fagaala, a reflection on the Rwandan genocide. Most recently she collab?orated with her son Patrick Acogny on Waxtaan. another full-evening work for Compagnie Jant-Bi.
Jawole Willa Jo Zollar (Co-choreographer) was born and raised in Kansas City, MO. She trained with Joseph Stevenson, a student of the legend?ary Katherine Dunham, and received a BA in Dance from the University of Missouri at Kansas City and an MFA in dance from Florida State Uni?versity. In 1980, she moved to New York City to study with Dianne Mclntyre at Sounds in Motion. She founded Urban Bush Women (UBW) in 1984. In addition to over 30 works for UBW, Ms. Jawole has created dances for Alvin Ailey American Dance Theater, Ballet Arizona, Philadanco, University of Maryland, University of Florida, and Dayton Con?temporary Dance Company (DCDC). Her many positions as a teacher and speaker include Worlds of Thought Resident Scholar at Mankato State University (1993-94), Regents Lecturer in the De?partments of Dance and World Arts and Culture at UCLA (1995-96), Visiting Artist at Ohio State University (1996), and the Abramowitz Memorial Lecturer at Massachusetts Institute of Technol?ogy (1998). She was named Alumna of the Year by University of Missouri (1993) and Florida State University (1997), and was awarded an Honor?ary Doctorate from Columbia College, Chicago (2002). She also received the Martin Luther King Distinguished Service Award from Florida State University, where she holds the Nancy Smith Fich-ter professorship in the Dance Department. Most recently, Ms. Zollar was recognized with a 2006 New York Dance and Performance Award (BES?SIE) for her choreography of Walking With Pearl... Southern Diaries. She remains as the Director of the Urban Bush Women Summer Institute, Com?munity Building for Change, an annual intensive first presented in partnership with Florida State University (1997-1999) and now a 10-day train?ing in Brooklyn for artists and activists interested in using dance as a tool for engaging community and embodying change.
Babacar Ba (Dancer), born in Dakar, Senegal, began dancing in Oscar des Vacances, a choreo?graphic competition in Dakar. Ba began his train?ing at L'Ecole des Sables in 2003, where he studied traditional and contemporary dance of Africa and the West. He joined Compagnie Jant-Bi in 2004.
Maria Bauman [DancerAssociate Artistic Direc?tor for Community Engagement) has danced with Urban Bush Women for six years, originating sev?eral roles and playing an active part in the compa?ny's extensive community engagement and edu?cation projects. She also works with Adele Myers and Dancers, Nia Love-Blacksmith's Daughter, and is an apprentice with the Bill T. JonesArnie Zane Dance Company. Maria travels throughout the US as a freelance choreographer and teacher includ?ing a position at Connecticut College on behalf of the JonesZane Company, and has created dances for Spelman College, Virginia Commonwealth Uni?versity, and New Jersey Governor's School of the Arts. Maria also presents her own choreography and has been featured as part of the BAADIAss Women Festival at the Bronx Academy of Arts and Dance, www.mbdance.org.
Cire Beye (Dancer) was born in Saint-Louis, Sen?egal, where he began his theater training with the Jallore Dance Theatre. He went on to study tradi?tional and contemporary dance of Africa and the West at L'Ecole des Sables, and joined Compag?nie Jant-Bi in 1999 during the creation of Le Coq est Mort, by Suzanne Linke. Simultaneously, Beye founded his own company, Dialaw' Art, which was accepted in 2002 for the Concours de Danse, and which continues to tour successfully in Europe. Beye currently teaches at L'Ecole des Sables.
Fabrice Bouillon (Composer) is a musician, author, and sound designer who creates under the alias "LaForest." He first began composing for dance in 2000 as a permanent resident of Le Manege, National Stage of La Roche sur Yon (France). He was the composer for Fagaala, co-choreographed by Germaine Acogny and Kota Yamazaki for Com?pagnie Jant-Bi. His multimedia work includes music for video games "XXL Asterix Obelix," 2003; "The Pink Panther," 2002; and "Kirikou et la sorciere," 2001. Most recently, he composed Aziab for a Franco-Tunisian creation with the National Circus School of Rosny and Kayou for choreography by Sebastien Cormier. A second album, The Second Birth, is planned for a spring 2008 release.
Nora Chipaumire {DancerAssociate Artistic Direc?tor) began her work as both a choreographer and solo artist in the San Francisco Bay area in 2000. In New York City, Chipaumire'swork has been present?ed by Danspace Project, Dance New Amsterdam, The Flea Theater, BRICstudio, Embora Wellness Cen?ter, and as part of the Lincoln Center summer series, "color outside the lines," 2004. She has participated as a dancer and choreographer in CORD's Move?ment (R)evolution Dialogues: contemporary perfor?mance in and out of Africa (2004-2006). Interna?tionally, Chipaumire has performed her work and or taught in Canada, Russia, Poland, and Germany. As a dancer, Chipaumire has worked with various companies including Molissa Fenley and Dancers, Dimensions Dance Theater, and Compania De La Danza Narciso Medina (Cuba). She is the 2006 re?cipient of Wesleyan Center for the Artsemerging choreographer's award as well as a National Dance Project touring grant and a 2007 New York Dance and Performance Award (BESSIE) in recognition of her performance work with Urban Bush Women. She is a graduate of the University of Zimbabwe's School of Law and holds graduate degrees in dance (MA) and choreography and performance (MFA) from Mills College, Oakland, California. She has studied dance formally and informally in her native Zimbabwe, the US, Cuba, and Jamaica.
Catherine Denecy (Dancer) started her train?ing on her native island, Guadeloupe. She came to New York City to pursue an intensive training program at The Ailey School as the recipient of an Oprah Winfrey Foundation Scholarship. She has danced with Genesis Dance Company, directed by Karen Arceneaux, and Earl Mosley's company. Diversity Dance. Catherine has studied with Eliza?beth Roxas, Jeffrey Gerodias, Denise Jefferson, Dudley Williams, and Jacqueline Buglisi and has worked with choreographers such as Peter Lon?don, Diana Smallwood, and Fabrice Lamego. Ms. Denecy is thrilled to be starting her second season as an Urban Bush Woman.
Mohamed Abdoulaye Kane (Dancer), born in Dakar, Senegal, began his dance education with L'Association Kaay Fecc in Dakar, and continued his training at L'Ecole des Sables, where he ac?quired knowledge of traditional and contempo?rary dance forms of Africa and the Occident. From 2002 to 2004, Kane was a member of the com?pany ler Temps of Senegal. In 2004, Kane joined Compagnie Jant-Bi for the creation of Fagaala.
Christine King (VocalsAssistantWardrobe Su?pervisor) joined UBW in 1989. She is originally from Michigan and holds a BA in Dance. Christine has
Photo by Antoine Tempe
performed in New York City for over a dozen years with artists including Claire Porter, Trinket Monsod, Kaleidoscope Dancers, Amy Sue Rosen, and Black Pearl Dance Company. She has also performed as a vocalist with Ancient Vibrations. She has studied dance with Sara Sugihara, William Adair, and Dan Wagner and singing with Diane Barclay and Artie Sheppard. She thanks these artists and many oth?ers for their encouragement and love.
Paloma McGregor (Dancer) is originally from St. Croix and began her dance studies with Caribbe?an Dance Company. She started her professional dance career as a founding member of Michael Medcalf's Cleveland Contemporary Dance Theatre and later earned her MFA in dance at Case West?ern Reserve University. Since moving to New York in 2004, she has worked with Christal Brown's INSPIRIT, a dance company, and Germaul Barnes' Dance4U Project, and has had her own choreog?raphy presented in New York and Cleveland. This is her third season with Urban Bush Women.
Love Muwwakkil (Dancer) started her dance training in Charlotte, North Carolina, under the instruction of Donnell Stines. Graduating with a BFA in Dance Performance and Choreography from the University of North Carolina at Greens?boro, she had the pleasure of studying under Jan Van Dyke, John Gamble, Sherone Price, Gerri Houlihan, and BJ Sullivan. This is her second sea?son with Urban Bush Women.
Naoko Nagata (Costume Designer) has experi?enced a long evolution into costume making. With literally no formal training, Nagata's first costume was created for Jeanine Durning in 1998. From that moment, she has been creating non-stop for a diverse group of choreographers and dancers. She has collaborated with David Dorfman, Doug Elkins, Bebe Miller, Liz Lerman, David Neumann, Gina Gibney, Zvi Gotheiner, Reggie Wilson, Ellis Wood, Mollie O'Brien, and Nina Winthrop.
Ousmane Ndiaye (Bane) (Dancer) is from Dakar, Senegal. Ndiaye has a background in traditional Senegalese dance, particularly from the Wolof tribe. A member of several traditional companies such as Cinemouw, ARTEA DANSE, and African Diamando, Ndiaye jointed Compagnie Jant-Bi in 2004 while continuing his dance studies at L'Ecole des Sables.
Pape Ibrahima Ndiaye (Kaolack) (Dancer) be?gan his professional training in Europe where he studied hip-hop and capoeira. In 2002, he began his education of traditional and contemporary dance of Africa and the West at L' Ecole des Sables. Ndiaye has participated in residencies in Europe with Bernardo Montet and Frederico Fishback; and in Africa with Salia nT Seydou. Also a dancer with the company Dialaw' Art, he was selected for the Afrique en Creations competition in 2002. Ndiaye has been a member of Compagnie Jant-Bi since 2004 for the creation of Fagaala.
Bertrand Tchebe Saky (Dancer) of Yopougon, Ivory Coast, danced first for the Ballet National de Cote d'lvoire before moving to Dakar to join the company 1er Temps between 2003-2004. At L'Ecole des Sables, Tchebe deepened his under?standing of traditional and contemporary dance styles in both the African and Western traditions. He is presently a teacher at L'Ecole des Sables and has been with Compagnie Jant-Bi since 2004.
J. Russell Sandifer (Lighting Designer) serves as Co-Chair, with Patty Phillips, for the Depart?ment of Dance at Florida State University where he oversees production, accounting, scheduling, and personnel issues. In addition, he designs lighting for most of the department's productions and teaches visual design and production classes. Beyond FSU, he continues to design lighting for Seaside Music Theater (since 1984), Suzanne Far-rell Ballet (since 2001), and Urban Bush Women (since 1998). Russell has designed over 1200 dance works, 85 musicals, and eight operas dur?ing his career. He is a member of United Scenic Artists and serves on the board for American Col?lege Dance Festival.
Abib Sow (Dancer) was born in Yeumbeul Gan-diol, Senegal, and began his professional training in theater with the UNESCO-ASCHBERG program. Sow has enlivened dance and drum workshops throughout France, joining Compagnie Jant-Bi in 2004 for the creation of Fagaala.
Samantha Speis (Dancer) graduated with a BFA in Dance and Choreography from Virginia Com?monwealth University. She has pursued intensive studies in the NikolaisLouis Technique, and per?formed with Gesel Mason Performance Projects, Liz Lerman Dance Exchange, and Shani Nwando Ikerioha Collins.
Bennalldra Williams {Dancer) began her dance training in her native town of Birmingham at the Alabama School of Fine Arts. In 2005 she received a BFA in Dance and a BS in Exercise Science from Florida State University. While attending FSU she performed extensively with Dance Repertory Theatre and Phlava Dance Company. She has also worked or trained with Lynda Davis, Donald McKayle, Christopher Huggins, Kevin Jeff, Dance Theatre of Harlem, Alabama Ballet, and Cleo Parker Robinson Dance Ensemble. This is her second season with Urban Bush Women.
This project would not have been possible without the fierce intel?ligence and devoted support of our dance world colleagues Jen?nifer Calienes, Joyce Straub Fausone, and Lindsay Meeks of the Maggie Allesee National Center for Choreography at FSU; Gayle Fekete; Joan D. Frosch; Alia Kovgan; Dean Sally McRorie of FSU; Dr. John 0. Perpener III; Phil Reynolds and Bonnie Brooks (The Dance Center of Columbia College); Dr. E. Gaynell Sherrod; An-toine Tempe; Laurie Uprichard; Pamela Young (DANCECIeveland); Cathy, Julia, Emily, Lillian, I.S.P.A., and all the presenters along the way. Our heartfelt thanks, too, to Marjani Forte, on medical leave, and to Christal Brown, Lela Jones, and Rhea Patterson for their contributions to the work in earlier stages of the collaboration.
Urban Bush Women gratefully acknowledges its generous Board of Directors and funders: The Altria Group, Inc., The Nathan Cummings Foundation, The Buddy Fund for Justice at Rockefeller Philanthropy Advisors (RPA), the Exemplar Program, a program of Americans for the Arts in collaboration with the LarsonAllen Public Service Group, funded by the Ford Foundation, The M.A.P. Fund, Florida State University, Alliance of Resident Theaters (A.R.T.New York). The Greenwall Foundation, Princess Grace Foundation-USA, The National Dance Project as administered by the New England Foundation for the Arts, Independence Com?munity Foundation, the Fund for the City of New York, Pruden?tial Financial, Sony BMG Music Entertainment, HSBC, Verizon, Deutsche Bank, American Express, and our individual supporters nationwide. Urban Bush Women events are made possible with public funds from the National Endowment for the Arts, a fed?eral grant-making agency; the New York State Council for the Arts, a state agency; New York City Department of Youth and Community Development; and the New York City Department of Cultural Affairs.
Urban Bush Women is a proud participant in the Capacity Building Program for Culturally Specific Arts Organizations, a national pro?gram mentored by Michael Kaiser, President of The John F. Ken?nedy Center for the Performing Arts Special thanks to Michael Kaiser and to dear friends Mark J. Paris and Al Zollar.
Compagnie Jant-Bi Staff Helmut Vogt, Executive Director
Urban Bush Women Staff Amy Cassello, Managing Director Henry Liles, Financial Manager Pia Murray, Special Projects
Urban Bush Women Board Of Directors
Cristal Baron, Treasurer
Tammy Bormann, Chairperson
Jennifer Smith, Secretary
Wayne Blair
Jennifer E. Gilkie
Erik L Hall
Kristin McDonald
Sylvia R. Vogelman
Lorrie A. Warner
Jawole Willa Jo Zollar
To learn more about Germaine Acogny and L'Ecole des Sables, please visit www.jantbi.org. For booking information, contact Cathy Pruzan at cpruzan@aol.com.
For further inquiries regarding Urban Bush Women, please contact IMG Artists, www.imgartists.com or visit www.urbanbushwomen.org.
All tour travel arrangements made by Budiman Tuny of Tour Arts, Sausalito (www.tourarts.com). Hotel and ground transportation arranged by the women of Road Rebel (www road-rebel.com).
with
Ann and Clayton Wilhite,
United Bank & Trust
and
Edward Surovell Realtors
present
Lang Lang
Piano
Program
Wolfgang Amadeus Mozart
Robert Schumann
Traditional
Enrique Granados
Richard Wagner, arr. Franz Liszt
Liszt
Wednesday Evening, April 2, 2008 at 8:00 Hill Auditorium Ann Arbor
Sonata No. 13 in B-Flat Major, K. 333 Allegro
Andante cantabile Allegretto grazioso
Fantasy in C Major, Op. 17
Durchaus phantastisch und leidenschaftlich vorzutragen
Massig, Durchaus energisch
Langsam getragen, Durchweg leise zu halten
INTERMISSION
Six Traditional Chinese Works from Dragon Songs Album
Song selections to be announced by the artist from the stage.
Goyescas, H. 64 (excerpt)
No. 1: Los Requiebros (Flirtations)
Isoldens Liebestod from Tristan und Isolde, S. 447
Hungarian Rhapsody, No. 6 in D-Flat Major, S. 2446
50th Performance of the 129th Annual Season
129th Annual Choral Union Series
The photographing or sound recording of this recital or possession of any device for such photographing or sound recording is prohibited.
Tonight's performance is supported by Ann and Clayton Wilhite.
Tonight's performance is co-sponsored by United Bank & Trust and Edward Surovell Realtors.
Media partnership provided by WGTE 91.3 FM, Observer & Eccentric newspapers, and WRCJ 90.9 FM.
The Steinway piano used in this evening's recital is made possible by William and Mary Palmer and by Hammell Music, Inc., Livonia, Michigan.
Special thanks to Tom Thompson of Tom Thompson Flowers, Ann Arbor, for his generous contribution of floral art for tonight's recital.
Lang Lang appears by arrangement with Columbia Artists Management, LLC. Lang Lang records exclusively for Deutsche Grammophon.
Large print programs are available upon request.
Sonata in B-flat Major, K. 333 (1783) Wolfgang Amadeus Mozart Born January 27, 1756 in Salzburg, Austria Died December 5, 1791 in Vienna
Mozart's sonatas have accompanied many gener?ations of musicians and music-lovers. Unsurpass?able models of clarity and balance, they infuse a standard set of formal procedures with new meaning and new beauty every time.
Of the 18 known Mozart sonatas for solo keyboard, the present work is No. 13 in the order of composition. For many years, it was thought to date from the time of Mozart's Paris sojourn in 1778, but the British musicologist Alan Tyson, ana?lyzing the paper used by the composer, was able to show that the sonata was actually written five years later--a major difference, considering Mo?zart's extremely short life span. In fact, in an ar?ticle published in 1980, Tyson called this work the "Linz" sonata, because it was composed, in all like?lihood, in the immediate vicinity of the Symphony No. 36, the so-called "Linz" Symphony (K. 425).
The re-dating of the sonata places it in the proximity, as well, of the great series of piano concertos on which Mozart embarked around that time. Undeniably, the work has several con?certo-like features, including the big cadenza in the last movement. But a certain grandiosity is in evidence throughout the work, starting with the broad exposition of the opening "Allegro's" first theme, and the many exquisite melodies that fol?low, including a great Romantic outburst in the development section. This "Allegro" is one of the longest sonata movements Mozart had written to date. The slow movement is a similarly expansive and lavishly ornamented instrumental aria with some poignant dramatic moments. The character of the closing rondo lives up to is tempo marking "Allegretto grazioso"; one of the episodes, which visits the "dark" minor mode, also contains a me?lodic turn that uncannily anticipates the finale of The Magic Flute, still eight years in the future.
While the majority of Mozart's works re?mained unpublished during his lifetime, this sonata was printed in 1784, in a handsome edition also containing two other sonatas (one with violin). The dedicatee was Countess Therese Cobenzl, with whose family Mozart enjoyed friendly relations.
Fantasy in C Major, Op. 17 (1836) Robert Schumann
Born June 8, 1810 in Zwickau, Saxony Died July 29, 1856 in Endenich, near Bonn, Germany
Durch alle Tone tonet Im bunten Erdenraum Ein leiser Ton gezogen Fur den, der heimlich lauschet.
(Through all the tones
around the many-colored Earth,
one soft, drawn-out note
sounds for him who listens in secret.)
This motto, taken from a poem by the Roman?tic philosopher and poet Friedrich Schlegel (1772-1829), introduces one of Schumann's most ambitious piano works, the Fantasy in C Major, Op. 17. It was not chosen at random: there is "one soft, drawn-out note" running through the work that "he who listens in secret" will surely recognize. It is a passage from Beethoven's song cycle An die feme Geliebte (To the Distant Be?loved) that is alluded to several times, and finally quoted in full at the end of the first movement. The words of the otherwise undistinguished poet Alois Jeitteles:
Nimm sie bin denn, diese Lieder, die ich Dir, Geliebte, sang...
(Take them now, these songs that I sang to you, my beloved...)
...no doubt struck a deep nerve in Schumann, longing after his own "distant beloved": the pro?digious pianist Clara Wieck, whose father had prohibited Schumann from having any contact with his daughter. (Schumann and Clara were married four years later, in 1840.)
Besides the reference to the "distant be?loved," the quote from Beethoven had another meaning as well. Inspired by the two fantasy-sonatas of Op. 27 (the second of which is the fa?mous "Moonlight"), Schumann intended his work as a memorial to Beethoven, planning to call its three movements "Ruins," "Triumphal Arch," and "Wreath of Stars," respectively. Although these titles were eventually eliminated, the connections with Beethoven's music are numerous.
The sequence of movements in the Fantasy is most unusual. The impassioned first movement begins immediately on an emotional high point, with harmonic progressions that totally avoid the tonic (stable resting point) of C Major until the very end of the movement. The result is an atmosphere of continuous excitement, momentarily interrupted by an enigmatic passage marked "Im Legenden-ton" (in the tone of a legend). This passage starts with a simple tune whose straightforward rhythms and harmonies contrast with the effusiveness of the preceding music. However, the musical deliv?ery of this "legend" also becomes more and more impassioned, and by the time the initial theme re?tums, one almost perceives more continuity than contrast between the two materials.
The energetic second movement has a march-like theme with a progression of mas?sive chords (Schumann was always fond of such chordal writing). There is a middle section in a somewhat slower tempo, followed by a return of the march music and an animated coda of ex?treme technical difficulty.
The last movement, slow and quiet, seems to be more a memorial to Schubert than to Beethoven. In fact, there are several almost literal echoes from Schubert's Impromptu in G-flat Major (Op. 90, No. 3). Schumann had initially planned to bring back Beethoven's "distant beloved" theme at the end of this movement, but he later rejected that idea. In the final form, the ending emphasizes the accompanying triplet figures, which become more agitated at first, before calming down in the adagio tempo of the concluding measures.
Schumann dedicated his Fantasy to none other than Franz Liszt, for whom he had a great admiration (and vice versa). When Liszt played the work for Schumann, the latter was enthusiastic about the performance. They soon had a falling out, however, and after Schumann's death, Clara removed the dedication from the printed edi?tions. It may have been in part because of these unpleasant memories that Clara performed the Fantasy only once. Liszt never played it in concert at all, but in 1854 he dedicated one of his great?est piano compositions, the Sonata in b minor, to Schumann, perhaps as a gesture of reconciliation. But by this time it may have made little difference: it was the year of Schumann's attempted suicide and his commitment to the asylum at Endenich where he was to die two years later.
Six Traditional Chinese Works
In 2006, Lang Lang released a CD titled Dragon Songs on the Deutsche Grammophon label. On this CD, he plays the famous Yellow River Con?certo, as well as a collection of traditional Chinese songs arranged for the piano in a lush virtuoso manner. In these arrangements, the pianist cre?ated a synthesis between his Chinese roots and his Western training. As he writes in the CD liner notes: "I did a lot of mixing of traditions when I was a kid, and that's what I tried to do on this album... These melodies are heard all over China. I've known them since I was a baby. My mother would sing them, my father would play them (on the erhu, the Chinese two-string fiddle). They were like fairytales for me."
Goyescas, H. 64 (excerpt) (1910)
Enrique Granados
Born July 27, 1867 in Lerida, Spain
Died March 24, 1916 at sea, Atlantic Ocean
In order to get into the mood of Goyescas, one has to visualize a majo and a maja, a dashing couple of Spanish lovers, fiery yet dignified, lower class in origin but envied and imitated by the ar?istocracy. The great Spanish artist Francisco Goya (1746-1828) created many memorable images of such characters, some of them depicting the Duchess of Alba dressed as a maja.
Majismo, immortalized by Goya, became newly fashionable around 1900, with numerous zarzuelas (Spanish operettas) written about ma-jos and majas. Granados, who also made some highly accomplished drawings on this theme, was inspired by it (and by its representations in the works of Goya) to write his masterpiece, the six-movement piano suite Goyescas. He later wrote an opera, also called Goyescas, using the same musical material. It was on the way home from the opera's premiere in New York that Granados and his wife met their tragic deaths as the English boat on which they were crossing the Atlantic was struck by a German torpedo.
"Los Requiebros" (Flirtations) is the first movement of the Goyescas suite Granados com?pleted in 1911. Dedicated to the legendary pia?nist (and Liszt student) Emil Sauer, this piece was inspired by a Goya etching titled Tal para cual
(Two of a kind). In the words of Granados scholar Miguel Salvador, the flirtations are expressed in the music through "its playful mood, its starts and stops and continually changing tempos." The per?formance instruction in the score reads: "grace?fully and with spirit." There are several references to traditional Spanish melodies, including the popular song "Con el tripili, trlpili, trpala" writ?ten in the Andalusian dance form of the tirana. Granados combined this form with another dance type, the jota, which is popular all over Spain. Through all the various contrasting sections of "Los Requiebros," he maintained that wonderful feeling of noble nonchalance without which ma-jismo would be unthinkable.
Isoldens Liebestod from Tristan und Isolde,
S. 447(1859) Richard Wagner
Born May 22, 1813 in Leipzig, Germany Died February 13, 1883 in Venice
Arranged for piano in 1867 by Franz Liszt Bom October 22, 1811, in Doborjan, Hungary
(now Raiding, Austria) Died July 31, 1886 in Bayreuth, Germany
Liszt was probably the last great composer to whom the act of transcribing the music of others was a creative act in which he gave generously of himself while always being true to his sources. For centuries since the Renaissance, composers felt free to avail themselves of a vast corpus of pre-existent music, a practice that only the pur?ist and copyright-obsessed 20th century began to frown upon.
Liszt composed many dozens of virtuoso transcriptions of music by composers ranging from Gregorio Allegri (17th century) all the way to his contemporary, close friend, and eventually son-in-law, Richard Wagner. Of Liszt's numerous Wagner transcriptions, the "Liebestod" (Love Death) from Tristan und Isolde stands out. Based one of the most glorious moments from Wagner's music dramas--the closing scene where Isolde joins Tristan in death--it was written in 1867, at the height of the affair between Liszt's daughter Cosima and Wagner, although it is not entirely clear how much Liszt knew about this at the time he wrote his transcription. Cosima was still
nominally married to Hans von Bulow who--and the plot thickens here--had conducted the first performance of Tristan in 1865. But her daughter, named Isolde, was born the same year 1865, to be followed by a second child, Eva (as in Meis-tersinger) in 1867--and Wagner was the father of both.
These biographical facts might serve to un?derscore the point that the "love death" which is being portrayed here is not some philosophical abstraction but a deeply felt reality. When Wag?ner first wrote this music, he was still in the throes of an earlier relationship with Mathilde Wesend-onck (like Cosima, a married woman). As for Liszt, he may have taken minor orders in the Catholic Church in 1865, yet he was not exactly a stranger to affairs of the heart either. He responded to the "Liebestod"--possibly the most powerful musical depiction of an orgasm ever written--with a sen?sual pianistic brilliance all his own. Without chang?ing a single note in the music (aside from adding a few opening measures, taken from elsewhere in the opera), he captured what Alan Walker, in the final volume of his magnificent Liszt biography, calls "joy and sorrow, elation and despair, resig?nation from the things of this world," while also noticing "a bitterness of heart--for those with ears to hear."
Hungarian Rhapsody, No. 6 in D-Flat Major,
S. 2446(1846-1853) Liszt
Liszt, the great poet of love, was also a passionate Hungarian patriot--and these two aspects of his personality certainly spring from the same source. For his love for his native Hungary had all the hall?marks of Romantic love. Brought up in Vienna and Paris, for many years he yearned for the country, whose language he did not speak, from the dis?tance. Although he made frequent visits, it wasn't until the last years of his life that he spent longer periods of time in Hungary.
The Hungarian Rhapsodies, written and rewritten over many years, bear witness to this longing, hidden behind the mask of the traveling piano virtuoso. One of Liszt's fondest childhood memories was listening to the famous Gypsy vio?linist Janos Bihari, whom he first heard at the age of 11. Many years later he wrote:
His performances must have distilled into my soul the essence of some generous and exhilarating wine; for when I think of his playing, the emotions I then expe?rienced were like one of those mysterious elixirs concocted in the secret laboratories of those alchemists of the Middle Ages.
In other words, his reaction to the "low-brow" music of the Gypsy fiddler was rather "high?brow"; in any case, the experience stayed with him all his life. The present Rhapsody opens with a tune published under Bihari's name. Liszt's aim, in the words of musicologist Derek Watson, was "to reproduce the style of gypsy bands, details of whose playing he had noted in his sketchbooks on visits to Hungary." It is an aim he achieved perfectly, including the meditative, quasi-impro?visatory middle section, where we may imagine the great bandleader playing a solo in that special wistful manner Hungarians loved so much. In the irresistible final section, then, Liszt most certainly outdid his model in breath-taking virtuosity.
Program notes by Peter Laki.
Considered by The New York Times as the "hottest artist on the classical music plan?et," 25-year-old Lang Lang has played sold-out recitals and concerts in every major city in the world and is the first Chinese pianist to be engaged by the Berlin Philharmonic, the Vienna Philharmonic, and all the top American orchestras. He has worked with the world's best orchestras under the most renowned conductors, including Maestros Ashkenazy, Barenboim, Chailly, Sir Co?lin Davis, Dutoit, Eschenbach, Gergiev, Jansons, Levine, Mehta, Maazel, Welser-Most, Muti, Na?gano, Ozawa, Sir Simon Rattle, Salonen, Slatkin, Temirkanov, and Tilson-Thomas.
Lang Lang has crossed continents several times during 2007 and performed in numerous cities around the world. Notably, in the summer of 2007, Lang Lang performed open-air concerts at Berlin's famous Waldbuhne, where he per?formed with Maestro Barenboim and the Berlin Staatskaeplle. At the invitation of H.R.H. Prince Charles, Lang Lang performed a piano concerto commissioned in memory of the Queen Mother and recently appeared as part of Great Britain's Royal Variety Show that was attended by Her
Majesty Queen Elizabeth II and broadcast to 13 million people. Earlier, in the fall, he performed 10 piano concertos to mark the 10th anniversary of the Beijing International Festival as well as the 20th anniversary of his stage appearance and per?formed at the opening concert for the Rome Film Festival. On December 8, 2007, Lang Lang was the guest soloist at the Nobel Prize Concert held in Stockholm, which was attended by the Nobel Laureates and members of the Royal family.
Performance highlights in 2008 include the New Year's Eve opening of the National Center for the Performing Arts in Beijing with Seiji Ozawa, a concert with the Vienna Philharmonic around the closing of the Euro Cup, and an open-air tour in?cluding concerts in New York's Central Park, the Hollywood Bowl, Chicago's Ravinia Festival, Dres?den, and Hamburg. Most recently, Lang Lang per?formed at the 50th Anniversary Grammy Awards dueling pianos with Herbie Hancock, broadcast live to 17.5 million viewers. He will also participate in a special concert with Cecilia Bartoli in winter 2008 honoring Maria Malibran, will perform a 12-city US recital tour that includes a concert at Carnegie Hall as part of their Great Artists Series, and a tour to the past Summer Olympic cities with the China Philharmonic. Later, he will perform a solo recital at the London Proms.
Lang Lang began playing piano at the age of three, won the Shenyang competition, and gave his first public recital at the age of five. At nine, he entered Beijing's Central Music Conservatory. He went on to win First Prize at the Tchaikovsky Inter?national Young Musicians Competition and played the complete 24 Etudes of Chopin at the Beijing Concert Hall at 13. At 17, Lang Lang's break into stardom came when he was called upon for a dra?matic last-minute substitution at the "Gala of the Century" where he played the Tchaikovsky con?certo with the Chicago Symphony Orchestra.
In 2004, he was appointed International Goodwill Ambassador to the United Nations Chil?dren's Fund (UNICEF). As a result of his enormous popularity with children, Steinway created the "Lang Lang Steinway" designed in five different styles for the early musical education of children. This is the first time Steinway has used an artist's name to produce pianos in its 150-year history. With this devotion to children in mind, the Lang Lang International Music Foundation has been founded on and dedicated to expanding young audiences and inspiring the next generation of musicians through its various outreach programs.
He currently serves on the Weill Music Institute (WMI) Advisory Committee as part of Carnegie Hall's educational program and is the youngest member of Carnegie Hall's Artistic Advisory Board. Lang Lang is proud to be the global brand ambas?sador for Audi automobiles and Montblanc, and is the Chairman of the Montblanc de la Culture Arts Patronage Award Project.
Lang Lang is featured soloist on the Golden Globe-winning score The Painted Veil, composed by Alexandre Desplat, and can be heard on the soundtrack of The Banquet, composed by Tan Dun. Lang Lang records exclusively for Deutsche GrammophonUniversal. His newest release, Beethoven: Piano Concertos Nos. 1 and 4 with the Orchestre de Paris and Maestro Christoph Eschenbach debuted at number one on the Clas?sical Billboard Chart. Lang Lang also appeared on Billboard's New Artist chart at the highest position for any classical artist. He was recently nominated for a Grammy Award for his work on the new release and is the first Chinese artist to be nominated for "Best Instrumental Soloist." His
previous release, Dragon Songs, departs from the Western music of Chopin, Rachmaninoff, Mozart, and Liszt for which he is most known and instead takes Lang Lang's audience on a groundbreaking journey through "his" China in this documentary film on DVD and soundtrack album. Lang Lang received honorary professorships at all the top conservatories in China where he regularly gives masterclasses, as well as at Juilliard, the Curtis Institute, and Hannover. For further information, please visit www.LangLang.com.
UMS ARCHIVES
This evening's recital marks Lang Lang's second appearance under UMS auspices. He made his UMS debut in April 2004 at Hill Auditorium in a recital program fea?turing the works of Haydn, Schubert, and Tan Dun.
Lang Lang
Photo by Felix Broede
presents
Brad Mehldau Trio
Brad Mehldau, Piano Larry Grenadier, Bass Jeff Ballard, Drums
Program
Friday Evening, April 4, 2008 at 8:00 Michigan Theater Ann Arbor
Tonight's program will be announced by the artists from the stage and will be performed without intermission.
51st Performance of the 129th Annual Season
14th Annual Jazz Series
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
Media partnership provided by WEMU 89.1 FM, WDET 101.9 FM, Ann Arbor's 107one, and Metro Times.
The Steinway piano used in this evening's concert is made possible by Hammell Music, Inc., Livonia, Michigan.
Brad Mehldau Trio appears by arrangement with International Music Network.
Large print programs are available upon request.
Brad Mehldau Trio
Jazz pianist Brad Mehldau has recorded and performed extensively since the early 1990s. Mr. Mehldau's most consistent output over the years has taken place in the trio format. Start?ing in 1996, his group released a series of five records on Warner Bros, entitled The Art of the Trio. Mr. Mehldau also has a solo piano record?ing. Elegiac Cycle, as well as Places, an album that includes both solo piano and trio selections. Other recordings include Largo, a collaborative effort with the innovative musician and producer Jon Brion, and Anything Goes, a trio outing with bass?ist Larry Grenadier and drummer Jorge Rossy.
His first record for Nonesuch, Brad Mehldau Live in Tokyo, was released in 2004. After 10 re?warding years with Jorge Rossy playing in his regu-
lar trio, drummer Jeff Ballard joined the ensemble in 2005. The label released its first album from the Brad Mehldau Trio--Day is Done--in 2005. A double, live trio recording entitled LIVE was re?cently released this past March on Nonesuch.
Brad Mehldau is first and foremost an impro-viser, greatly cherishing the surprise and wonder that can occur from a spontaneous musical idea that is expressed directly, in real time. He also has a deep fascination for the formal architecture of music and it informs everything he plays. In his most inspired playing, the actual structure of his musical thought serves as an expressive device, with each tune having a strongly felt narrative arch. As he plays, he listens to how ideas unwind, and the order in which they reveal themselves.
Brad Mehldau has steadily performed around the world since the mid-1990s, with his trio and as a solo pianist. In addition to his trio and solo proj?ects, Mr. Mehldau has consistently associated him?self with great jazz musicians, including a reward?ing gig with saxophonist Joshua Redman's band for two years; recording and concerts with Pat Meth-eny, Charlie Haden, and Lee Konitz; and recordings as a sideman with Michael Brecker, Wayne Shorter, John Scofield, and Charles Lloyd. For more than a decade, he has collaborated with several musicians and peers whom he respects greatly, including gui?tarists Peter Bernstein and Kurt Rosenwinkel and tenor saxophonist Mark Turner. He has also played on recordings outside of the jazz idiom, including Willie Nelson's Teatro and singer-songwriter Joe Henry's Scar. His music has appeared in several films, including Stanley Kubrick's Eyes Wide Shut and Wim Wender's Million Dollar Hotel. He also composed an original soundtrack for the French film, Ma Femme Est Une Actrice.
Mr. Mehldau recently composed two new works commissioned by Carnegie Hall for voice and piano, The Blue Estuaries and The Book of Hours: Love Poems to God, which were performed in spring 2005 with the acclaimed classical soprano, Ren6e Fleming. These pieces were recorded with Ms. Fleming and released in 2006 on the Love Sub?lime album; simultaneously. Nonesuch released an album of Mr. Mehldau's jazz compositions for trio entitled House on Hill. In March 2007, he debuted the piano concerto The Brady Bunch Variations for Piano and Orchestra at Theatre du Chatelet in Paris with Orchestre National d'lle de France.
Bassist Larry Grenadier attended Stanford Uni?versity where he received a BA in English Litera?ture. After moving to the East Coast he played with the Gary Burton Band, touring the US and Europe. He moved to New York City and has per?formed with Joe Henderson, Betty Carter, Pat Metheny, and the John Scofield Group.
Drummer Jeff Ballard grew up in Santa Cruz, Cal?ifornia and toured regularly with Ray Charles dur?ing 1988-1990. In 1990 he moved to New York City and has since played and recorded with Lou Donaldson, Danilo Perez, Chick Corea, Kurt Rosen-winkel, and Joshua Redman. In addition to his role in the Brad Melhdau Trio, Mr. Ballard is co-leader of the collective group FLY (featuring saxophonist Mark Turner and bassist Larry Grenadier), and is a member of Joshua Redman's Elastic Band.
UMS ARCHIVES
Tonight's concert marks Brad Mehldau's third appearance under UMS auspices. He made his UMS debut in November 2001 in a double-bill at the Michigan Theater featuring the Brad Mehldau Trio and the Joshua Redman Quartet.
with
Robert and Pearson
Macek
and the
University of Michigan
Health System
present
Choir of King's College, Cambridge
Stephen Cleobury, Director of Music and Conductor
Peter Stevens, Organ Scholar Thomas Kimber, Organ Scholar
Program Saturday Evening, April 5, 2008 at 8:00 Hill Auditorium Ann Arbor
Orlando Gibbons Thomas Weelkes Thomas Tomkins Hosanna to the Son of David When David Heard 0 Praise the Lord All Ye Heathen
Olivier Messiaen Les corps glorieux (excerpts) Force et agilite de corps glorieux Joie et clarte des corps glorieux Mr. Kimber, Organ
Pablo Casals Francis Poulenc 0 vos omnes Quatre motets pour un temps de penitence Timor et tremor Vinea mea electa Tenebrae factae sunt Tristis est anima mea
INTERMISSION
IS. Bach Lobet den Herrn. alle Heiden, BWV 230
Bach Prelude in E-flat Major, BWV 552 (i) Mr. Stevens, Organ
Michael Tippett Benjamin Britten Ralph Vaughan Williams Plebs angelica Antiphon Lord, Thou Hast Been Our Refuge

52nd Performance of the 129th Annual Season
Choral Series
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
Tonight's performance is sponsored by the University of Michigan Health System. Special thanks to Robert Kelch, Executive Vice President for Medical Affairs, for his continued and generous support of the University Musical Society.
Tonight's performance is supported by Robert and Pearson Macek.
Additional support provided by the Medical Community of southeast Michigan.
Media partnership provided by WRCJ 90.9 FM.
Choir of King's College, Cambridge appears by arrangement with Opus 3 Artists, New York, NY, in association with Intermusica Artists' Management, Ltd., London.
Large print programs are available upon request.
The choral element in our programs for the cur?rent US tour presents four strands. Each concert begins with a sequence of anthems by Gibbons, Tomkins, and Weelkes, all of which appear on our recent EMI release, Heard a Voice. These compos?ers represent the generation following Byrd and Tallis, and they set English texts for the emerging Church of England from the Bible and the Psalter. A very wide range of expression is achieved, from the exuberance of Gibbons' 0 dap your hands and the Hosanna settings to the emotional intensity of the settings of When David heard. All display a high degree of contrapuntal mastery.
Contrapuntal mastery immediately brings to mind J.S. Bach. One of his motets and an accompa?nying organ solo represent the Lutheran tradition of the Baroque era, while the 20th century, (and, in one case, the 21st), is represented by a set of Pou-lenc motets: his Christmas pieces are preceded by the most recent King's carol commission from the viola-playing Brett Dean, and Poulenc's Lenten mo?tets by a poignant setting of a Holy Week respon-sory by cellist Pablo Casals. The other organ solos mark the centenary of the organist and composer, Olivier Messiaen.
Something of the richness of the modern Brit?ish tradition is presented in the final group of pieces. For me, it is important that our cathedral and col?legiate choirs perform music by composers in the mainstream, and not just (commendable though they can be) works by those who write liturgical music only. Pride of place this year goes to Ralph Vaughan Williams, the 50th anniversary of whose death occurs in October. Though he was not an or?thodox believer (only Lennox Berkeley of those repre?sented was that), the tradition of church music runs deeply in Ralph Vaughan Williams, musical editor of the English Hymnal (1906), and composer of a huge variety of music in many genres: he belongs to that esteemed group who composed nine symphonies.
--Stephen Cleobury
Stephen Cleobury is associated with two of Britain's most famous choirs. As Direc?tor of Music at King's College, Cambridge, and Conductor Laureate of the BBC Singers, he also works with leading symphony orchestras and period instrument ensembles. He ranges across a broad repertoire, from Gregorian chant to newly composed works. Mr. Cleobury has particularly championed contemporary music and at King's has commissioned a carol annually for A Festival of Nine Lessons and Carols. In March 2005, he instigated the first Easter Festival of Music at King's. He has
premiered many works with the BBC Singers, nota?bly Giles Swayne's Havoc at the Royal Albert Hall at the Proms, and Edward Cowie's Qaia, both with the Endymion Ensemble. In 2004, also at the Proms, he gave the British premiere of Harrison Birtwistle's Ring Dance of the Nazarene with the same forces.
As Conductor of the Cambridge University Music Society (CUMS), Mr. Cleobury has directed the major works for chorus and orchestra as well as symphonic repertoire. Recent CUMS performances have included Mahler's Resurrection Symphony, Boston; Berlioz' Requiem, Ely Cathedral; Dvorak's Stabat Mater, King's Chapel; Vaughan Williams's A Sea Symphony, Sheldonian Theatre in Oxford; and Tippett's A Child of Our Time, Verdi's Requiem, and Handel's Solomon, King's Chapel.
He frequently appears in the UK and abroad as a conductor, leader of conducting workshops, and solo organist. As a conductor he has worked with many ensembles, including the City of Bir?mingham Symphony Orchestra, the BBC Concert Orchestra, the Philharmonia, the London Philhar?monic, the Academy of Ancient Music, the Estonian Philharmonic Chamber Choir, and His Majesty's Sagbutts and Cornetts. Of late, performances as an organ recitalist have taken him to venues as diverse as Hong Kong, Haderslev Cathedral in Denmark, and Salt Lake City's LDS Conference Center. He has directed the Mormon Tabernacle Choir in Salt Lake City, recorded with the BBC Singers a CD of Tip?pett's choral music, and conducted the Israel Cam-erata (in Tel-Aviv and Jerusalem) and the National Chamber Choir of Ireland in Dublin.
Founded in the 15th century, the Choir of King's College, Cambridge, is undoubtedly one of the world's best known choral groups--every Christmas Eve millions of people worldwide tune into A Festival of Nine Lessons and Carols that has been broadcast each year by the BBC since 1928. In 1979, the service was first broadcast live in the US by NPR. While the choir exists primarily to sing at the daily church services of King's College Chapel, its worldwide fame and reputation has led to invitations to perform throughout the world.
The Choir of King's College owes its existence to a benefaction from King Henry VI who, in found?ing the College in 1441, envisaged the daily singing of services in his magnificent chapel, one of the jew?els of Britain's cultural and architectural heritage. As the pre-eminent representative of the great British church music tradition, the daily service remains the Choir's essential purpose, and is an important part of the lives of its 16 choristers, the 14 choral scholars, and two organ scholars who study in the College
itself. The Choir and Chapel still rely on benefactions today and are funded entirely by the College and do?nations from private supporters. Evensong services are open to the public and King's welcomes you to visit the Chapel and listen to the Choir.
In recent seasons the Choir has traveled throughout Europe as well as to the US, Australia, and Asia-Pacific. Performances have been given at the Palais des Beaux-Arts (Brussels), Settembre Musi-cale in Turin, Teatro alia Pergola (Florence), Schleswig-Holstein Festival, Gothenburg Church Music Festi?val, Stuttgart Barock Festival, Istanbul International Music Festival, Hong Kong Cultural Center, Seoul Arts Center, and the Singapore Esplanade.
The Choir also performs extensively in the UK, has appeared regularly at all the major halls in Lon?don and in the regions, and enjoys performing in UK Festivals throughout the year. The Choir also ap?pears frequently with symphony orchestras, singing with the BBC Symphony Orchestra at the BBC Proms in 2005, and closing their 0506 season performing with the London Symphony Orchestra at the Bar?bican and giving an annual Christmas concert with the Philharmonia Orchestra at the Royal Albert Hall.
In the current season, King's many interna?tional appearances include the Beethovenfest in Bonn, Tallinn International Organ Festival, Flanders Festival in Gent, Palace of Arts in Budapest, Stresa Festival, Santa Cecilia in Rome, and a return visit to the Concertgebouw in Amsterdam. The Choir made its first ever visit to South America in Decem?ber 2007 performing in Sao Paulo and San Carlos. Following its acclaimed tour of the US in Decem?ber 2005, the Choir is very pleased to return to the US this month for concerts in Dallas, St. Louis, Ann Arbor, Cincinnati, St. Paul, Chicago, New York City, Westport, and Baltimore.
The Choir records exclusively for EMI Classics and is delighted that this relationship has been ex?tended through to 2011. In the fall of 2007, they released an early-English music collaboration with the viol ensemble Fretwork Heard a Voice-music by Tudor composers Gibbons, Tomkins, and Weelkes; future plans include Eton Choir Book repertory. On Christmas Day, a recording of new carols commissioned annually by King's College, has received tremendous critical acclaim with BBC Music Magazine commenting, "King's Col?lege, Cambridge, is a byword for the very best in Christmas music." In 0405 the Choir's recording of Rachmaninoff's Liturgy of St. John Chrysostom was nominated for a Grammy Award, with Gramo?phone magazine greeting the recording as, "with?out a shadow of doubt, a triumph," adding that "there is no comparable rival to this disc."
The choristers are educated at King's College
School in Cambridge and receive generous schol?arships from King's College to help pay for their education. The School has 340 boys and girls aged four-13.
Stephen Cleobury is always pleased to hear from potential members of the Choir. Those interested are invited to contact him at choir@kings.cam.ac.uk.
This evening's concert marks the UMS debuts of Stephen Cleobury and the Choir of King's College, Cambridge.
Choir of King's College, Cambridge
Stephen Cleobury, Music Director and Conductor Peter Stevens and Thomas Kimber, Organ Scholars
Choristers
Miles Aho Joseph Boorman Riccardo Conci Amschel de Rothschild Fabian Eccles-Williams Joseph Etheridge George Gibbon Matthew Gibson Richard Gowers William Graham-Campbell
Christopher Howells Sebastian Johns Arthur Landman Joseph Landman Edmund Ryan Jon Wimpeney
Altos
Simon Ponsford Patrick Stobbs Thomas Recknell Edmund Rex
Tenors
Ed Hastings
Jonathan Kanagasooriam Joel Robinson James Kanagasooriam
Basses
Mark Begbie Andrew Tipple Ashley Riches James Mawson Edward Blakeney Nicholas Bown
Choir of King's College, Cambridge Administration Christine Georgiou, Personal Assistant to the Director of Music Nicholas Robinson, Headmaster, King's School The Revd Ian Thompson, Dean, King's College, Cambridge
for Opus 3 Artists
David V. Foster, President and CEO
Byron Gustafson, Managing Partner
Leonard Stein, Vice President, Director, Tour Administration
William Bowler, Manager, Artists and Attractions
Tania Jastrebov, Company Manager
Anna Dok, Assistant to Leonard Stein
John C. Gilliland III, Associate, Program and Travel
for Intermusica Artists' Management, Ltd., London Stephen Lumsden, Managing Director Serena Evans, Manager Stephanie Seales, Tour Manager
UMSExperience
UMS EDUCATION PROGRAMS
www.ums.orgeducation
UMS's Education and Audience Development Program deepens the relationship between audiences and art and raises awareness of the impact the multi-disciplinary performing arts and education can have by enhancing the quality of life of our community. The program creates and presents the highest quality arts education experiences to a broad spectrum of community constituencies, proceeding in the spirit of partnership and collaboration. Details about all educational events and resi?dency activities are posted one month before the performance date. Join the UMS Email Club to have updated event information sent directly to you. For immediate event information, please email umsed@umich.edu, or call the numbers listed below.
ADULT & COMMUNITY
ENGAGEMENT
Please call 734.647.6712 or email umsed@umich.edu for more information.
The UMS Adult and Community Engagement Program serves many different audiences through a variety of educational events. With over 100 unique regional, local, and university-based partnerships, UMS has launched initia?tives for the area's Arab-American, Asian, African, MexicanLatino, and African-American audiences. Among the initiatives is the creation of the NETWORK, a program that celebrates
world-class artistry by today's leading African and African-American performers.
UMS has earned national acclaim for its work with diverse cultural groups, thanks to its proac?tive stance on partnering with and responding to individual communities. Though based in Ann Arbor, UMS Audience Development programs reach the entire southeastern Michigan region.
Public Programs
UMS hosts a wide variety of educational events to inform the public about arts and culture. These events include
PREPs Pre-performance lectures
Meet the Artists Post-performance Q&A with the artists
Artist Interviews Public dialogues with performing artists
Master Classes Interactive workshops
PanelsRound Tables In-depth adult edu?cation related to a specific artist or art form
Artist-in-Residence Artists teach, create, and meet with community groups, university units, and schools
UMS is grateful to the University of Michigan for its support of many educational activities scheduled in the 0708 season These programs provide opportu?nities for students and members of the University community to further appreciate the artists on the UMS series.
UiVlS
The NETWORK: UMS African American Arts Advocacy Committee
Celebrate. Socialize. Connect. 734.615.0122 I www.ums.orgnetwork
The NETWORK was launched during the 0405 season to create an opportunity for African-
Americans and the broader community to cele?brate the world-class artistry of today's leading African and African-American performers and creative artists. NETWORK members connect, socialize, and unite with the African-American community through attendance at UMS events and free preor post-concert receptions. NETWORK members receive ticket discounts for selected UMS events; membership is free.
0708 WINTER NETWORK PERFORMANCES
Jazz at Lincoln Center Orchestra: Love Songs of Duke Ellington
Celebration of the Keyboard
Ahmad Jamal
SFJAZZ Collective: A Tribute to Wayne Shorter
Urban Bush WomenCompagnie Jant-Bi: Les ecailles de la memoires (The scales of memories)
Bobby McFerrin, Chick Corea, and Jack DeJohnette
UMS YOUTH, TEEN, AND FAMILY EDUCATION
Please call 734.615.0122 or email umsyouth@umich.edu for more information.
UMS has one of the largest K-12 education ini?tiatives in the state of Michigan. Designated as a "Best Practice" program by ArtServe Michigan and the Dana Foundation, UMS is dedicated to making world-class performance opportunities and professional development activities available to K-12 students and educators.
UMS Youth
0708 Youth Performance Series
These world-class daytime performances serve pre-K through high school students. The 0708 season features special youth presentations of Shen Wei Dance Arts, Pamina Devi: A
Cambodian Magic Flute, Sphinx Competition Honors Concert, Chicago Classical Oriental Ensemble, Wu Man and the Bay Area Shawm Band, SFJAZZ Collective, and Urban Bush WomenCompagnie Jant-Bi. Tickets range from $3-6 depending on the performance and each school receives free curriculum materials.
Teacher Workshop Series
UMS is part of the Kennedy Center Partners in Education Program, offering world-class Kennedy Center workshop leaders, as well as workshops designed by local arts experts, to our community. Both focus on teaching educa?tors techniques for incorporating the arts into classroom instruction.
K-12 Arts Curriculum Materials
UMS creates teacher curriculum packets, CDs, and DVDs for all of the schools participating in UMS's Youth Education Program. UMS curricular materials are available online at no charge to all educators. All materials are designed to connect the curriculum via the Michigan State Benchmarks and Standards.
Teacher Appreciation Month!
March 2008 has been designated UMS Teacher Appreciation Month. All teachers will be able to purchase tickets for 50 off at the venue on the night of the performance (subject to availability). Limit of two tickets per teacher, per event. Teachers must present their official school I.D. when purchasing tickets. Check out the UMS website at www.ums.org for March events!
School FundraisersGroup Sales
Raise money for your school and support the arts. UMS offers a wide range of fundraising opportunities and discount programs for schools. It is one of the eas;est and most rewarding ways to raise money for schools. For informa?tion contact umsgroupsales@umich.edu or 734.763.3100.
Teacher Advisory Committee
This group of regional educators, school administrators, and K-12 arts education advo?cates advises and assists UMS in determining K-12 programming, policy, and professional development.
UMS is in partnership with the Ann Arbor Public Schools and the Washtenaw Intermediate School District as part of the Kennedy Center: Partners in Education Program. UMS also participates in the Ann Arbor Public Schools' "Partners in Excellence" program.
UMS Teen Programs
Teen Tickets
Teens can attend UMS performances at signifi?cant discounts. Tickets are available to teens for $10 the day of the performance (or on the Friday before weekend events) at the Michigan League Ticket Office and $15 beginning 90 minutes before the performance at the venue. One ticket per student ID, subject to availability.
Breakin' Curfew
Saturday, May 3, 8 PM
Power Center
In a special collaboration with the Neutral
Zone, Ann Arbor's teen center, UMS presents
this annual performance highlighting the area's
best teen performers.
UMS Family Programs
UMS is committed to programming that is appropriate and exciting for families. Please visit the family programs section of www.ums.org for a list of family-friendly performance opportunities.
The 0708 family series is sponsored by TOYOTA
Family Days
Saturday, March 8 and Sunday, March 9, 2008 Area community organizations, libraries, arts centers, museums, and performance groups collaborate on this yearly festival designed for all families. Details of Ann Arbor Family Days will be announced at http:www.annarbor.orgfamilydays.
Classical Kids Club
Parents can introduce their children to world-renowned classical music artists through the Classical Kids Club. Designed to nurture and cre?ate the next generation of musicians and music lovers, the Classical Kids Club allows students in grades 1-8 to purchase tickets to all classical music concerts at a significantly discounted rate. Parents can purchase up to two children's tickets for $10 each with the purchase of a $20 adult ticket beginning two weeks before the concert. Seating is subject to availability. UMS reserves a limited number of Classical Kids Club tickets to each eligible performance--even those that sell out! For information, call 734.764.2538 or sign up for the UMS Email Club and check the box for Classical Kids Club.
Education Program Supporters
Reflects gifts received during the 0607 fiscal year
t??fjj4fjto) Ford Motor Company Fund _i antj Community Services
Michigan Council for Arts and Cultural Affairs University of Michigan
Arts at Michigan
Bank of Ann Arbor
Kathy Benton and Robert Brown
Borders Group, Inc.
The Dan Cameron Family
FoundationAlan and
Swanna Saltiel CFI Group
Chamber Music America Doris Duke Charitable
Foundation
DTE Energy Foundation The Esperance Family Foundation JazzNet Endowment Masco Corporation Foundation THE MOSAIC FOUNDATION (of
R. & P. Heydon) National Dance Project of the
New England Foundation for the Arts National Endowment for "he Arts Noir Homes, Inc. Performing Arts Fund
Pfizer Global Research and
Development, Ann Arbor
Laboratories
Randall and Mary Pittman Prudence and Amnon Rosenthal
K-12 Education Endowment
Fund Target
Tisch Investment Advisory UMS Advisory Committee University of Michigan Credit
Union University of Michigan Health
System U-M Office of the Senior Vice
Provost for Academic Affairs U-M Office of the Vice President
for Research Wallace Endowment Fund
UMS STUDENT PROGRAMS
www.ums.orgstudents
UMS offers five programs designed to fit stu?dents' lifestyles and save students money. Each year, 15,000 students attend UMS events and collectively save $300,000 on tickets through these programs. UMS offers students additional ways to get involved in UMS, with internship and workstudy programs, as well as a UMS student advisory committee.
Half-Price Student Ticket Sales
At the beginning of each semester, UMS offers half-price tickets to college students. A limited number of tickets are available for each event in select seating areas. Simply visit www.ums.orgstudents, log in using your U-M unique name and Kerberos password, and fill out your form. Orders will be processed in the order they are received. You will pay for and pick up your tickets at a later date at the Michigan League Ticket Office.
Winter Semester: Begins Sunday. January 6, 2008 at 8 pm and ends Tuesday. January 8 at 8 pm.
Sponsored by
Rush Tickets
Sometimes it pays to procrastinate! UMS Rush Tickets are sold to college students for $10 the day of the performance (or on the Friday before weekend events) and $15 beginning 90 minutes before the event. Rush Ticket availabil?ity and seating are subject to Ticket Office dis?cretion. Tickets must be purchased in person at the Michigan League Ticket Office or at the performance venue ticket office. Just bring your valid college ID. Limit two tickets per student.
UMS Student Card
Worried about finding yourself strapped for cash in the middle of the semester The UMS Student Card is a pre-paid punch system for Rush Tickets. The Card is valid for any event for which Rush Tickets are available, and can be used up to two weeks prior to the perform?ance. The UMS Student Card is available for $50 for 5 performances or $100 for 10 per?formances. Please visit www.ums.orgstudents to order online.
Arts & Eats
Arts & Eats combines two things you can't live without--great music and free pizza--all in one night. For just $15, you get great seats to a UMS event (at least a 50 savings) and a free pizza dinner before the concert, along with a brief talk by a seasoned expert about the performance. Tickets go on sale approxi?mately two weeks before the concert.
0708 Arts & Eats Events:
Yuja Wang, Sun. 120
Christian Tetzlaff, Thurs. 214
San Francisco Symphony, Fri. 314
Bobby McFerrin, Chick Corea, Jack DeJohnette, Sat. 419
Sponsored by UMSnion
With support from the U-M Alumni Association
Arts Adventure Series
UMS, the U-M School of Music, Theatre & Dance, and Arts at Michigan have teamed up to offer the Arts Adventure Series, a package of three events each semester for just $35.
Arts at Michigan offers several programs designed to help students get involved in arts and cultural opportunities at the University of Michigan. Please visit www.arts.umich.edu for the latest on events, auditions, contests, fund?ing for arts initiatives, work and volunteer opportunities, arts courses, and more.
Internships and College Work-Study
Internships with UMS provide experience in performing arts administration, marketing, ticket sales, programming, production, and arts education. Semesterand year-long unpaid internships are available in many of UMS's departments. For more information, please call 734.615.1444.
Students working for UMS as part of the College Work-Study program gain valuable experience in all facets of arts management including concert promotion and marketing, ticket sales, fundraising, arts education, arts programming, and production. If you are a University of Michigan student who receives work-study financial aid and are interested in working at UMS, please call 734.615.1444.
Student Advisory Committee
As an independent council drawing on the diverse membership of the University of Michigan community, the UMS Student Advisory Committee works to increase student interest and involvement in the various pro?grams offered by UMS by fostering increased communication between UMS and the student community, promoting awareness and accessi?bility of student programs, and promoting the student value of live performance. For more information or to participate on the Committee, please call 734.615.6590.
PRELUDE DINNERS
join us for camaraderie, fine cuisine, and musical insights at the Prelude Dinners before these performances. For reservations and information, please call 734.764.8489
Wed, Jan 16,5:30 pm, Hill Auditorium Jazz at Lincoln Center Orchestra
Speaker: Ellen Rowe
Sat, Feb 2,5:30 pm, Rackham Building A Celebration of the Keyboard
Speaker: Arthur Greene
Sat, Feb 9, 5:30 pm, Rackham Building GuarneriJohannes String Quartets
Speaker: William Bolcom
Thurs, Feb 14,5:30 pm, Rackham Building Christian Tetzlaff
Speaker: Stephen Shipps
Fri, March 14,5:30 pm, Rackham Building San Francisco Symphony
Speaker: Steven Whiting
Fri, March 21,5:30 pm, Rackham Building Bach's St. Matthew Passion
Speaker: Anne Parsons
Wed, April 2,5:30 pm, Rackham Building Lang Lang
Speaker: Kenneth C. Fischer
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DELICIOUS
EXPERIENCES
Join us for dinner.. .or wine and hors d'oeuvres... or any of these delicious events! Take the opportunity to meet others or join friends in convivial homes, restaurants and other venues with gracious hosts. All proceeds support UMS educational programs. Call 734.764.848g for information
A Song to Remember: Chopin at the Kempf House
Friday, February 22,2008, 7 PM Hosts: Ewa and Rafal Sobotowski
A Fall Harvest Adventure--S. A.
Friday, March 7, 2008, 7 PM
Hosts: Katherine and Damian Farrell
All That Jazz
Saturday, March 15,2008, 7 PM Hosts: Kathleen Nolan and Doug Kelbaugh
Cinco de Mayo
Saturday, May 3, 2008,7 PM Hosts: Jean and Arnold Kluge
If These Walls Could Talk
Saturday, May 17,2008,6-8 PM Hosts: Sue and Jim Kern
Rhythms of the Night
Friday, May 30,2008,6-9 PM Host: Newcombe Clark
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UMSSupport
There are many ways to support the efforts of UMS, all of which are critical to the success of our season. We would like to welcome you to the UMS family and involve you more closely in our exciting programming and activities. This can happen through corporate sponsorships, business advertising, individual donations, or through volunteering. Your financial investment andor gift of time to UMS allows us to continue connecting artists and audiences, now and into the future.
CORPORATE SPONSORSHIP AND ADVERTISING
Advertising
When you advertise in the UMS program book you gain season-long visibility among ticket buyers while enabling an important tradition of providing audiences with the detailed program notes, artist biographies, and program descrip?tions that are so important to the performance experience. Call 734.764.6833 to learn how your business can benefit from advertising in the UMS program book.
Sponsorship
As a UMS corporate sponsor, your organization comes to the attention of an educated, diverse and growing segment of not only Ann Arbor, but all of southeastern Michigan. You make possible one of our community's cultural treas?ures, and also receive numerous benefits from your investment. For example, UMS offers you a range of programs that, depending on your level of support, provide a unique venue for:
Enhancing corporate image
Cultivating clients
Developing business-to-business relationships
Targeting messages to specific demographic groups
Making highly visible links with arts and education programs
Recognizing employees
Showing appreciation for loyal customers
For more information, please call 734.647.1176.
INDIVIDUAL DONATIONS
We could not present our season without the invaluable financial support of individual donors. Ticket revenue only covers half of the cost of our performances and educational events. UMS donors help make up the differ?ence. If you would like to make a gift, please fill out and mail the form on page P40 or call 734.647.1175.
UMS VOLUNTEERS
UMS Advisory Committee
The UMS Advisory Committee is an organiza?tion of over 70 volunteers who contribute approximately 7,000 hours of service to UMS each year. The purpose of the Advisory Committee is to raise funds for UMS's nationally-acclaimed arts education program through the events listed below. In addition, Advisory Committee members and friends provide assis?tance in ushering at UMS youth performances and assist in various other capacities through?out the season. Meetings are held every two months and membership tenure is three years. Please call 734.647.8009 to request more information.
Delicious Experiences
These special events are hosted by friends of UMS. The hosts determine the theme for the evening, the menu, and the number of guests they would like to entertain. It's a wonderful way to meet new people!
Ford Honors Program and Gala May 10, 2008
This year's program will honor renowned flutist James Galway as he receives the UMS Distinguished Artist award. Following the program and award presentation, the UMS Advisory Committee will host a gala dinner to benefit UMS Education programs. Please call 734.647.8009 for more information.
On the Road with UMS
Last September, over 300 people enjoyed an evening of food, music, and silent and live auc?tions, netting more than $80,000 to support UMS educational programs.
UMS Ushers
Without the dedicated service of UMS's Usher Corps, our events would not run as smoothly as they do. Ushers serve the essential functions of assisting patrons with seating, distributing pro?gram books, and providing that personal touch which sets UMS events apart from others.
The UMS Usher Corps is comprised of over 500 individuals who volunteer their time to make your concert-going experience more pleasant and efficient. Orientation and training sessions are held each fall and winter, and are open to anyone 18 years of age or older. Ushers may commit to work all UMS perform?ances in a specific venue or sign up to substi?tute for various performances throughout the concert season.
If you would like information about becoming a UMS volunteer usher, contact our Assistant Ticketing Manager, Front of House, Suzanne Davidson, at 734.615.9398 or e-mail fohums@umich.edu.
ANNUAL FUND SUPPORT
September 1, 2006-November 1, 2007
Thank you to those who make UMS programs and presentations possible. The cost of presenting world-class performances and education programs exceeds the rev?enue UMS receives from ticket sales. The difference is made up through the gener?ous support of individuals, corporations, foundations, and government agencies. We are grateful to those who have chosen to make a difference for UMS! This list includes donors who made an annual gift to UMS between September 1, 2006 and November 1, 2007. Due to space constraints, we can only list those who donated $250 or more. Every effort has been made to ensure the accuracy of this list. Please call 734.647.1175 with any errors or omissions. Listing of donors to endowment funds begins on page P46.
DIRECTOR
$100,000 or more
Doris Duke Charitable Foundation
Ford Motor Company Fund
Michigan Council for Arts and Cultural Affairs
Michigan Economic Development Corporation
Pfizer Global Research & Development:
Ann Arbor Laboratories University of Michigan Health System
SOLOIST
$50,000-$99,999
DTE Energy
DTE Energy Foundation
Esperance Family Foundation
Northwest Airlines
The Power Foundation
MAESTRO
$20,000-$49,999
Anonymous
Borders Group
Cairn Foundation
Brian and Mary Campbell
CFI Group
Charles H. Gershenson Trust
Detroit Auto Dealers Association Charitable
Foundation Fund Ford Motor Company Fund Maxine and Stuart Frankel Foundation Kaydon Corporation KeyBank Robert and Pearson Macek
Masco Corporation
National Endowment for the Arts
National Dance Project of the New England
Foundation for the Arts Gilbert Omenn and Martha Darling Mr. and Mrs. Laurence A. Price ProQuest
Dennis and Ellie Serras Toyota The Whitney Fund at the Community
Foundation for Southeastern Michigan Ann and Clayton Wilhite
VIRTUOSO
$10,000-$! 9,999
Michael Allemang and Janis Bobrin
AMGEN Foundation, Inc.
The Ann Arbor News
Arts at Michigan
Arts PresentersMetLife Foundation Award for Arts
Access in Underserved Communities Emily Bandera and Richard Shackson Bank of Ann Arbor
Linda and Maurice Binkow Philanthropic Fund Carl and Isabelle Brauer Fund Chamber Music America Charter One Bank
Maxine and Stuart Frankel Foundation GlaxoSmithKline Foundation Eugene and Emily Grant David and Phyllis Herzig LaSalle Bank
Lawrence and Rebecca Lohr Charlotte McGeoch Mrs. Robert E. Meredith
Donald L. Morelock
THE MOSAIC FOUNDATION
(of R. & P. Heydon) WE4 Jazz Masters on Tour Jane and Edward Schulak Barbara Furin Sloat TIAA-CREF
Universal Classics Group Concord Music
University of Michigan Credit Union Marina and Bob Whitman
CONCERTMASTER
$7,500-$9,999
Anonymous
Morris and Beverly Baker Foundation
Paulett Banks
Edward Surovell RealtorsEd and Natalie
Surovell
Carl and Charlene Herstein Miller, Canfield, Paddock and Stone, P.L.C. M. Haskell and Jan Barney Newman Performing Arts Fund A. Douglas and Sharon J. Rothwell James and Nancy Stanley
PRODUCER
$5,000-$7,499
Mrs. Bonnie Ackley
Herb and Carol Amster
Ann Arbor Automotive
Anonymous
Arnold and Janet Aronoff
Blue Nile Restaurant
Mr. and Mrs. Thomas P. Capo
Dave and Pat Clyde
Comerica Bank
Al and Kendra Dodds
Jim and Patsy Donahey
Ken and Penny Fischer
llene H. Forsyth
Sue and Carl Gingles
Paul and Anne Glendon
Tom and Katherine Goldberg
Linda and Richard Greene
David W. and Kathryn Moore Heleniak
Debbie and Norman Herbert
Honigman Miller Schwartz and Cohn LLP
Mohamad and Hayat Issalssa
Foundations
David and Sally Kennedy Jill Latta and David Bach Leo and Kathy Legatski Richard and Carolyn Lineback Mainstreet Ventures, Inc. Sally and Bill Martin
Susan McClanahan and Bill Zimmerman Merrill Lynch National City
Tom, Meghan, Mary and T.J. O'Keefe Pepper Hamilton LLP Philip and Kathy Power Red Hawk Bar & Grill Herbert and Ernestine Ruben
Don and Judy Dow Rumelhart
Alan and Swanna Saltiel
Sesi Lincoln Mercury Volvo Mazda
Craig and Susan Sincock
Nancy and Brooks Sitterley
Thomas B. McMullen Co.
Tisch Investment Advisory
United Bank and Trust
Ronald and Eileen Weiser
Whole Foods Market
Marion T. Wirick and James N. Morgan
Zanzibar Restaurant
Gerald B. and Mary Kate Zelenock
LEADER
$3,500-$4,999
Jerry and Gloria Abrams
Bernard and Raquel Agranoff
Anonymous
Raymond and Janet Bernreuter
Suzanne A. and Frederick J. Beutler
Joan Akers Binkow
Edward and Mary Cady
Mary Sue and Kenneth Coleman
Mr. and Mrs. George W. Ford
Sara and Michael Frank
General Motor Powertrain-Willow Run Plant
Susan and Richard Gutow
Dr. H. David and Dolores Humes
Keki and Alice Irani
Robert L. and Beatrice H. Kahn
U-M Michigan Union
Noir Homes
Virginia and Gordon Nordby
Mrs. Charles Overberger (Betty)
Martin Neuliep and Patricia Pancioli
Eleanor and Peter Pollack
Rosebud Solutions
Lois A. Theis
Dody Viola
Robert 0. and Darragh H. Weisman
Max Wicha and Sheila Crowley
PRINCIPAL
$2,500-$3,499
Jim and Barbara Adams
Susan and Alan Aldworth
Bob and Martha Ause
Essel and Menakka Bailey
Robert and Wanda Barilett
Charles and Linda Borgsdorf
Elizabeth Bnen and Bruce Conybeare
Jeannine and Robert Buchanan
Robert and Victoria Buckler
Barbara and Al Cain
Jean and Ken Casey
Anne and Howard Cooper
Beverley and Gerson Geltner
General Motors Corporation
William and Ruth Gilkey
Or. Sid Gilman and Dr. Carol Barbour
John and Helen Griffith
Janet Woods Hoobler
Herbert Katz
Shirley Y. and Thomas E. Kauper
Gloria and Bob Kerry
Samuel and Marilyn Krimm
Amy Sheon and Marvin Krislov
Donald J. and Carolyn Dana Lewis
Jeff Mason and Janet Netz
Ernest and Adele McCarus
William C. Parkinson
Richard and Lauren Prager
Jim and Bonnie Rcece
John and Dot Reed
Duane and Katie Renken
Barbara A. Anderson and John H. Romani
Corliss and Dr. J.C. Rosenberg
Prudence and Amnon Rosenthat
Dr. Nathaniel H. Rowe
John J. H. Schwarz. MD
Muaiad and Aida Shihadeh
Loretta M. Skewes
TCF Bank
Jim Toy
Don and Carol Van Curler
Don and Toni Walker
Elise Weisbach
Roy and JoAn Wetzel
Keith and Karlene Yohn
PATRON
$1,000-$2,499
Robert and Kathenne Aldrich
Michael and Suzan Alexander
Anastasios Alexiou
Dr. and Mrs. David G. Anderson
Anonymous
Jonathan Ayers and Teresa Gallagher
Lesli and Christopher Ballard
Walter and Mary Ballinger
Bradford and Lydia Bates
Beacon Investment Company
Astrid B. Beck and David Noel Freedman
Frederick W. Becker
Rachel Bendit and Mark Bernstein
Kathy Benton and Robert Brown
James K. and Lynda W. Berg
Jim Bergman and Penny Hommel
Ruth Ann and Stuart J. Bergstein
Anne Beaubien and Phil Berry
John Blankley and Maureen Foley
Howard and Margaret Bond
Gary Boren
Laurence and Grace Boxer
Dr. Ralph and Mrs. Mary W. Bozell
Jacquelyn A. Brewer
Dale E. and Nancy M. Briggs
Barbara Everitt Bryant
Lawrence and Valerie Bullen
Charles and Joan Burteigh
Letitia J. Byrd
Amy and Jim Byrne
Betty Byrne
Jean W. Campbell
Patricia and Michael Campbell
David and Valerie Canter
Bruce and Jean Carlson
Carolyn M. Carty and Thomas H. Haug
John and Patricia Carver
Janet and Bill Cassebaum
Tsun and Siu Ying Chang
Anne Chase
Pat and George Chatas
James S. Chen
Leon S. Cohan
Hubert and Ellen Cohen
Lois and Avern Cohn
Cynthia and Jeffrey Colton
William J. and Ellen A. Conlin
Phelps and Jean Connell
Jim and Connie Cook
Jane Wilson Coon and A. Rees Midgiey. Jr.
Kathleen Crispell and Tom Porter
Judy and Bill Crookes
Julia Donovan Darlow and John O'Meara
Susan T. Darrow
Charles W. and Kathleen P. Davenport
Hal and Ann Davis
Sally and Larry DiCarlo
Andrzej and Cynthia Dlugosz
Alice Dobson
Molly Dobson
Heather and Stuart Dombey
John Dryden and Diana Raimi
Aaron Dworkin and Afa Sadykhly
Jack and Betty Edman
Joan and Emil Engel
David and Jo-Anna Featherman
Oede and Oscar Feldman
Yi-Tsi M. and Albert Feuerwerker
Susan A. Fisher
Susan Fisher and John Waidley
Bob Fleming
Esther Floyd
James W. and Phyllis Ford
Forrest Family Fund
Dan and Jill Francis
Leon and Marcia Friedman
Enid H. Galler
Patricia Garcia and Dennis
Dahlmann
Prof. David M. Gates Thomas and Barbara Gelehrter Karl and Karen Gotting Cozette T. Grabb Elizabeth Needham Graham Walter Z. Graves
Susan M. Smith and Robert H. Gray Bob Green
Leslie and Mary Ellen Guinn Helen C. Hall
Jeanne Harrison and Paul Hysen Alice and Clifford Hart Sivana Heller Paul Herstein Dianne S. Hoff Carolyn B. Houston Robert M. and Joan F. Howe Dr. Howard Hu and Ms. Rani Kotha John and Patricia Huntington Eileen and Saul Hymans Perry Irish Jean Jacobson Rebecca Jahn Wallie and Janet Jeffries Timothy and Jo Wiese Johnson Robert and 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 Mefvin A. Lester MD Myron and Bobbie Levine Carolyn and Paul Lichter Patricia Little and Raymond
Barbehenn Jean E. Long
Richard and Stephanie Lord John and Cheryl MacKrell Cathy and Edwin Marcus Ann W. Martin and Russ Larson Marilyn Mason Natalie Matovinovic Mary and Chandler Matthews Judythe and Roger Maugh Carole J. Mayer Raven McCrory W. Joseph McCune and
Georgiana M. Sanders Griff and Pat McDonald Mercantile Bank of Michigan Henry D. Messer and Carl A. House Paul Morel
Alan and Sheila Morgan Melinda and Bob Morris Cyril Moscow Nustep, Inc. Marylen S. Oberman Marysia Ostafin and George Smillie Mohammad and J. Elizabeth
Oth man Donna Parmelee and William
Nolting
Bertram and Elaine Pitt Peter and Carol Polverini Richard and Mary Price Produce Station Mrs. Gardner C. Quartern Donald Regan and Elizabeth
Axelson
Professor and Mrs. Raymond Reilty 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
Polish
Jim Skupski and Dianne Widzinski Dr. Rodney Smith Kate and Philip Soper Lloyd and Ted St. Antoine Michael B. Staebler John and Lois Stegeman Victor and Marlene Stoeffler Dr. and Mrs. Stanley Strasius David and Karen Slutz 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 Luna M. Wallin Harvey and Robin Wax W. Scott Westerman, Jr. Dr. and Mrs. Max V. Wisgerhof II Charles Witke and Aileen Gatten Jeanne and Paul Yhouse Edwin H. and Signe Young Maria Zampierollo and Brian Partin
BENEFACTOR
$500$999
3POINT Machine, Inc.
Wadad Abed
Roger Albin and Nili Tannenbaum
Christine W. Alvey
Catherine M. Andrea
Anonymous
Dr. and Mrs. Rudi Ansbacher
Harlene and Henry Appelman
Ralph Lydic and Helen Baghdoyan
Mary and Al Bailey
Robert L. Baird
Laurence R. and Barbara K. Baker
Reg and Pat Baker
Nan Barbas and Jonathan Sugar
David and Monika Barera
Norman E. Barnett
Frank and Lindsay Tyas Bateman
Harry Benford
Linda and Ronald Benson
L. S. Berlin
Naren K. and Nishta G. Bhatia
Seth Bonder
Bob and Sharon Bordeau
Catherine Brandon MD
David and Dr. Sharon Brooks
Donald R. and June G. Brown
Morton B. and Raya Brown
Dr. Frances E. Bull
H. D. Cameron
Susan and Oliver Cameron
Margot Campos
Carlisle Wortman Associates, Inc.
Jack and Wendy Carman
Drs. Andrew Caughey and Shelley
Neitzel
John and Camilla Chiapuris Dr. Kyung and Young Cho Janice A. Clark Brian and Cheryl Clarkson Tris and Edna Coffin Jeanne Raisler and Jonathan Cohn Wayne and Melinda Colquitt Arnold and Susan Coran Malcolm and Juanita Cox Joan S. Crawford Peter C. and Lmdy M. Cubba John G. and Mary R. Curtis Roderick and Mary Ann Daane Robert and Joyce Damschroder Norma and Peter Davis Eltwood and Michele Derr Linda Dtntenfass and Ken Wisinski Cynthia M. Dodd Robert J. and Kathleen Dolan Dallas C. Don Eva and Wolf Duvernoy Stefan and Ruth Fajans Elly and Harvey Falit Irene Fast
Margaret and John Faulkner Sidney and Jean Fine Carol Finerman Clare M. Fingerle Herschel and Adhenne Fink C. Peter and Beverty 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 Gitlis Amy and Glenn Gottfried Jill Gramz
Dr. John and Renee M. Greden Anna and Robert Greenstone ingnd 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.
Delay
Richard LeSueur Ken and Jane Lieberthal Marilyn and Martin Lindenauer E. Daniel and Kay M. Long Frances Lyman Bngitte 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.
Lehto
Myrna and Newell Miller Bert and Kathy Moberg Jeanne and Lester Monts Lewis and Kara Morgenstern Frieda H. Morgenstern Gavin Eadie and Barbara Murphy Elizabeth and Robert Oneal Mark and Susan Orringer Constance and David Osier Marie L. Panchuk Zoe and Joe Pearson Jean and Jack Peirce Margaret and Jack Petersen Elaine Piasecki Evelyn Pickard Juliet 5. Pierson James Eng and Patricia Randle Anthony L. Reffells and Elaine A.
Bennett R. E. Reichert Marc and Stacy Renouf Retirement Income Solutions Timothy and Teresa Rhoades Richner & Richner Jeff and Huda Karaman Rosen Richard and Edie Rosenfeld Margaret and Haskell Rothstein Miriam Sandweiss Diane and Joseph Savin Tom Wieder and Susan Schooner Ann and Thomas J. Schriber Drs. David E. and Monica S.
Schteingart Julie and Mike Shea Howard and Aliza Shevrin George and Gladys Shirley Carl P. Simon and Bobbi Low Sandy and Dick Simon Elaine and Robert Sims Don and Sue Sinta Irma J. Sklenar Andrea and William Smith David and Renate Smith Mrs. Gretchen Sopcak Joseph H. Spiegel Andrea and Gus Stager Mr. and Mrs. Gary R. Stahle James and Naomi Starr Virginia and Eric Stein Eric and Ines Storhok Cynthia Straub Ellen and Jeoffrey Stross Brian and Lee Talbot Craig Timko Fr. Lewis W. Towter Jeff and Lisa Tulin-Silver Dr. Sheryl S. Ulin and Dr. Lynn T.
Schachinger
Steven and Christina Vantrease Shirley Verrett
Drs. Bill Lee and Wendy Wahl Elizabeth and David Walker Enid Wasserman Carol Weber
Angela Welch and Lyndon Welch Iris and Fred Whitehouse Leslie C Whit field Sally M. Whiting Reverend Francis E. Williams
Robert J. and Anne Marie Willis Lawrence and Mary Wise James and Gail Woods Dr. and Mrs. Clyde Wu Mayer and Joan Zald
ASSOCIATES
$250-$499
Doril Adler
Thomas and Joann Adler Family
Foundation
Helen and David Aminoff Anonymous Arboretum Ventures Bert and Pat Armstrong Jack and Jill Arnold Frank and Nancy Ascione 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. Ertmg Blondal
Bengtsson
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 Bofgsdorf Victoria C Botek and William M.
Edwards Susie Bozell Paul and Anna Bradley Dr. Robert M. Bradley and Dr.
Charlotte M. Mistretta William R Brashear Joel Bregman and Elaine Pomeranz Alexander and Comtance 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
Taylor
Andy and Dawn Chien Kwang and Soon Cho Reginald and Beverly Ciokajlo Coffee Express Co. Theodore and Jean Cohn Edward and Anne Comeau Minor J. Coon Peter and Celia Copeland Cliff and Kathy Cox Lloyd and Lois Crabtree Clifford and Laura Craig Merle and Mary Ann Crawford Mary C. Crichton Connie D'Amato Timothy and Robin Damschroder 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 Dunifon
Peter and Grace Duren
Swati Dutta
Jane E. Dutton
Bradley Dyer
Dr. Alan S. Eiser
Mary Ann Faeth
Mark and Karen Faiahee
Dr. and Mrs. S. M. Farhat
Phil and Phyllis Fellin
James and Flora Ferrata
Dr. James F. Filgas
David Fink and Marina Mata
Dr. Lydia Fischer
Jessica Fogel and Lawrence Weiner
Paula LBockenstedt and David A Fox
Hyman H. Frank
Jerrold A. and Nancy M. Frost
Philip and Renee Frost
Carol Gagliardi and David Flesher
Barbara and James Garavaglia
Allan and Harriet Gelfond
Beth Genne and Allan Gibbard
Deborah and Henry Gerst
Elmer G. Gilbert and Lois M.
Verbrugge
J. Martin Gillespie and Tara Gillespie Beverly Jeanne Giltrow Joyce L. Ginsberg David and Maureen Ginsburg irwin Goldstein and Martha Mayo Eszter Gombosi Mitchell and Barbara Goodkin Enid M. Gosling and Wendy
Comstock
Mr. and Mrs. Charles and Janet Goss James and Maria Gousseff Michael Gowing
Mr. and Mrs. Christopher L. Graham Martha and Larry Gray Jeffrey B. Green Daphne and Raymond Grew Mark and Susan Griffin Werner H. Grilk Bob and Jane Grover Robin and Stephen Gruber Anna Grzymala-Busse and Joshua
Berke
Ken and Margaret Guire H&R Block Foundation George and Mary Haddad M. Peter and Anne Hagiwara Yoshiko Hamano Walt and Charlene Hancock Naomi Gottlieb Harrison and
Theodore Harrison DDS Tricia and Steve Hayes Anne Heacock Rose and John Henderson J. Lawrence and Jacqueline Stearns
Henkel
Keith and Marcelle Henley Kathy and Rudi Hentschel James and Ann Marie Hitchcock Mary Ann and Don Hut Ronald and Ann Holz Robert and Barbara Hooberman Linda Samueison and Joel Howell Mabelle Hsueh Harry and Ruth Huff Heather Hurlburt and Darius Sivm Robert B. Inglmg 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 Kalbfleisch 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 Kokoszka
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 Laurence
Laurie and Robert LaZebmk
David Lebenbom
Julaine and John Le Due
John and Theresa Lee
Sue Leong
Melvyn and Joan Levitsky
Jacqueline H. Lewis
David Baker Lewis
Ken and Jane Lieberthal
Don and Erica Lindow
Michael and Debra Lisull
Michael Charles Litt
Dr. Daniel Little and Dr. Bernadette
Untz
Rod and Robin Little Dr and Mrs. Lennart H. Lofstrom Julie M. Loftin Naomi E. Lohr Charles P. and Judy B. Lucas Uelvm and Jean Manis Manpower, inc. of Southeastern
Michigan
Ken and Lynn Marko W. Harry Marsden Laurie McCauley and Jessy Grizzle Peggy McCracken and Doug Anderson Uam T. McDonald James A. Mclntosh James H. Mclntosh and Elaine K.
Gazda
Bill and Ginny McKeachie McNaughton & Gunn, Inc Frances McSparran Nancy A. and Robert E. Meader Gerlinda 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 Sally Miedler Kitty and Bill Moeller Olga Moir Jean Marie Moran and Stefan V.
Chmielewski
Patricia and Michael Morgan Mark and Lesley Mozola Roy and Susan Muir Thomas and Hedi Mulford Terence and Patricia Murphy Lisa Murray and Michael Gatti Drs Louis and Julie Jaffee Nagel Gerry and Joanne Navarre Frederick C. Netdhardt Gayl and Kay Ness Susan and Richard Nisbett Eugene W. Nissen Laura Nitzberg Arthur S. Nusbaum John and Gwen Nystuen Mrs Elizabeth Ong Kathleen I. Operhall David and Andrea Page William C Panzer Karen Park and John Beranek Frank and Arlene Pasley Shirley and Ara Paul Judith Ann Pavitt Donald and Evonne Plantinga Allison and Gregory Poggi Susan Pollans and Alan Levy Bill and Diana Pratt Ann Preuss
Elisabeth and Michael 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 D. Rugg and Richard K
Montmorency Michael and Kimm Sarosi Stephen J and Kim Rosner Saxe SBC Foundation Jochen and Helga Schacht Frank i. Schauerte David and Marcia Schmidt Leonard Segel Harriet Selin Robert D. Shannon Matthew Shapiro and Susan Garetz David and Elvera Shappirio Jean and Thomas Shope Patricia Shure Edward and Kathy Silver Dr. Terry M. Silver Gene and Alida Silverman Scott and Joan Singer Tim and Marie Slottow David and Renate Smith Greg and Meg Smith Robert W Smith Ralph and Anita Sosin Doris and Larry Sperling Jim Spevak Jeff Spindler Judy and Paul Spradim David and Ann Staiger Rick and Lia Stevens James L. Stoddard
Ellen M. Strand and Dennis C. Regan Clinton and Aileen Stroebel Donald and Barbara Sugerman Sam and Eva Taylor Steve and Diane Telian Mark and Patricia M. Tessler Textron
Mary H. Thieme Edwin J. Thomas Nigel and Jane Thompson Claire and Jeremiah Turcotte Dr. Hazel M. and Victor C. Turner, Jr Ahan and Katharine Uhle Susan B. Ullrich Or. Samuel C. and Evelyn Ursu Andrea and Douglas Van Houweling Hugo and Karla Vandersypen Mary Vandewiele Michael Van Tassel Dr. and Mrs. Edward Van Wesep Marie Vogt
Drs Harue and Tsuguyasu Wada Jack Wagoner Virginia Wait
Thomas and Mary Wakefield Charles R. and Barbara H. Wallgren Shaomeng Wang and Ju-Yun Li Jo Ann Ward John M. Weber
Deborah Webster and George Miller Mr. and Mrs. Larry Webster Jack and Jerry Weidenbach Lisa and Steve Weiss John. Carol and Ian Welsch Mary Ann Whipple Katherine E. White Nancy Wiermk I W. and Beth Winsten Charlotte A. Wolfe Brian Woodcock Pris and Stan Woollams Phyllis B. Wright Bryant Wu
John and Mary Yablonky ManGrace and Tom York Erik and Lineke Zuiderweg Gail and David Zuk
ANNUAL ENDOWMENT SUPPORT
September 1, 2006-November 1, 2007
The University Musical Society is grateful to those who made a gift to UMS endowment funds, which will benefit UMS audiences in the future. These gifts were matched by chal?lenge grants from the Wallace Foundation and the Doris Duke Charitable Foundation.
$50,000 or more
Anonymous
Estate of Douglas Crary
Doris Duke Charitable Foundation
Estate of Dr. Eva L. Mueller
$20,000-549,999
Bernard and Raquel Agranoff
Anonymous
Mr. and Mrs. Robert R. Gamble
Susan and Richard Gutow
David and Phyllis Herzig
Verne and Judy Istock
Sesi Investment
Herbert Sloan
S10,000-S19,999
Kathy Benton and Robert Brown
Toni M. Hoover
Robert and Pearson Macek
Estate of Melanie McCray
THE MOSAIC FOUNDATION (of R. & P.
Heydon)
James and Nancy Stanley Mary Vanden Belt
$5,000-59,999
Herb and Carol Amster
Joan Akers Binkow
CFI Group, Inc.
Richard and Carolyn Lineback
Mrs. Robert E. Meredith
Susan B. Ullrich
Marina and Bob Whitman
Ann and Clayton Wilhite
$1,000-54,999
Michael Allemang and Janis Bobrin
Anonymous
Essel and Menakka Bailey
DJ and Dieter Boehm
Charles and Linda Borgsdorf
Jean W. Campbell
Barbara Mattison Carr
Jean and Ken Casey
Jane Wilson Coon and A. Rees Midgley, Jr.
Patricia Garcia and Dennis Dahlmann
Macdonald and Carolm Dick
Molly Dobson
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James and Chris Froehlich
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Robert M. and Joan F. Howe
Jim Irwin
Gloria and Bob Kerry
Jill Latta and David Bach
Lawrence and Rebecca Lohr
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W. Joseph McCune and Georgiana M.
Sanders
Melinda and Bob Morris Elizabeth and Robert Oneal Mark and Susan Orringer Mrs. Charles Overberger (Betty) Richard Peterson Steve and Tina Pollock Jeff and Huda Karaman Rosen Corliss and Dr. J.C. Rosenberg Prudence and Amnon Rosenthal Nancy W. Rugani Norma and Dick Sams Frances U. and Scott K. Simonds Karl and Karen Weick Mac and Rosanne Whitehouse Jeanne and Paul Yhouse Jay and Mary Kate Zelenock
S100-S999
Jerry and Gloria Abrams
Mrs. Bonnie Ackley
Anonymous
Arts League of Michigan
Lynne Aspnes
John U. Bacon
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Gary Beckman and Karla Taylor
Harvey Berman and Rochelle Kovacs Berman
Inderpal and Martha Bhatia
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Jack Billi and Sheryl Hirsch
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Linda and Maurice Binkow
Oavid and Martha Bloom
Blue Nile Restaurant
Mimi and Ron Bogdasanan
Paul Boylan
Carl A. Brauer, Jr.
Dale E. and Nancy M. Briggs
Jeannine and Robert Buchanan
Andrew and Emily Buchholz
Robert and Victoria Buckler
John and Jams Burkhardt
David Bury and Marianne Lockwood
Letitia J. Byrd
Carolyn M. Carty and Thomas H. Haug
Jack Cederquist and Meg Kennedy Shaw
Dr. Kyung and Young Cho
Donald and Astnd Cleveland
Michael and Hilary Cohen
Phelps and Jean Connell
Katharine Cosovich
Malcolm and Juanita Cox
George and Connie Cress
Mary C. Crichton
Dana Foundation
David Lieberman Artists Representatives, Inc.
Linda Davis and Robert Richter
Neeta Delaney and Ken Stevens
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Judy and Steve Dobson
Cynthia M. Dodd
Robert J. and Kathleen Dolan
Hal and Ann Doster
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Janet Eilber
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Esther Floyd
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Schilperoort John B. Kennard Nancy Keppelman and Michael
Smerza
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Klein
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Veeser Emily Maltz
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Zimmerman Dores M. McCree Bill and Ginny McKeachie Joanna McNamara and Mel Guyer Barbara Meadows Shana Meehan Chase Joetta Mial
John and Carla Michaud Patricia Mooradian Mary Morse
Lisa Murray and Michael Gam Gerry and Joanne Navarre Frederick C. Neidhardt Gayl and Kay Ness Susan and Richard Nisbett Max and Patricia Noordhoorn Constance K. and Charles E.
Olson, Jr. Jan Onder
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Kenneth J. Robinson and Marcia
Gershenson Barbara A. Anderson and John H.
Romani
Doris E. Rowan Bill and Lisa Rozek Herbert and Ernestine Ruben Harry and Elaine Sargous Maya Savarino Ann and Thomas J. Schriber Ruth Scodel
Ingrid and Clifford Sheldon Mikki Shepard Don and Sue Sinta Jim Skupski and Dianne Widzmski Andrea and William Smith Carl and Jan Smith Rhonda Smith Scott and Amy Spooner John and Lois Stegeman Victor and Marlene Stoeffler Ronald Stowe and Donna Power
Stowe Doug Laycock and Teresa A.
Sullivan
Charlotte B. Sundelson Mark and Patricia Tessler Denise Thai and David Scobey Carrie and Peter Throm John and Geraldine Topliss Jonathan Trobe and Joan
Lowenstein
Claire and Jeremiah Turcotte Elizabeth and Stephen Upton Thomas and Mary Wakefield Richard and Madelon Weber W. Scott Westerman, Jr. Sally M. Whiting Max Wicha and Sheila Crowley Frances A. Wright Phyllis B. Wright Bob and Betty Wurtz Jeanne and Paul Yhouse
S1-S99
Joseph S. Ajlouny
Anonymous
Arts Alliance of the Ann Arbor Area
Barbara B. Bach
Jenny Bilfield-Friedman and Joel
Friedman
Ed and Luciana Borbely Barbara Everitt Bryant Simon Carrington Mark Clague Edward and Ruth Cogen Hugh and Elty Cooper Jill Crane Sally Cushing Diana Engel
Bill Lutes and Martha Fischer Kristin Fontichiaro John N. Gardner Walter Helmreich Ken and Joyce Holmes Dr. Nancy Houk Dria Hewlett
John and Patricia Huntington Mika and Danielle LaVaque-Manty Judie and Jerry Lax Rod and Robin Little
Georgine Loacker
Shelley MacMillan and Gary Decker
Jaclin and David Marlm
Beth McNally
Ronald G. Miller
Shelley and Dan Morhaim
Mr. and Mrs. Warren J. Perlove
Julianne Pinsak
Eileen Pollack
Elisabeth and Michael Psarouthakis
Thomas and Sue Ann Reisdorph
Oman Rush
Margaret and Glen Rutila
Liz Silverstein
Lloyd and Ted St. Antoine
Peg Talburtt and Jim Peggs
Christina and Thomas Thoburn
Linda Tubbs
Harvey and Robin Wax
Warren Williams
Endowed Funds
The future success of the University Musical Society is secured in part by income from UMS's endowment. UMS extends its deepest apprecia?tion to the many donors who have established andor con?tributed to the following funds:
H. Gardner and Bonnie Ackley
Endowment Fund Herbert S. and Carol Amster Fund Catherine S. Arcure Endowment
Fund Carl and Isabelle Brauer
Endowment Fund Choral Union Fund Hal and Ann Davis Endowment
Fund Doris Duke Charitable Foundation
Endowment Fund Ottmar Eberbach Funds Epstein Endowment Fund JazzNet Endowment Fund William R. Kinney Endowment Fund Natalie Matovinovic Endowment
Fund
NEA Matching Fund Palmer Endowment Fund Mary R. Romig-deYoung Music
Appreciation Fund Prudence and Amnon Rosenthal
K--12 Education Endowment
Fund
Charles A. Sink Endowment Fund Catherine S. ArcureHerbert E.
Sloan Endowment Fund University Musical Society
Endowment Fund The Wallace Endowment Fund
Burton Tower Society
The Burton Tower Society recognizes and honors those very special friends who have included UMS in their estate plans. UMS is grateful for this important support, which will
continue the great traditions of artistic excellence, educational opportunities, and community partnerships in future years.
Bernard and Raquel Agranoff
Carol and Herb Amster
Mr. Neil P. Anderson
Dr. and Mrs. David G. Anderson
Catherine S. Arcure
Unda and Maurice Binkow
Elizabeth S. Bishop
Mr. and Mrs. W. Howard Bond
Mr. and Mrs. Pal E. Borondy
Carl and Isabelle Brauer
Barbara Everitt Bryant
Pat and George Chatas
Mr. and Mrs. John Alden Clark
H. Michael and Judith L. Endres
Dr. James F. Filgas
Ken and Penny Fischer
Ms. Susan Ruth Fischer
Beverley and Gerson Geltner
Paul and Anne Glendon
John and Martha Hicks
Mr. and Mrs. Richard Ives
Marilyn G. Jeffs
Thomas C. and
Constance M. Kinnear Diane Kirkpatnck Charlotte McGeoch Michael G. McGuire M. Haskell and Jan Barney Newman Len Niehoff
Dr. and Mrs. Frederick C. O'Dell Mr. and Mrs. Dennis M. Powers Mr. and Mrs. Michael Radock Mr. and Mrs. Jack Ricketts Mr. and Mrs. Willard L Rodgers Prudence and Amnon Rosenthal Margaret and Haskell Rothstein Irma J. Sklenar Herbert Sloan Art and Elizabeth Solomon Roy and JoAn Wetzel Ann and Clayton Wilhite Mr. and Mrs. Ronald G. Zollars
Tribute Gifts
Contributions have been received in honor andor mem?ory of the following individuals:
H. Gardner Ackley
Herb and Carol Amster
Robert G. Bartle
Abe Berman
Wendy Bethune and Roland Pender
Linda and Maurice Binkow
Mary Gene Birdsall
Carl and Isabelle Brauer
Charles and Evetyn Carver
Germatne Chipault
Cheryl Clarkson
Jon Cosovich
Arthur F. Cox, Jr.
Douglas D. Crary
Edith Deitch
Pauline DiPietro
John S. Dobson
Janel Fain
Ken and Penny Fischer
Sally Fleming
Sara 8. Frank
Maxine and Stuart Frankel
Martha Gall
Jeffrey B. Green
Lita Green
Lisbeth Louise Hildebrandt Johnson
Harbeck Harold Haugh
Dr Sidney S. Hertz
Robert Keich MD
Francis W. Kelsey
Or and Mrs. Edwin Marcus
Kenyatta Martin
Marilyn Mason
Valerie D. Meyer
James D. Moore
Ella Baker Munger
Holmes E. and Susan E. Newtor
Raymond Peck
Gwen and Emerson Powrie
Gail W. Rector
Steffi Reiss
Claire Rice
Amnon Rosenthal
Margaret E. Roth stein
Eric H. Rothstein
Nona Schneider
William J Scott
Marvin Selin
Marjorie Merker Sell '39
Michael and Molina Serr
Sam Sitverman
George E. Smith
Edith Marie Snow
Burnette Staebler
James Stanley
Charles R. Tieman
Francis V Viola III
George and Ailie Wappula
Edward C.Weber
Raoul Weisman
CarlH Wilmot-19
Dr. Jan Winkelman
Peter Holderness Woods
Barbara E Young
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UMS ADVERTISERS
Abracadabra Jewelry 25
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of Michigan 35 Americans for the Arts PSA 28 Ann Arbor Public Schools
Educational Foundation 26 Ann Arbor Symphony Orchestra 42 Bank of Ann Arbor 26 Borders Downtown 32 Charles Reinhart 22
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WGTE-4
WKAR 18
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WUOM 18
Zanzibar 30
Connecting i
d Performing
ommon
erience
UMS
with
Robert and Pearson
Macek
and the
University of Michigan
Health System
present
Choir of King's College, Cambridge
Stephen Cleobury, Director of Music and Conductor
Hosanna to the Son of David (St. Matthew 21:9) (Orlando Gibbons)
Hosanna to the Son of David, Blessed be he that cometh in the name of the Lord. Blessed be the King of Israel, Blessed be the King that cometh in the name of the Lord. Peace in heaven, and glory in the highest places. Hosanna in the highest heav'ns.
When David Heard (2 Samuel 18:33) (Thomas Weelkes)
When David heard that Absalom was slain, he went up to his chamber over the gate, and wept; and thus he said: 0 my son Absalom, would God I had died for thee. 0 Absalom, my son!
0 Praise the Lord, All Ye Heathen (Psalm 117) (Thomas Tomkins)
0 praise the Lord, all ye heathen, praise him all ye nations: for his merciful kindness is ever more and more towards us, and the truth of the Lord endureth for ever. Praise ye the Lord, 0 praise ye the Lord our God.
Les corps glorieux (excerpts) (Olivier Messiaen)
O vos omnes (Antiphon for Holy Saturday) (Pablo Casals)
0 vos omnes qui transitis per viam, attendite 0 all ye that pass by the way, behold and see if et videte si est dolor sicut dolor meus. there be sorrow like unto my sorrow.
Quatre motets pour un temps de penitence
(Francis Poulenc)
(Text: Various liturgical sources)
Timor et tremor venerunt super me, et caligo cecedit super me. Miserere mei, Domine, quoniam in te confedit anima mea. Exaudi, Deus, deprecationem meam, quia refugium meum es tu et adjutor fortis. Domine, invocavi te, non confundar.
Vinea mea electa, ego te plantavi: quomodo conversa es in amaritudinem, ut me crucifigeres et Barrabam dimitteres. Sepivi te et lapides elegi ex te et aedificavi turrim.
Tenebrae factae sunt dum crucifixissent Jesum Judaei, et circa horam nonam exclamavit Jesus voce magna: Deus meus, Deus meus, ut quid me dereliquisti Et inclinato capite emisit spiritum. Exclamans Jesus voce magna ait: Pater, in manu tuas commendo spiritum meum.
Tristis est anima mea usque
ad mortem: sustinete hie et vigilate
mecum, nunc videbitis turbam quae
circumdabit me. Vos fugam capietis,
et ego vadam immolari pro vobis. Ecce,
appropinquat hora et Filius hominis tradetur
in manus peccatorum.
Fear and trembling came upon me, and darkness fell upon me. Have mercy on me, 0 Lord, for my soul trusted in thee. Hear my prayer, 0 God, for thou art my refuge and my strong helper. Lord, I have called Upon thee, let me not be confounded.
0 my chosen vineyard, it is I who have planted you. How have you become so bitter that you should crucify me, and release Barabbas I have hedged you in, and cleared you of stones, and have built a tower.
There was darkness all over the earth when the Jews crucified Jesus; and about the ninth hour Jesus cried out with a loud voice: My God, my God, why hast Thou forsaken me Then he bowed His head, and yielded up His spirit. Jesus cried out with a loud Voice, saying: Father, into Thy hands I commend my spirit.
My soul is exceedingly sorrowful, even unto death: tarry ye here, and watch with me. In a little while ye shall see a great multitude that compasseth me round about. Ye shall flee, and
1 shall go to be sacrificed for you. Behold, the hour is at hand, and the Son of man is betrayed into the hands of sinners.
Lobet den Herrn. alle Heiden, BWV 230 (Psalm 117) (J. S. Bach)
Lobet den Herrn, alle Heiden, und preiset ihn, alle Volker! Denn seine Gnade und Wahrheit waltet Ciber uns in Ewigkeit. Alleluja!
Praise the Lord all ye Gentiles, and worship him all ye people. For his grace and truth prevail over us for ever. Alleluia!
Prelude in E-flat Major, BWV 552 (i)
(Bach)
Plebs angelica
(Michael Tippett)
(Text: 10th century; Translation: Helen Waddell)
Plebs angelica, phalanx et archangelica principans turma, virtus uranica, ac potestas almiphona. Dominantia nomina divinaque subsellia, cherubim aetherea ac seraphim ignicoma. Vos, 0 Michael coeli satrapa, Gabrielque vera dans verba nuntia. Atque Raphael vitae vernula, transferte nos in paradisicolas.
Antiphon
(Benjamin Britten) (Text: George Herbert)
Praised be the God of love.
Men
Here below,
Angels
and here above:
Who hath dealt his mercies so,
Angels
To his friend,
Men
and to his foe;
That both grace and glorie tend
Angels
Us of old,
Men
and us in th'end.
The great shepherd of the fold
Angels
Us did make,
Men
for us was sold.
Angelic host, Phalanx and squadron of the Prince-Archangels, Uranian power, strength of the gracious word. Spirits that have dominion, Cherubim, Divine tribunal of the air, and Seraphim with flaming hair. And you, 0 Michael, Prince of Heaven, And Gabriel, by whom the word was given. And Raphael, born in the house of Life, Bring us among the folk of Paradise.
He our foes in pieces brake;
Angels
Him we touch
Men
and him we take.
Wherefore since that he is such.
Angels
We adore,
Men
and we do crouch.
Lord, thy praises should be more.
Men
We have none,
Angels
and we no store.
Praised be the God alone,
who hath made of two folds one.
Lord, Thou Hast Been Our Refuge (Psalm 90) (Ralph Vaughan Williams)
Lord, Thou hast been our refuge from one generation to another. Before the mountains were brought forth, or ever the earth and the world were made, Thou art God from everlasting and world without end. Thou turnest man to destruction; again Thou sayest Come again ye children of men. For a thousand years in Thy sight are but as yesterday, seeing that is past as a watch in the night. As soon as Thou scatterest them They are even as a sleep and fade away suddenly like the grass. In the morning it is green and groweth up, but in the evening it is cut down, dried up and withered. For we consume away in Thy displeasure, and are afraid at Thy wrathful indignation. The years of our age are three score years and ten, and though men be so strong that they come to four score years, yet is their strength but labour and sorrow. Turn Thee again 0 Lord at the last. Be gracious unto Thy servants. 0 satisfy us with Thy mercy and that soon.
Lord Thou hast been a refuge from one generation to another. Before the mountains were brought forth, or ever the earth and the world were made, Thou art God from everlasting and world without end. And the glorious Majesty of the Lord be upon us, and the glorious Majesty of the Lord be upon us. Prosper Thou, 0 prosper Thou the work of our hands, 0 prosper Thou our handy work, prosper Thou our handy work.
Sung concurrently with the Psalm:
0 God, our help in ages past, Our hope for years to come, Our shelter from the stormy blast,
And our eternal home.

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