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UMS Concert Program, Thursday Apr. 10 To 22: University Musical Society: Winter 2008 - Thursday Apr. 10 To 22 --

UMS Concert Program, Thursday Apr. 10 To 22: University Musical Society: Winter 2008 - Thursday Apr. 10 To 22 --  image UMS Concert Program, Thursday Apr. 10 To 22: University Musical Society: Winter 2008 - Thursday Apr. 10 To 22 --  image UMS Concert Program, Thursday Apr. 10 To 22: University Musical Society: Winter 2008 - Thursday Apr. 10 To 22 --  image UMS Concert Program, Thursday Apr. 10 To 22: University Musical Society: Winter 2008 - Thursday Apr. 10 To 22 --  image UMS Concert Program, Thursday Apr. 10 To 22: University Musical Society: Winter 2008 - Thursday Apr. 10 To 22 --  image UMS Concert Program, Thursday Apr. 10 To 22: University Musical Society: Winter 2008 - Thursday Apr. 10 To 22 --  image UMS Concert Program, Thursday Apr. 10 To 22: University Musical Society: Winter 2008 - Thursday Apr. 10 To 22 --  image UMS Concert Program, Thursday Apr. 10 To 22: University Musical Society: Winter 2008 - Thursday Apr. 10 To 22 --  image UMS Concert Program, Thursday Apr. 10 To 22: University Musical Society: Winter 2008 - 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Day
10
Month
April
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
AM ARBOR
university musical society
Winter 08 University of Michigan Ann Arbor 2 Letters from the Presidents P5 Letter from the Chair
UMSLeadership 6 UMS Corporate and Foundation Leaders 14 UMS Board of DirectorsNational Council SenateAdvisory Committee P15 UMS StaffTeacher Advisory Committee
UMSlnfo P17 General Information P19 UMS Tickets
UMSAnnals 21 UMS History 22 UMS Venues and Burton Memorial Tower
UMSExperience 27 UMS Education Programs P33 UMS Student Programs
UMSSupport 37 Corporate Sponsorship and Advertising 37 Individual Donations P39 UMS Volunteers P41 Annual Fund Support 46 Annual Endowment Support P48 UMS Advertisers
Cover: Urban Bush Women and Compagnie Jant-Bi perform Les ecailles de la mimoire (The scales of memory) at the Power Center on Friday, March 28 and Saturday, March 29, 2008.
FROM THE U-M PRESIDENT
Welcome to this performance of the 129th season of the University Musical Society (UMS).
All of us at the University of Michigan are proud of UMS, the nation's oldest university-related performing arts presenter that is distinctive nationally in several ways:
UMS has commissioned more than 50 new works since 1990, demonstrating its commit?ment to supporting creative artists in all disciplines. Two of these UMS commissions featured this term are works by renowned U-M composers: MacArthur Fellow Bright Sheng's String Quartet No. 5 for the Emerson String Quartet on January 4 and Pulitzer Prize-winning William Bolcom's Octet for Double Quartet for the Guarneri and Johannes String Quartets on February 9.
In the past three seasons, 54 of UMS pre?sentations have featured artists making their UMS debuts, a measure of UMS's commit?ment to new and emerging artists, and 55 have featured artists from outside the United States, highlighting UMS's belief that artistic expression can foster greater understanding and appreciation of diverse cultures. In con?junction with the University's ChinaNow Theme Year, UMS presents pianist Yuja Wang on January 20 and pipa player Wu Man on February 10, each in their UMS debut per?formance.
UMS has worked in partnership with more than 50 U-M academic units and more than 150 U-M faculty members during the past three years, in addition to more than 100 community-based partners. One of the most notable partnerships for UMS this season is with our School of Music, Theatre & Dance. Together they have brought the renowned contemporary chamber music ensemble
eighth blackbird to the campus on four occasions during which the group has worked with hundreds of students on campus and in the community. Their residency culminates in their UMS debut performance on April 10.
UMS is the only university-related presenter in the nation to have been honored by both the Wallace Foundation with its Excellence Award and the Doris Duke Charitable Foundation with its Leading College and University Presenter Award in the inaugural year of both endowment programs, a measure of the esteem with which UMS is regarded in the presenting field.
Thank you for attending this UMS perform?ance. Please join us for other UMS events and for performances, exhibitions, and cultural activ?ities offered by our faculty and students in U-M's many outstanding venues. To learn more about arts and culture at Michigan, visit the University's website at www.umich.edu and click on "Museums and Cultural Attractions."
Sincerely,
Mary Sue Coleman
President University of Michigan
FROM THE UMS PRESIDENT
Welcome! It's great to have you with us at this UMS performance. I hope you enjoy the experience and will come to more UMS events between now and May 10 when we close our 200708 season with our annual Ford Honors Program. This year's program features a recital by flutist James Galway followed by a wonderful dinner organized by our Advisory Committee. You'll find all of our performances listed on page 2 of your program insert.
Our Fall Season included 31 performances featuring artists and ensembles representing 19 countries around the world. Wherever possible, we like to create opportunities for our audience members to meet the artists. Here is a sampling of photos from several of the events from the Fall Season:
Feel free to get in touch with me if you have any questions, comments, or problems. If you don't see me in the lobby, send me an e-mail message at kenfisch@umich.edu or call me at 734.647.1174.
Very best wishes,
Kenneth C. Fischer UMS President
Above: (Clockwise from top left)
Cellist Yo-Yo Ma backstage at Hill Auditorium with 8-year-old fan Forrest Flesher, whose mother Carol Gagliardi had painted a portrait of the cellist
Cambodian dancers from the Pamina Devi performance with a young fan at the Meet & Greet in the Power Center Lobby
Canadian tenor Ben Heppner with concert sponsors Maurice and Linda Binkow at the Filarmonica della Scala afterglow on the Hill Mezzanine
Singer Dianne Reeves at the NETWORK reception hosted by Habte Dadi and Almaz Lessanework at the Blue Nile restaurant
Hungarian pianist Andras Schiff in the Green Room at Rackham Auditorium with Ann Arbor piano teacher Natalie Matovinovic and two of her students
Breakin' Curfew curators from Ann Arbor's teen center, The Neutral Zone, following a presentation to UMS staff
FROM UMS CHAIRMAN, CARL HERSTEIN
It is inspiring and humbling to serve on the Board of UMS, which is widely recognized as one of the world's leading arts presenters. UMS is committed to performance, education, and the creation of new works, and has a 128-year history of excellence in all three areas. Our task at UMS is to advance the arts, to the benefit of the national and international arts communities, the University of Michigan, our local community, and our present and future patrons.
Each of us has an important role to play in this endeavor, whether as an audience member at a performance or an educational activity, a donor, or a volunteer member of the Board, Senate, Advisory Committee, or the new UMS National Council, which is enhancing our visibility around the country. We all are fortunate to have an opportunity to contribute to the special history of UMS.
Arts organizations exist because those who came before us chose to take advantage of the same kind of opportunity. To me, this is exemplified by some?thing that I was once told by a producer before a theatrical performance. He took us into the theater and said that, despite the not insignificant cost of our tickets, we should know there was the equivalent of a $50 bill on every seat-the contribution made by others enabling us to enjoy that presentation.
The same is true for UMS. About half of the cost of what we do comes from ticket sales. The remainder comes from you and your predecessors in this hall. Some sat in the second balcony as students and experienced the transformative power of the arts. Some sat with friends for 30 years in the same section of Hill. And some witnessed children being excited and inspired at a youth performance. All have chosen to leave money on their seats.
When you take your seat, think about what others have done that makes your experience possible. I hope you will be inspired to contribute to the UMS legacy. Consider your opportunity to "leave money on your seat," through both your participation and financial contributions. Be an active part of UMS, and when a member of the next generation arrives, they will be thankful that they got your seat.
Sincerely,
Carl W. Herstein
Chair, UMS Board of Directors
UMSLeadership
CORPORATE AND FOUNDATION LEADERS
James G. Vella
President, Ford Motor Company Fund and Community Services 'Through music and the arts, we are inspired to broaden our horizons, bridge differences among cultures, and set our spirits free. We are proud to support the University Musical Society and acknowledge the important role it plays in our community."
David Canter
Senior Vice President, Pfizer, Inc. "The science of discovering new medicines is a lot like the art of music: to make it all come together, you need a diverse collection of bril?liant people. In order to get people with world-class talent you have to offer them a special place to live and work. UM5 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 f
"The people at The Ann Arbor News are honored and pleased to partner with and be supportive of the University Musical Society, which adds so much depth, color, excite?ment, and enjoyment to this incredible community."
Timothy G. Marshall
President and CEO, Bank of Ann Arbor "A commitment to the community can be expressed in many ways, each different and all appropriate. Bank of Ann Arbor is pleased to continue its long term support of the University Musical Society by our sponsorship of the 0708 season."
Habte Dadi
Manager, Blue Nile Restaurant "At the Blue Nile, we believe in giving back to the community that sustains our business. We are proud to support an organization that provides such an important service to Ann Arbor."
George Jones
President and CEO, Borders Group, Inc. "Borders embraces its role as a vital, contributing member of the community that reaches out to connect with people. We know that what our customers read, listen to, and watch is an integral part of who they are and who they aspire to be. Borders shares our community's passion for the arts and we are proud to continue our support of the University Musical Society."
Claes Fornell Chairman, CFI Group, Inc.
"The University Musical Society is a marvelous magnet for attracting the world's finest in the performing arts. There are many good things in Ann Arbor, but UMS is a jewel. We are all richer because of it, and CFI is proud to lend its support."
Charles E. Crone, Jr.
Ann Arbor Region President, Comerica Bank "Our communities are enriched when we work together. That's why we at Comerica are proud to support the University Musical Society and its tradition of bringing the finest in performing arts to our area."
Fred Shell
Wee President Corporate and Government Affairs, DTE Energy
"The DTE Energy Foundation is pleased to support exemplary organizations like UMS that inspire the soul, instruct the mind, and enrich the community."
Edward Surovell
President Edward Surovell Realtors
"Edward Surovell Realtors and its 300 employees and sales asso?ciates are proud of our 20-year relationship with the University Musical Society. We honor its tradition of bringing the world's leading performers to the people of Michigan and setting a standard of artistic leadership recognized internationally."
Leo Legatski
President, Elastizell Corporation of America "Elastizell is pleased to be involved with UMS. UMS's strengths are its programming--innovative, experimental, and pioneering--and its education and outreach programs in the schools and the community."
Kingsley P. Wootton
Plant Manager, GM Powertrain Ypsilanti Site "Congratulations on your 129th season! Our community is, indeed, fortunate to have an internationally renowned musical society. The extraordinary array of artists; the variety, breadth and depth of each season's program; and the education and community component are exceptional and are key ingredients in the quality of life for our community, region, and state. It is an honor to contribute to UMS!"
Carl W. Herstein
Partner, Honigman Miller Schwartz and Conn LLP "Honigman is proud to support non-profit organizations in the communities where our partners and employees live and work. We are thrilled to support the University Musical Society and commend UMS for its extraordinary programming, com?missioning of new work, and educational outreach programs."
Mohamad Issa
Director, Issa Foundation
"The Issa Foundation is sponsored by the Issa family, which has been established in Ann Arbor for the last 30 years, and is involved in local property management as well as area pub?lic schools. The Issa Foundation is devoted to the sharing and acceptance of culture in an effort to change stereotypes and promote peace. UMS has done an outstanding job bringing diversity into the music and talent of its performers."
Bill Koehler District President, KeyBank
"KeyBank remains a committed supporter of the performing arts in Ann Arbor and we commend the University Musical Society for it's contribution to the community. Thank you, UMS. Keep up the great work!"
Dennis Serras
Owner, Mainstreet Ventures, Inc. "As restaurant and catering service owners, we consider ourselves fortunate that our business provides so many opportunities for supporting the University Musical Society and its continuing success in bringing internationally acclaimed talent to the Ann Arbor community."
Sharon J. Rothwell
Vice President, Corporate Affairs and Chair, Masco Corporation Foundation Masco recognizes and appreciates the value the performing arts bring to the region and to our young people. We applaud the efforts of the University Musical Society for its diverse learning opportunities and the impact its programs have on our communities and the cultural leaders of tomorrow."
Erik H. Serr
Principal, Miller, Canfield, Paddock and Stone, P.LC. "Miller Canfield proudly supports the University Musical Society for bringing internationally-recognized artists from a broad spectrum of the performing arts to our community, and applauds UMS for offering another year of music, dance, and theater to inspire and enrich our lives."
John W. McManus
Regional President, National City Bank "National City Bank is proud to support the efforts of the University Musical Society and the Ann Arbor community."
Michael B. Staebler
Senior Partner, Pepper Hamilton LLP 'The University Musical Society is an essential part of the great quality of life in southeastern Michigan. We at Pepper Hamilton support UMS with enthusiasm."
Joe Sesi
President, Sesi Lincoln Mercury Volvo Mazda "The University Musical Society is an important cultural asset for our community. The Sesi Lincoln Mercury Volvo Mazda team is delighted to sponsor such a fine organization."
Thomas B. McMullen
President, Thomas B. McMullen Co., Inc. "I used to feel that a U-M-Ohio State football ticket was the best ticket in Ann Arbor. Not anymore. UMS provides the best in educational and artistic entertainment."
Robert R. Tisch
President, Tisch Investment Advisory "Thank you, Ann Arbor, for being a wonderful community in which to live, raise a family, and build a successful business."
Tom Thompson
Owner, Tom Thompson Flowers
"Judy and I are enthusiastic participants in the UMS family. We appreciate how our lives have been elevated by this relationship."
Yasuhiko "Yas" Ichihashi
President, Toyota Technical Center "Toyota Technical Center is proud to support UMS, an organization with a long and rich history of serving diverse audiences through a wide variety of arts programming."
Robert K. Chapman
Chairman and Chief Executive Officer, United Bank & Trust "At United Bank & Trust, we believe the arts play an impor?tant role in evolving the quality of life and vibrancy of the community. So it is with great pleasure that United supports the University Musical Society and the cultural excellence they provide to our area."
Jeff Trapp
President, University of Michigan Credit Union "Thank you to the University Musical Society for enriching our lives. The University of Michigan Credit Union is proud to be a part of another great season of performing arts."
Susan Bellinson
Director of Marketing and Community Relations, Whole Foods "Whole Foods Market is delighted to support the University Musical Society. Our city is most fortunate to be the home of this world-class organization!"
FOUNDATION AND GOVERNMENT SUPPORT
UMS gratefully acknowledges the support of the following foundations and government agencies.
$100,000 or more
Doris Duke Charitable
Foundation Michigan Council for Arts
and Cultural Affairs Michigan Economic
Development Corporation The Wallace Foundation
$50,000-599,999
Anonymous DTE Energy Foundation Esperance Family Foundation The Power Foundation
S20,000-S49,999 Cairn Foundation Maxine and Stuart Frankel
Foundation National Dance Project of the
New England Foundation
for the Arts National Endowment for the
Arts The Whitney Fund at the
Community Foundation
for Southeastern Michigan
S10,000-$19,999
Chamber Music America
$5,000-59,999
Arts Midwest Performing Arts
Fund Issa Foundations
S1.000-S4,999
Eugene and Emily Grant
Family Foundation Martin Family Foundation THE MOSAIC FOUNDATION
(of R. & P. Heydon) Millman Harris Romano
Foundation Sarns Ann Arbor Fund
UNIVERSITY MUSICAL S 0 C I E T Y of the University of Michigan
UMS BOARD OF DIRECTORS
Carl W. Herstein,
Chair James C. Stanley,
Wee Chair Kathleen Benton,
Secretary Michael C. Allemang,
Treasurer
Wadad Abed Carol L. Amster Lynda W. Berg D.J. Boehm Charles W. Borgsdorf Robert Buckler Mary Sue Coleman Hal Davis Al Dodds Aaron P. Dworkin Maxine J. Frankel
Patricia M. Garcia Anne Glendon David J. Herzig Christopher Kendall Melvin A. Lester Joetta Mial Lester P. Monts Roger Newton Philip H. Power Todd Roberts A. Douglas Rothwell
Edward R. Schulak John J. H. Schwarz Ellie Serras Joseph A. Sesi Anthony L. Smith Cheryl L. Soper Michael D. VanHemert
Chris Genteel, Board Fellow
UMS NATIONAL COUNCIL
Clayton E. Wilhite, Chair John Edman Janet Eilber
Eugene Grant Charles Hamlen David Heleniak
Toni Hoover Judith Istock Zarin Mehta
Herbert Ruben Russell Willis Taylor
UMS SENATE (former members of the UMS Board of Directors)
Robert G. Aldrich Herbert S. Amster Gail Davis Barnes Richard S. Berger Maurice S. Binkow Lee C. Bollinger Janice Stevens Botsford Paul C. Boylan Carl A. Brauer William M. Broucek Barbara Everitt Bryant Letitia J. Byrd Kathleen G. Charla Leon S. Cohan Jill A. Corr Peter B. Corr Ronald M. Cresswell Robert F. DiRomualdo Cynthia Dodd James J. Duderstadt David Featherman
Robben W. Fleming David J. Flowers George V. Fornero Beverley B. Geltner William S. Hann Randy J. Harris Walter L. Harrison Deborah S. Herbert Norman G. Herbert Peter N. Heydon Toni Hoover Kay Hunt Alice Davis Irani Stuart A. Isaac Thomas E. Kauper David B. Kennedy Gloria James Kerry Thomas C. Kinnear Marvin Krislov F. Bruce Kulp Leo A. Legatski
Earl Lewis Patrick B. Long Helen B. Love Judythe H. Maugh Paul W. McCracken Rebecca McGowan Barbara Meadows Alberto Nacif Shirley C. Neuman Jan Barney Newman Len Niehoff Gilbert S. Omenn Joe E. O'Neal John D. Paul Randall Pittman John Psarouthakis Rossi Ray-Taylor John W. Reed Richard H. Rogel Prudence L. Rosenthal Judy Dow Rumelhart
Maya Savarino Ann Schriber Erik H. Serr Harold T. Shapiro George I, Shirley John 0. Simpson Herbert Sloan Timothy P. Slottow Carol Shalita Smokier Jorge A. Solis Peter Sparling Lois U. Stegeman Edward D. Surovell James L. Telfer Susan B. Ullrich Eileen Lappin Weiser B. Joseph White Marina v.N. Whitman Clayton E. Wilhite Iva M. Wilson Karen Wolff
ADVISORY COMMITTEE
Andrea Smith, Chair Phyllis Herzig, Wee Chair Alice Hart, Secretary 8etty Byrne, Treasurer Meg Kennedy Shaw, Past Chair
Randa Ajlouny MariAnn Apley Lorie Arbour Barbara Bach Rula Kort Bawardi Poage Baxter Nishta Bhatia Luciana Borbely
Mary Breakey Mary Brown Heather Byrne Janet Callaway Laura Caplan Cheryl Clarkson Wendy Comstock Jean Connell Phelps Connell Norma Davis Mary Dempsey Mary Ann Faeth Michaelene Farrell Sara Fink Susan Fisher
Kathy Goldberg Joe Grimley Susan Gutow Lynn Hamilton Charlene Hancock Raphael Juarez Jeri Kelch Jean Kluge Pam Krogness Julaine LeOuc Mary LeDuc Joan Levitsky Eleanor Lord Judy Mac Jane Maehr
Joanna McNamara Jeanne Merlanti Liz Messiler 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, Ticket
Office Assistant Sara Sanders, Assistant Front-of-
House CoordinatorTicket Office
Assistant Stephanie Zangrilli, Ticket Office
Associate Dennis Carter, Bruce Oshaben,
Brian Roddy, Head Ushers
Students
Catherine Allen Gabriel Bilen Greg Briley Caleb Cummings Elizabeth Dengate Vinal Desai Amy Fingerle Jonathan Gallagher Eboni Garrett-Bluford Charlie Hack William Hubenschmidt Max Kumangai-McGee Michael Lowney Ryan Lundin Michael Michelon Leonard Navarro Meg Shelly Ian Sinclair Andrew Smith Trevor Sponseller Liz Stover Robert Vuichard Julie Wallace Marc Zakalic
UMS TEACHER ADVISORY COMMITTEE
Abby Alwin Fran Ampey Robin Bailey Greta Barfield Joey Barker Alana Barter Judy Barthwell Rob Bauman Brita Beitler Elaine Bennett Ann Marie Borders Sigrid Bower Marie Brooks Susan Buchan
Deb Clancy Leslie Criscenti Karen Dudley Saundra Dunn Johanna Epstein Susan Filipiak Katy Fillion Delores Flagg Joey Fukuchi Jeff Gaynor Joyce Gerber Jennifer Ginther Bard Grabbe Walter Graves
Chrystal Griffin
Nan Griffith Joan Grissing Linda Hyaduck Linda Jones Jeff Kass
Deborah Kirkland Rosalie Koenig Sue Kohfeldt Laura Machida Janet Mattke Jamie McDowell Jose Mejia Eunice Moore
Michelle Peet Anne Perigo Cathy Reischl Jessica Rizor Tracy Rosewarne Sandra Smith Julie Taylor Cayla Tchalo Dan Tolly Barbara Wallgren Joni Warner Kimberley Wright Kathryn Young
UMSlnfo
GENERAL INFORMATION
Barrier-Free Entrances
For persons with disabilities, all venues have barrier-free entrances. Wheelchair locations vary by venue; visit www.ums.orgtickets or call 734.764.2538 for details. Ushers are available for assistance.
Listening Systems
For hearing-impaired persons, Hill Auditorium, Power Center, and Rackham Auditorium are equipped with assistive listening devices. Earphones may be obtained upon arrival. Please ask an usher for assistance.
Lost and Found
For items lost at Hill Auditorium, Lydia Mendelssohn Theatre, Power Center, or Rackham Auditorium please call University Productions at 734.763.5213. For the Michigan Theater, call 734.668.8397. For St. Francis of Assisi, call 734.821.2111.
Parking
Please allow plenty of time for parking as the campus area may be congested. Parking is available in the Church Street, Maynard Street, Thayer Street, Fletcher Street, and Fourth Avenue structures for a minimal fee. Limited street parking is also available. Please allow enough time to park before the performance begins. UMS donors at the Patron level and above ($1,000) receive 10 complimentary park?ing passes for use at the Thayer Street or Fletcher Street structures in Ann Arbor.
UMS offers valet parking service for Hill Auditorium performances in the 0708 Choral Union series. Cars may be dropped off in front of Hill Auditorium beginning one hour before
each performance. There is a $20 fee for this service. UMS donors at the Leader level and above ($3,500-$4,999) are invited to use this service at no charge.
Other recommended parking that may not be as crowded as on-campus structures: Liberty Square structure (formerly Tally Hall), entrance off of Washington Street between Division and State; about a two-block walk from most per?formance venues, $2 after 3 pm weekdays and all day SaturdaySunday. Maynard Street struc?ture, entrances off Maynard and Thompson between William and Liberty, $.80hr, free on Sunday.
For up-to-date parking information, please visit www.ums.org.
Refreshments
Refreshments are available in the lobby during intermissions at events in the Power Center, in the lower lobby of Hill Auditorium (beginning 75 minutes prior to concerts--enter through the west lobby doors), and in the Michigan Theater. Refreshments are not allowed in the seating areas.
Smoking Areas
University of Michigan policy forbids smoking in any public area, including the lobbies and restrooms.
Start Time
UMS makes every effort to begin concerts at the published time. Most of our events take place in the heart of central campus, which does have limited parking and may have several events occurring simultaneously in different theaters. Please allow plenty of extra time to park and find your seats.
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Your member-supported public radio and television stations, say "thank you" for helping us fulfill our mission.
WKAR joins its cultural colleagues in celebrating Michigan State University's Year of Arts and Culture.
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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.
HOW DO I BUY TICKETS
In Person:
League Ticket Office
911 North University Ave.
Hours:
Mon-Fri: 9am-5pm
Sat: 10am-1pm
By Phone:
734.764.2538
Outside the 734 area code, call toll-free 800.221.1229
By Internet:
www.ums.org
By Fax: 734.647.1171
By Mail:
UMS Ticket Office Burton Memorial Tower 881 North University Ave. Ann Arbor, Ml 48109-1011
On-site ticket offices at performance venues open 90 minutes before each performance and remain open through intermission of most events.
UMSAnnals
UMS HISTORY
Through a commitment to Presentation, Education, and the Creation of new work, the University Musical Society (UMS) serves Michigan audiences by bringing to our community an ongo?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 performing arts will take us in this new millen?nium. Every day UMS seeks to cultivate, nurture, and stimulate public interest and participation in every facet of the live arts.
UMS grew from a group of local university and townspeople who gathered together for the study of Handel's Messiah. Led by Professor Henry Simmons Frieze and conducted by Professor Calvin Cady, the group assumed the name The Choral Union. Their first perform?ance of Handel's Messiah was in December of 1879 and this glorious oratorio has since been performed by the UMS Choral Union annually. As a great number of Choral Union mem?bers also belonged to the University, the University Musical Society was established in December 1880. UMS included the Choral Union and University Orchestra, and through?out the year presented a series of concerts fea?turing local and visiting artists and ensembles.
Since that first season in 1880, UMS has expanded greatly and now presents the very best from the full spectrum of the performing arts--internationally renowned recitalists and orchestras, dance and chamber ensembles, jazz and world music performers, and opera and theater. Through educational endeavors, commissioning of new works, youth programs, artist residencies, and other collaborative proj?ects, UMS has maintained its reputation for quality, artistic distinction, and innovation. UMS now hosts over 50 performances and more than 125 educational events each season. UMS has flourished with the support of a generous community that this year gathers in five differ?ent Ann Arbor venues.
The UMS Choral Union has likewise expanded their charge over their 128-year history. Recent collaborations have included the Grammy Award-winning recording of William Bolcom's Songs of Innocence and of Experience, as well as performances of John Adams's On the Transmigration of Souls with the Detroit Symphony Orchestra and Shostakovich's Symphony No. 13 ("Babi Yar") with the Kirov Orchestra of St. Petersburg.
While proudly affiliated with the University of Michigan, housed on the Ann Arbor campus, and a regular collaborator with many University units, UMS is a separate not-for-profit organi?zation that supports itself from ticket sales, corporate and individual contributions, founda?tion and government grants, special project support from U-M, and endowment income.
UMS VENUES AND BURTON MEMORIAL TOWER
Hill Auditorium
After an 18-month $38.6-million dollar renova?tion overseen by Albert Kahn Associates, Inc. and historic preservation architects Quinn EvansArchitects, Hill Auditorium re-opened to the public in January 2004. Originally built in 1913, renovations have updated Hill's infra?structure and restored much of the interior to its original splendor. Exterior renovations include the reworking of brick paving and stone retaining wall areas, restoration of the south entrance plaza, reworking of the west barrier-free ramp and loading dock, and improvements to landscaping.
Interior renovations included the creation of additional restrooms, the improvement of barrier-free circulation by providing elevators and an addition with ramps, the replacement
of seating to increase patron comfort, introduc?tion of barrier-free seating and stage access, the replacement of theatrical performance and audio-visual systems, and the complete replacement of mechanical and electrical infra?structure systems for heating, ventilation, and air conditioning.
Hill Auditorium seats 3,575.
Michigan Theater
The historic Michigan Theater opened January 5, 1928 at the peak of the vaudevillemovie palace era. Designed by Maurice Finkel, the 1,710-seat theater cost around $600,000 when it was first built. As was the custom of the day, the theater was equipped to host both film and live stage events, with a full-size stage, dressing rooms, an orchestra pit, and the Barton Theater Organ. At its opening, the theater was acclaimed as the best of its kind in the country. Since 1979, the theater has been operated by the not-for-profit Michigan Theater Foundation. With broad community support, the Foundation has raised over $8 million to restore and improve the Michigan Theater. The beautiful interior of the theater was restored in 1986.
In the fall of 1999, the Michigan Theater opened a new 200-seat screening room addi?tion, which also included expanded restroom facilities for the historic theater. The gracious facade and entry vestibule was restored in 2000.
Power Center
The Power Center for the Performing Arts grew out of a realization that the University of Michigan had no adequate proscenium-stage theater for the performing arts. Hill Auditorium was too massive and technically limited for most productions, and the Lydia Mendelssohn Theatre was too small. The Power Center was built to supply this missing link in design and seating capacity.
In 1963, Eugene and Sadye Power, together with their son Philip, wished to make a major gift to the University, and amidst a list of
Jniversity priorities "a new theater" was men?tioned. The Powers were immediately interested, ealizing that state and federal governments Aere unlikely to provide financial support for ;he construction of a new theater.
Opening in 1971 with the world premiere of The Grass Harp (based on the novel by Truman Capote), the Power Center achieved the seemingly contradictory combination of oroviding 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-:nown mirrored glass panels on the exterior. The lobby of the Power Center presently fea?tures two hand-woven tapestries: Modern Tapestry by Roy Lichtenstein and Volutes Arabesque) by Pablo Picasso.
The Power Center seats approximately 1,400 people.
Arbor Springs Water Company is generously providing complimentary water to UMS artists backstage at the Power Center throughout the 0708 season.
Rackham Auditorium
Fifty years ago, chamber music concerts in Ann Arbor were a relative rarity, presented in an assortment of venues including University Hall (the precursor to Hill Auditorium), Hill Auditorium, and Newberry Hall, the current home of the Kelsey Museum. When Horace H. Rackham, a Detroit lawyer who believed strongly in the importance of the study of human history and human thought, died in 1933, his will awarded the University of Michigan the funds not only to build the Horace H. Rackham Graduate School which houses Rackham Auditorium, but also to estab?lish a $4 million endowment to further the development of graduate studies. Even more remarkable than the size of the gift is the fact that neither he nor his wife ever attended the University of Michigan.
Designed by architect William Kapp and architectural sculptor Corrado Parducci,
Rackham Auditorium was quickly recognized as the ideal venue for chamber music. In 1941, UMS presented its first chamber music festival with the Musical Art Quartet of New York per?forming three concerts in as many days, and the current Chamber Arts Series was born in 1963. Chamber music audiences and artists alike appreciate the intimacy, beauty, and fine acoustics of the 1,129-seat auditorium, which has been the location for hundreds of chamber music concerts throughout the years.
St. Francis of Assisi Catholic Church
Dedicated in 1969, St. Francis of Assisi Catholic Church has grown from 248 families when it first started to more than 2,800 today. The present church seats 1,000 people and has ample free parking. In 1994, St. Francis pur?chased a splendid three manual "mechanical action" organ with 34 stops and 45 ranks, built and installed by Orgues Letourneau from Saint Hyacinthe, Quebec. Through dedication, a commitment to superb liturgical music and a vision to the future, the parish improved the acoustics of the church building, and the reverberant sanctuary has made the church a gathering place for the enjoyment and con?templation of sacred a cappella choral music and early music ensembles.
Burton Memorial Tower
Seen from miles away, Burton Memorial Tower is one of the most well-known University of Michigan and Ann Arbor landmarks. Designed by Albert Kahn in 1935 as a memorial to U-M President Marion Leroy Burton, the 10-story tower is built of Indiana limestone with a height of 212 feet. The carillon, one of only 23 in the world, is the world's fourth heaviest containing 55 bells and weighing a total of 43 tons. UMS has occupied administrative offices in this building since its opening, with a brief pause in the year 2000 for significant renovations.
Winter 2008 Season 129th Annual Season
General Information
On-site ticket offices at performance venues open 90 minutes before each performance and remain open through intermission of most events.
Children of all ages are welcome at UMS Family and Youth Performances. Parents are encouraged not to bring children under the age of 3 to regular, full-length UMS performances. All children should be able to sit quietly in their own seats throughout any UMS performance. Children unable to do so, along with the adult accompany?ing them, will be asked by an usher to leave the auditorium. Please use discre?tion in choosing to bring a child.
Remember, everyone must have a ticket, regardless of age.
While in the Auditorium
Starting Time Every attempt is made to begin concerts on time. Latecomers are asked to wait in the lobby until seated by ushers at a predetermined time in the program.
Cameras and recording equipment
are prohibited in the auditorium.
If you have a question, ask your usher. They are here to help.
Please turn off your cellular phones and other digital devices so that everyone may enjoy this UMS event disturbance-free. In case of emergency, advise your paging service of auditorium and seat location in Ann Arbor venues, and ask them to call University Security at 734.763.1131.
In the interests of saving both dollars and the environment, please either retain this program book and return with it when you attend other UMS performances included in this edition or return it to your usher when leaving the venue.
Event Program Book
Thursday, April 10 through Tuesday, April 22, 2008
eighth blackbird 3
The Only Moving Thing
Thursday, April 10, 7:00 pm Thursday, April 10, 9:30 pm Lydia Mendelssohn Theatre
Lila Downs 9
Saturday, April 12, 8:00 pm Michigan Theater
MehrandSher Ali 11
Friday, April 18, 8:00 pm Rackham Auditorium
An Evening with Bobby McFerrin, 15
Chick Corea, and Jack DeJohnette
Saturday, April 19, 8:00 pm Hill Auditorium
Andras Schiff 19
Beethoven Sonata Project Concert 3 Sunday, April 20, 4:00 pm Rackham Auditorium
Andras Schiff 25
Beethoven Sonata Project Concert 4 Tuesday, April 22, 8:00 pm Rackham Auditorium
THE 129TH UMS SEASON
Winter 20D8
January
4 FriEmerson String Quartet
16 WedJazz at Lincoln Center Orchestra
with Wynton Marsalis: Love Songs of
Duke Ellington
20 Sun Yuja Wang, piano
21 Mon Mos Def Big Band: A Tribute to
Detroit's J Dilla 27 Sun Moiseyev Dance Company
February
1 Fri Assad Brothers' Brazilian Guitar
Summit
2 SatA Celebration of the Keyboard
8 Fri Chicago Classical Oriental Ensemble
9 SatGuarneri String Quartet and Jo-
hannes String Quartet
10 Sun Wu Man, pipa, and Chinese
Shawm Band
14 Thu Christian Tetzlaff, violin
15 FriNoism08: NINA materialize sacrifice
16 SatAhmad Jamal
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 77u-SFJAZZ Collective:
A Tribute to Wayne Shorter
14 FriSan Francisco Symphony
21 FriBach's St. Matthew Passion 28-29 Fri-Sat Urban Bush Women and
Compagnie Jant-Bi: Les ecailles de la memoire (The scales of memory)
April
2 WedLang Lang, piano
4 Fri Brad Mehldau Trio
5 Sat Choir of King's College, Cambridge
10 Thueighth blackbird 12 SatLila Downs
18 firMehr and 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
ms
presents
eighth blackbird
Tim Munro, Flutes Michael J. Maccaferri, Clarinets Matt Albert, Violin and Viola Nicholas Photinos, Cello Matthew Duvall, Percussion Lisa Kaplan, Piano
for singing in the dead of night Susan Marshall, Stage Direction Mark DeChiazza, Assistant Stage Direction Ryan Ingebritsen, Sound Designer and Engineer Matthew Land, Lighting Designer Mary Kokie McNaugher, Costume Designer Barbara Whitney, Production Stage Manager
Program
Thursday Evening, April 10, 2008 at 7:00 Thursday Evening, April 10, 2008 at 9:30 Lydia Mendelssohn Theatre Ann Arbor
The Only Moving Thing
Steve Reich Double Sextet
INTERMISSION
singing in the dead of night
David Lang Prologue: these broken wings, one
Michael Gordon Episode 1: the light of the dark
Lang Episode 2: these broken wings, two (passacaille)
Julia Wolfe Episode 3: singing in the dead of night
Lang Epilogue: these broken wings, three

53rd and 54th Performances of the 129th Annual Season
45th Annual Chamber Arts Series
The photographing or sound recording of this performance or posses?sion of any device for such photographing or sound recording is prohibited.
Media partnership provided by WGTE 91.3 FM, Observer & Eccentric newspapers, and Metro Times.
Thanks to the U-M School of Music, Theatre & Dance and Dean Christopher Kendall for hosting this 0708, season-long residency by eighth blackbird. Special thanks to Andrew Jennings, Amy Porter, Amy Chavasse, Christian Matjias, Andrew Bishop, Ellen Rowe, Evan Chambers, Mark Clague, Stephen Rush, Mary Simoni, Andy Kirschner, Charles Garrett, Joe Gramley, Virgil Moorefield, Ed Sarath, and Kimberley Osburn for all of their assistance.
The Steinway piano used in this evening's concerts is made possible by Hammell Music, Inc., Livonia, Michigan.
Double Sextet and singing in the dead of night were commissioned by eighth blackbird through the generous support of: (for Double Sextet) The Carnegie Hall Corporation; The Abe Fortas Memorial Fund of the John F. Kennedy Center for the Performing Arts; Liverpool Cultural Company--European Capital of Culture 2008; The Modlin Center for the Arts at the University of Richmond; Orange County Performing Arts Center; The University of Cincinnati College-Conserva?tory of Music--Music 08 Festival; (for singing in the dead of night) The Joan W. and Irving B. Harris Theater for Music and Dance; Millennium Park, Chicago; Jebediah Foundation; Frederica and James R. Rosenfield (specifically towards work of David Lang); San Francisco Performances; and the University Musical Society of the University of Michigan, ("indicates support of both Double Sextet and singing in the dead of night)
Matthew Duvall endorses Pearl Drums and Adams Musical Instruments, eighth blackbird appears by arrangement with Opus 3 Artists, New York, NY. For further information on eighth blackbird, please visit www.eighthblackbird.com.
Large print programs are available upon request.
Double Sextet (2007)
Steve Reich
Born October 3, 1936 in New York
Steve Reich was recently called "our greatest liv?ing composer" (The New York Times), "America's greatest living composer" (The Village Voice), and "the most original musical thinker of our time" (The New Yorker). From his early taped speech pieces It's Gonna Rain (1965) and Come Out (1966) to his and video artist Beryl Korot's digital video opera Three Tales (2002), Mr. Reich's path has embraced not only aspects of Western Clas?sical music, but the structures, harmonies, and rhythms of non-Western and American vernacu?lar music, particularly jazz. He has won numerous honors, including several Grammy Awards, and his music has been commissioned, performed, and recorded by numerous orchestras and ensem?bles around the world. For his 70th birthday year (2006), concerts were presented throughout Eu?rope, North America, and Asia; Nonesuch Records released its second box set of Steve Reich's works, Phases: A Nonesuch Retrospective, a five-CD col?lection spanning the 20 years of his time on the label. About Double Sextet, the composer writes:
There are two identical sextets in Double Sextet. Each one is comprised of flute, clar?inet, violin, cello, vibraphone, and piano. Doubling the instrumentation was done so that, as in so many of my earlier works, two identical instruments could interlock to produce one overall pattern. For exam?ple, in this piece you will hear the pianos and vibes interlocking in a highly rhythmic way to drive the rest of the ensemble.
The piece can be played in two ways; either with 12 musicians, or with six play?ing against a recording of themselves. In these premiere performances you will hear the sextet eighth blackbird, who commissioned the work, playing against their recording.
The idea of a single player playing against a recording of themselves goes all the way back to Violin Phase (1967) and extends though Vermont Counterpoint (1982), New York Counterpoint (1985), Electric Counterpoint (1987), and Cello Counterpoint (2003). The expansion of this idea to an entire chamber ensemble
playing against pre-recordings of them?selves begins with Different Trains (1988) and continues with Triple Quartet (1999) and now to Double Sextet. By doubling an entire chamber ensemble one creates the possibility for multiple simultaneous con?trapuntal webs of identical instruments. In Different Trains and Triple Quartet all instruments are strings to produce one large string fabric. In Double Sextet there is more timbral variety through the inter?locking of six different pairs of percussion, string and wind instruments.
The piece is in three movements-fast, slow, fast--and within each move?ment there are four harmonic sections built around the keys of D, F, A-flat, and B or their relative minor keys b, d, f and g-sharp. As in almost all of my music, modu?lations from one key to the next are sud?den, clearly setting off each new section.
Double Sextet is about 22 minutes long and was completed in October 2007. It was commis?sioned by eighth blackbird and received its world premiere by that group at the University of Rich?mond in Virginia on March 26, 2008. The New York premiere will be at Carnegie's Zankel Hall on April 17, 2008.
singing in the dead of night (2008) Michael Gordon Born in 1956 in Florida
David Lang
Born January 8, 1957 in Los Angeles, CA
Julia Wolfe
Born December 18, 1958 in Philadelphia, PA
Michael Gordon, David Lang, and Julia Wolfe are together the co-founders and co-artistic directors of the music organization Bang on a Can. They write:
When the three of us met to figure out how to structure this collaboration, we began by thinking about eighth blackbird. We loved that they play so well, that they are so dedicated, so musical, so friendly, but what we really loved was that they
move. They are physical; they move in space. They use their bodies on stage to show things in the music that the notes alone can't show you. This excited us, and we wondered what it would be like if we invited our friend, choreographer Susan Marshall, to shape the movements of the players. We then wrote separate and very different pieces of music, which can be played together, or on their own, with or without physical movement. What links the works is that each of us left room for Susan in the scores, giving her and the blackbirds the opportunity to do the things they all do so well. We hope you enjoy it.
David Lang writes:
The three movements of these broken wings concentrate on three different physical and musical challenges. The first movement consists of music that requires incredible stamina and intense concentra?tion. Sad, falling gestures dominate the slow second movement, and I gave the vague but hopefully inspiring instruction that the players should drop things when they are not playing. In the last movement I wanted to make a music that danced and pushed forward, in the hope that it would encourage the musicians to do so as well. In Michael Gordon's the light of the dark, a fast, wild, and late-night drunken jam session spirals out of control. A funky opening cello solo slips and slides around the instrument, colliding with high, jaunty wind figures, swirling virtuosic tunes and unpredictable metallic crashes. In the chaos, players grab any nearby instrument to play, including a harmonica, accordion, and guitar; at one point, a noisy Mariachi band gathers around the piano.
Julia Wolfe writes:
The title singing in the dead of night con?jures up the still and surreal nighttime experience of being the only one awake. Out of the silence often comes inspira?tion--finding one's way to a human song, symphony of sound, singing in the dead of night is its own metaphor--beginnings
always beginning in "the dead of night"-in the void into which a creation is made. The virtuosity and intensity of the music are inspired by the high-voltage perform?ers of eighth blackbird. The silences, sand, and density are there for the thoughtful and exquisite Susan Marshall.
Susan Marshall writes:
The composers and I felt strongly that the movement should come directly from the act of music-making; not as ornament, an unessential extra layer. This led David, Michael, and Julia to make some unusual musical choices, including the use of sand, and struck or dropped metal objects. The challenge was to find expressive imagery connected to the act of sound production, but which was also metaphorically loaded. I wanted to stay out of the literal realm, of "acting" or creating a "story." In many ways, working with eighth blackbird was not dissimilar to working with dancers, ex?cept for the fact that we were somewhat constrained by the reality that the musi?cians had to be able to play the music. I found eighth blackbird open to everything I suggested--sometimes even more open than I was about how far we could go.
Hailed as "friendly, unpretentious, idealis?tic, and highly skilled" by The New Yorker, eighth blackbird is widely lauded for its unusual performing style--often playing from memory with virtuosic and theatrical flair--and its efforts to make new music accessible to wide au?diences. Their CD strange imaginary animals won two Grammy Awards in 2008, including "Best Chamber Music Performance." Highlights of eighth blackbird's 0708 season include The Only Moving Thing, a program of new works by Steve Reich, David Lang, Michael Gordon, and Julia Wolfe; new works by Stephen Hartke and Tamar Muskal; and the group's debut at Carnegie's Zan-kel Hall and a return visit to the Kennedy Center. The ensemble is in-residence at DePauw Univer?sity and the University of Michigan during the cur?rent season, in addition to ongoing residencies at the Universities of Richmond and Chicago. High?lights of past seasons have included performances
eighth blackbird
in South Korea, Mexico, The Netherlands, Poland, and throughout the US. The group has won nu?merous competitions, including the Naumburg Chamber Music Award and the Concert Artists Guild Competition, eighth blackbird has been fea?tured on CBS's Sunday Morning and Bloomberg News and is represented by Opus 3 Artists.
Tonight's performances mark eighth blackbird's UMS debut.
Audiences around the globe are hearing more and more of David Lang's (Com?poser) work. Recent projects include The Little Match Girl Passion, a Carnegie Hall commis?sion for Paul Hillier and Theatre of Voices; Writing on Water for the London Sinfonietta, with visuals by English filmmaker Peter Greenaway; The Dif?ficulty of Crossing a Field, a fully staged opera for the Kronos Quartet; Shelter for Trio Medieval and musikFabrik, with co-composers Michael Gordon and Julia Wolfe; and loud love songs, a concerto for the percussionist Evelyn Glennie and orches?tra. Upcoming works include a collaboration with visual artist Mark Dion and Ridge Theater Com?pany on an opera, entitled Anatomy Theater, and a complete rewriting of Beethoven's opera Fidelio that will premiere at the Sage Gateshead in the UK in May 2009.
Michael Gordon's (Composer) works for music theater and opera include What To Wear--his recent collaboration with director Richard Fore?man--which recently premiered at the RedCat Theater in Los Angeles. Other works include Aquanetta, about the 1940s B-Movie starlet, for Oper Aachen; Decasia, a multimedia orchestral work with films by Bill Morrison and spectacle by Ridge Theater; Dystopia, a recent work for the Los Angeles Philharmonic with film by Bill Morrison; and van Gogh, vocal settings from the letters of Vincent van Gogh, recorded by Alarm Will Sound, soon to be released on Cantaloupe Music. Upcom?ing projects include a musictheater work in col?laboration with Ridge Theater based on the words of Emily Dickinson (BAM Next Wave, December 2008); and popopera, a collaboration with the Dutch-based dance company Emio GrecoPC.
Julia Wolfe's (Composer) music is heard around the world in performances at BAM's Next Wave Festival, Settembre Musica (Italy), the Holland Festival, Theatre de la Ville (Paris), Orchestre Na-tionale de France, and the Brooklyn Philharmonic. Recent works include My Beautiful Scream for Kronos and orchestra, FUEL for Ensemble Reso-nanz with a film by Bill Morrison, Cruel Sister for string orchestra, Impatience for the Asko Ensem?ble to the film of the same name by early Belgian experimentalist Charles Dekeukeleire, and an ac?cordion concerto commissioned by the Miller The?ater. In November 2008 she will be the featured composer at the PRO ARTE festival in St. Peters?burg, Russia. Julia Wolfe's evening-length ballad STEEL HAMMER for the Bang on a Can All-Stars and Trio Medieval will premiere at Carnegie's Zan-kel Hall in November 2009.
Susan Marshall (Stage Direction) is the Artistic DirectorChoreographer of Susan Marshall & Company, which, since 1982, has performed the more than 30 dance works she has created with them including Cloudless, The Most Dangerous Room in the House, Spectators at an Event, Arms, and Interior with Seven Figures. Ms. Marshall has also created dances for the Lyon Opera Bal?let, Frankfurt Ballet, Boston Ballet, and Montreal Danse. Her signature aerial duet, Kiss, is in the current repertory of Hubbard Street Dance Chi?cago and Pacific Northwest Ballet. Ms. Marshall recently provided the stage direction for Book of Longing, Philip Glass' new work, which is based on the poetry of Leonard Cohen. In her first col?laboration with Philip Glass, Ms. Marshall directed and choreographed Les Enfants Terribles, a dance opera. She has also directed a movie-musical for RIPFest and choreographed dances in operas staged for the Los Angeles Music Center and the New York City Opera. A 2000 recipient of a MacArthur Fellowship, Ms. Marshall is also the re?cipient of three New York Dance and Performance Awards (BESSIES) for Outstanding Choreographic Achievement.
presents
Lila Downs
Paul Cohen, Musical Director, Tenor Saxophone, and Clarinet
Celso Duarte, Harp
Guilherme Monteiro, Guitar
Rob Curto, Accordion
Booker King, Bass
Yayo Serka, Drums and Percussion
Ellen Pardo and Johnny Moreno, Visuals
Program
Saturday Evening, April 12, 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.
55th Performance of the 129th Annual Season
The photographing or sound recording of this concert or possession 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.
Media partnership provided by WEMU 89.1 FM and Ann Arbor's 107one. Lila Downs appears by arrangement with Maria Matias Music, Inc.
Large print programs are available upon request.
Lila Downs is a bi-cultural singer and song?writer raised in the Mixtec region of Oaxaca (a state of southern Mexico) and in Minneso?ta. Her mother is a Mixtec Indian, one of 16 native Indian groups in Oaxaca. Her father was a painter, cinematographer, and biologist who taught at the University of Minnesota. Exploring and expressing Mexico's rich culture has been a lifelong passion for Ms. Downs.
Living in such varied environments, Ms. Downs took after her mother's stage career by singing mariachi tunes at age eight. Her career continued to evolve, studying voice as a teenager in Los Angeles and then in Oaxaca City at Bellas Artes before graduating with a double degree in Voice and Anthropology from the University of Minnesota. It was only through music that Ms. Downs reconciled her heritage. "It took a long time to decide that I wanted to sing," she says. "Something needed to motivate me." That moti?vation was the songs and stories of the Oaxacan people. Ms. Downs' Mixtec mother spurred her to sing songs with sentimiento--a deep, almost empathic emotion which has left audiences of all cultures and countries spellbound.
In 1994 Ms. Downs met Paul Cohen, an ex-circus clown and jazz musician, and together they began composing works influenced by both folk traditions and contemporary music. Ms. Downs and Mr. Cohen began recording in 1999, and the CD La Sandunga was the result. Their following recording, Yutu TataTree of Life (2000), inspired by the mythological account in the 16th-century Codex Vindobonesis telling of the first Mixtec people being born from trees. In 2001, BorderLa linea was dedicated to the Mexican migrants. This collection of songs exposed the plight of migrant workers as well as the hardships and racism en?dured by indigenous peoples.
Ms. Downs contributed to the music in the movie Frida, an Oscar-winning soundtrack, lead?ing her to perform at the Oscars ceremony with Caetano Veloso in 2003.
In 2004 Ms. Downs and Mr. Cohen moved to New York and began collaborating with musicians from New York, Chile, Cuba, and Brazil. In 2005, their album Una SangreOne Blood won a Latin Grammy Award. Her most recent CD, La Cantina: Entre Copa y Copa... marks a unique turn as she focuses intently on the rich and familiar repertoire of Mexico's beloved cancion ranchera tradition, giving it her particular spin.
Ms. Downs was recently invited by PBS pro?ducer Gustavo Santaolalla to sing various arias with the Twelve Girls Band in Shanghai, China. The TV special was broadcast in June 2007. She will also be featured in Carlos Saura's upcoming film about Portugal's fado, a deeply soulful form of music, which has many similarities with Mexi?can ranchera music, originating from the local taverna or cantina.
Tonight's concert marks Lila Downs' UMS debut.
presents Mehr and Sher Ali Sher Ali, Lead Singer 1 Mehr Ali, Lead Singer II Jamal Akbar, Vocalist Arif Ali, Vocalist Ejaz Ali, Vocalist Mubarik Ali, Vocalist Qamar Ali Qamar, Tabla Sharafat Ali, Accompanist Qaiser Abbas, Accompanist
Program Friday Evening, April 18, 2008 at 8:00 Rackham Auditorium Ann Arbor Qawwali Music of Pakistan Tonight's program will be announced by the artists from the stage and will include one intermission.
56th Performance of the 129th Annual Season Global Series: Asia The photographing or sound and video recording of this concert or posses?sion of any device for such recording is prohibited. Mehr and Sher Ali appear by arrangement with World Music Institute, New York, NY. Large print programs are available upon request.

About qawwali
Strong voices and explosive hand-clapping charac?terize the devotional music known as qawwali. An ensemble of 12 male performers conveys a religious message through music and song based on mystic poetry by Sufi masters. The texts usually deal with divine love i'ishq), the sorrow of separation (hijr, firaq), and the union (visal), and these concepts are symbolically reinforced and illustrated by the music. Qawwali blends Iranian and Central Asian poetic, philosophical, and musical elements into a North Indian base, combining popular music with classical traditions. Following the same pattern of combination and blending, the texts include Arabic and Persian, but the main text body is usually in a simple idiom form of Indian languages: Urdu, Hin?di, Purbi, and Punjabi. Qawwali is derived from the Arabic word qaul, literally meaning "saying," but has taken on the meaning of "belief" or "credo" in South Asian languages. Qawwali is spiritual in essence; it is the devotional music of the Sufis to attain trance and mystical experience--originating in the 10th century and blossoming into its present form from the 13th century onwards.
Qawwali is inseparable from the name of a Persian court musician, composer, poet, and mystic of that period, Amir Khusrau (1254-1325). Amir Khusrau experimented with musical forms, com?bining the Indian and the Persian, the Hindu Bhakti, and the Muslim Sufi to produce the present form of qawwali.
Qawwali thus became a popular expression of Muslim devotion open to all faiths throughout Northern India. This form of music rapidly became a vehicle for the Islamic missionary movement in India, while at the same time reinforcing the faith of the Muslims. In many cases, the original Persian mystical text is followed by a translation in the local idiom sung in the same manner as the original. While the orthodoxy continues to reject what they perceive as a blasphemous mixture of music and religion, qaw?wali remains an expanding form of music enjoying universal popularity in South Asia and beyond.
An even more energetic form of qawwali developed around the 16th century in the middle Indus at the crossroads between Iran, Central Asia, and India. This form, called the Punjabi ang, pres?ents the crystal-clear and profound texts of Punjabi Sufi poetry and folk songs woven into attractive melodies and powerful rhythms. Both Mehr AN and Sher AN belong to this branch of qawwali, as did the late Nusrat Fateh Ali Khan.
The Setting
Although qawwali has today become part of mainstream music, it is traditionally a part of Sufi ritual at the shrine of a saint on a Thursday eve?ning. Large gatherings of qawwali are held at the death anniversaries of Sufi saints, in which their death is celebrated as marriage with the Eternal Curs). Qawwali groups play day and night, and the best ensembles perform at the end.
Qawwali are heard by "the friends," a term denoting members of Sufi orders, and by lay au?diences attracted by the occasion. Both the au?dience and the musicians are all male (with the exception of women hiding from the view or on the roof). The musicians face the holy man (pir), who is flanked by learned and older members. A narrow aisle is left between the holy man and the performers for members of the audience to offer presents of money to the performers. The audi?ence sits on the floor, and members of the outer?most circle stand. The musicians sit in two roughly parallel rows on the floor at the same level as the audience on a circular sheet of white cotton. The back row consists of the chorus, whose members also rhythmically clap their hands, with one tabla player in the middle. The front row begins with the lead singer to the right, and two accompany?ing singers with harmoniums to his left.
The dialogue between the audience and the musicians is central to the performance of qaw?wali, and the performers often repeat and dwell on portions that strike a resonant chord in the audience. The impact of vigorous hand-clapping, both repetitive and forceful, tends to produce a trance-like state in the audience. Persons experi?encing the trance brought on by qawwali often speak of an experience of flying. Flight is also the imagery used in several Sufi texts in their endeav?or to achieve divine union.
Drawing and holding the attention of a het?erogeneous audience is the skill that the perform?ers of qawwali attain. They claim that qawwali breaks the barriers of language and draws people closer to divinity. They do this by attempting to alter the state of consciousness of the audience in order to make them more receptive to the content, which is of a syncretistic and mystical nature. The form has been perfected over the centuries and is claimed to lift the audience to exaltation even if they do not understand the words. Form and con?tent are inter-linked in qawwali and a complete appreciation is possible only with knowledge of
both. For example, when expressing the pain of separation from a distant beloved, the lead singer changes the music to long, drawn-out pieces to emphasize the distance, while words expressing union are compressed into a rapid rendition.
The Instruments
In the past, the instrumentation of qawwali was a double-headed drum (dholak), a bowed lute (sarangi, dilruba), and an earthenware pot. The instrumentation today consists of a pair of hand-pumped harmoniums in the front row, supported by either a dholak or a pair of drums (tabla) in the middle of the second row. The larger left drum of the faWa is given a coating of freshly kneaded dough (affa) in the center to produce more reso?nance. In the case of the dholak, the inside of the membrane on the left side is coated on the inside with a special glue mixed with oil (bhed) for the same effect. A large earthenware pot (ghara) is sometimes used for rhythm, anklets are tied to the wrist of the pot player (ghungru), and iron
rings are worn on the fingers to strike the side of the pot. Striking the mouth of the pot with the open hand creates a booming sound; hitting the rings against the sides of the pot makes sharp per?cussive sounds, and the bells tinkle by shaking the wrist in mid-air. Clapping by the performers in the second row completes the instrumentation.
Program notes by Adam Nayyar, from the liner notes of Qawwali, the Essence of Desire.
The music featured in tonight's concert has its origins with the Talvandi classical school of Hindustani music. Mehr and Sher AM were born in the Pakistani border-town of Kasur in the early 1950s and received their early training in classical music from their father, a court singer at the small Sikh principality of Patiala (now in India). Their father then became the disciple of Fateh AN Khan--the father of the famous Nusrat Fateh Ali Khan--and young Sher Ali was the student of Bakhshi Salamat Ali Qawwal. Mehr and Sher Ali thus acknowledge that the family of Nusrat Fateh
Mehr and Sher AM
Ali Khan is their Ustad Gharana (Teacher House), a term imbued with veneration among musician circles in Pakistan and North India. Mehr Ali was taught by Muhammad Ali Fareedi, an ordained Sufi qawwal of the shrine of the 13th-century Sufi Baba Farid. Mehr Ali was trained in Sufi philoso?phy, poetry, texts, and rituals.
All qawwals must have a deep knowledge of Sufi poetic texts. In practice, this often means sacrificing musical quality to retain purity of text. Mehr and Sher Ali are qawwals who have achieved the rare combination of both musical quality and authentic text rendition. Sher Ali is known for his ability to understand the importance of rhythm (lai-kari) and render classical modes in a strong voice; Mehr Ali's heart-rending high-pitched voice strikes the heart through his singing of poetry. Their tabla drummer, the late Amjad Ali, gener?ated more classical detail on his tabla than was regularly expected of a qawwali tabla.
After Amjad Ali's sudden death while per?forming during a religious concert in Lahore in 2000, the Ali brothers immediately asked his son Qamar Ali to join their ensemble. Seven years later, 33-year-old Qamar Ali has blossomed into a musician who welds the group together with his virtuosity. Over the past decade, the traditional
practice of absorbing young musicians from the family continues. Thus Mehr Ali's son, 28-year-old Mubarak AN and Sher Ali's son, 24-year-old Ejaz AN, are both ensemble members. "I'm almost 60 and my younger brother Sher AN is past 55," says Mehr AN. "It is befitting that our children learn what we know and carry both the message and the music forward."
Mehr and Sher AN believe that qawwali goes beyond the limitations of orthodox religion and is a universal invitation to all living beings to share in the feelings of the powerful emotion of pure love--the pain of separation and the joy of union.
This evening's concert marks Mehr and Sher Ali's UMS debuts.
and KeyBank present An Evening with Bobby McFerrin, Chick Corea, and Jack DeJohnette Bobby McFerrin, Voice Chick Corea, Piano Jack DeJohnette, Drums
Program Saturday Evening, April 19, 2008 at 8:00 Hill Auditorium Ann Arbor Tonight's program will be announced by the artists from the stage and will be performed without intermission.
57th Performance of the 129th Annual Season 14th Annual Jazz Series The photographing or sound and video recording of this concert or posses?sion of any device for such recording is prohibited. Tonight's performance is sponsored by KeyBank. Additional support provided by Dennis and Ellie Serras; and Leo and Kathy Legatski and Elastizell Corporation of America. Media partnership provided by WEMU 89.1 FM, WDET 101.9 FM, Ann Arbor's 107one, Metro Times, and Michigan ChronicleFront Page. The Yamaha piano used in this evening's concert is made possible by King's Keyboard, Ann Arbor, Michigan. Bobby McFerrin and Jack DeJohnette appear by arrangement with Opus 3 Artists, New York, NY. Chick Corea appears by arrangement with Ted Kurland Associates. Large print programs are available upon request.

Bobby McFerrin is one of the natural won?ders of the music world. A 10-time Grammy Award winner, he is one of the world's best-known vocal innovators and improvisers, a world-renowned classical conductor, the creator of "Don't Worry Be Happy"--one of the most popular songs of the late-2Oth century--and a passionate spokesman for music education. His recordings have sold over 20 million copies, and his collaborations including those with Yo-Yo Ma, Chick Corea, the Vienna Philharmonic, and Herbie Hancock have established him as an ambassador of both the classical and jazz worlds.
With a four-octave range and a vast array of vocal techniques, Mr. McFerrin is no mere singer; he is music's last true Renaissance man, a vocal explorer who has combined jazz, folk and a multi?tude of other influences--choral, a cappella, and classical music--with his own ingredients. As a conductor, Mr. McFerrin is able to convey his in?nate musicality in an entirely different context. He has worked with orchestras including the New York Philharmonic, the Cleveland Orchestra, the Chicago Symphony, the Philadelphia Orchestra, and the Vienna Philharmonic.
"Unconventional" is a good way to describe the career of Bobby McFerrin. Those familiar with Mr. McFerrin's shows, whether as a conductor or a vocalist, know that each one is a unique event that resonates with the unexpected. He is that rare artist who has the ability to reach beyond musical genres and stereotypes for a sound that is entirely his own. As one of the foremost guardians of mu?sic's rich heritage, he remains at the vanguard with
his natural, beautiful, and timeless music that tran?scends all borders and embraces all cultures.
Visit www.bobbymcferrin.com for more information, interactive games, sheet music, and merchandise.
ne of jazz's most forward-looking pianists," (Wall Street Journal) Chick Corea was born Armando Anthony Corea in 1941. He grew up in a home filled with both jazz and classical sounds: Dizzy Gillespie and Charlie Parker, Beethoven and Mozart. By age four, he was studying the piano, later becoming a master of both composition and performance. His earliest compositions emerged from his first professional stints with trumpeter Blue Mitchell (1964-66); numerous band-leading gigs and per?formances followed thereafter.
After accompanying Sarah Vaughan in 1967, Chick Corea went into the studio in March 1968 and recorded Now He Sings, Now He Sobs with bassist Miroslav Vitous and drummer Roy Haynes. That trio album is now considered a jazz classic. Mr. Corea rose to true prominence in the jazz world by joining Miles Davis's band, with whom he played electric piano. In his years with Miles, he played on the groundbreaking recordings Bitches Brew and In a Silent Way. From there, he formed his own improvisational group, Circle, with bassist Dave Holland, drummer Barry Altschul, and saxo?phonist Anthony Braxton.
In 1971, Chick Corea shifted his focus by cre?ating a softer, samba-flavored ensemble called Re?turn to Forever. In the subsequent years he began forging a unique style, spearheading the mid-70's fusion movement with innovative albums such as No Mystery and Romantic Warrior. In the mid-80s he formed the group Elektric Band, which spawned even more Grammy Award-winning al?bums including Leprechaun.
In 1992, Mr. Corea realized his lifelong goal of founding a record label, Stretch Records, which is committed to focusing on freshness and creativ?ity rather than on a specific musical genre (though most of its records have focused on jazz).
Chick Corea continues to be an active partici?pant in both musical and cultural realms. "My in?terests change and vary as the years go along, with different emphases all the time," he muses. "The more I play in different situations, the more pos?sibilities I discover for what I can do." He continues
Bobby McFerrin
to establish new groups, initiate new projects, and collaborate with many artists. In celebration of his 60th birthday in 2001, Mr. Corea brought togeth?er nine bands for a historical event at New York's Blue Note club. He reunited with friends playing in duets, trios, and larger ensembles--among them a duet with Bobby McFerrin. The sold-out, three-week event was just one display of Mr. Corea's staying power in the jazz world.
Mr. Corea composed a new piano concerto which he premiered in Austria in July 2006 (shortly after his 65th birthday) as part of the gala Mozart Year Vienna festivities being held in the birthplace of the immortal composer.
Born in Chicago in 1942, Jack DeJohnette is widely regarded as one of jazz music's greatest drummers. He studied classical pia?no from age four until 14 before beginning to play drums with his high school concert band and tak-
ing private piano lessons at the Chi?cago Conservatory of Music.
Jack DeJoh-nette has collabo?rated with most major figures in jazz history. Some of the great talents he has worked with are John Col-trane, Miles Davis, Ornette Coleman, Sonny Rollins, Sun Ra, Thelonious
Monk, Bill Evans, Stan Getz, Keith Jarrett, Chet Baker, George Benson, Ron Carter, Lee Morgan, Charles Lloyd, Herbie Hancock, Dave Holland, Joe Henderson, Abbey Lincoln, and Betty Carter.
It was in 1968 that Mr. DeJohnette joined Miles Davis's group in time for the epochal up?heaval marked by Bitches Brew, an album that changed the direction of jazz. Keith Jarrett soon followed Mr. DeJohnette into Miles' group, and the drummer's first ECM recording, the duet Rutya and Daitya was made in 1971.
While continuing to lead his own projects and bands, Jack DeJohnette has also been a 25-year member of the Keith JarrettGary PeacockJack DeJohnette Trio. He has appeared on more ECM al?bums than any other musician; his numerous record?ings for the label display his subtle, powerful playing and the "melodic" approach to drums and cymbals that makes his touch instantly recognizable.
Mr. DeJohnette's wide-ranging style and his ability to play in any idiom while still maintaining a well-defined voice, keeps him in constant de?mand as a sideman.
Jack DeJohnette is the winner of DownBeat magazine's 2006 Critics' Poll and 2006 and 2007 Readers' Poll for "Drummer of the Year," as well as JazzTimes magazine's 2006 and 2007 Readers' Choice for "Best Drums."
He was awarded an Honorary Doctorate of Music from Berklee College of Music in Boston in 1991.
UMS ARCHIVES
This evening's concert marks the third appearance of both Chick Corea and Jack DeJohnette under UMS auspices. Mr. Corea made his UMS debut in October 1994 leading the Chick Corea Quartet at the Power Center; he later appeared in duets with vibraphonist Gary Burton in Feb?ruary 1998 at the Michigan Theater. Mr. DeJohnette made his UMS debut with the Keith JarrettGary Peacock Jack DeJohnette trio in a September 2000 concert at Hill Auditorium.
Tonight's concert marks Bobby McFerrin's UMS debut.

Jack DeJohnette
Chick Corea
and
Miller, Canfield,
Paddock and Stone, PLC
present
Andras Schiff
Piano
Program
Sunday Afternoon, April 20, 2008 at 4:00 Rackham Auditorium Ann Arbor
Beethoven Piano ?onatas
Concert III
Sonata No. 19 in g minor. Op. 491
Andante Rondo: Allegro
Sonata No. 20 in G Major, Op. 492
Allegro, ma non troppo Tempo di Menuetto
Sonata No. 9 in E Major, Op. 141
Allegro
Allegretto
Rondo: Allegro comodo
Sonata No. 10 in G Major, Op. 142
Allegro
Andante
Scherzo: Allegro assai
INTERMISSION
Sonata No. 11 in B-flat Major, Op. 22
Allegro con brio
Adagio con molta espressione
Minuetto
Rondo: Allegretto
58th Performance of the 129th Annual Season
45th Annual Chamber Arts Series
The photographing or sound and video recording of this recital or posses?sion of any device for such recording is prohibited.
This afternoon's performance is sponsored by Miller, Canfield, Paddock and Stone, PLC.
Media partnership provided by WGTE 91.3 FM and Observer & Eccentric newspapers.
Special thanks to the U-M School of Music, Theatre & Dance, Steven Whiting, and Logan Skelton for their participation in this residency.
The Steinway piano used in this afternoon's recital is made possible 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 this afternoon's recital.
Mr. Schiff appears by arrangement with Kirshbaum Demler & Associates, Inc., New York, NY.
Large print programs are available upon request.
Variety of Character and Ideas
B
eethoven's Sonatas Opp. 49, 14, and 22: AndrSs Schiff in conversation with Martin Meyer
Martin Meyer: Your performance of the com?plete cycle of Beethoven's 32 piano sonatas pro?ceeds chronologically, but one could also imagine an arrangement according to "thematic," or in a more general sense dramatic, considerations.
Andras Schiff: That would certainly have been possible, and there have always been pianists who have broken away from the sequence of opus numbers. My decision is intended to bring the huge progression of the sonatas to the lis?tener's attention--not only the variety of forms and moods within a single period, but also the historical development over decades. At the same time, the early works point towards the later ones, and the late style incorporates elements of the past--each time, of course, in a specific way. In the end, it's fascinating for me, too, to recon?struct this creative arc as though I were taking an overview of it for the first time, and assembling it into a large-scale narrative. I find I make surprising discoveries myself in what seem to be the most familiar pieces.
You begin your third program with the so-called "little" Sonatas, Op. 49, Nos. 1 and 2. Is this rather modest way-in also a nod towards chronology
In this case the opus numbers, as we know, are misleading and merely reflect the order of pub?lication. The two sonatas were composed ap?proximately between 1795 and 1798--that's to say around the time of the "Pathetique," at the latest--and they have absolutely no connection with the "Waldstein" Sonata Op. 53. They provide a good, and to a certain extent a "clean" start to the program, perhaps precisely because they have neither a strong relationship to the earlier sonatas, nor do they really look forward to the later style.
We know almost nothing about their composition?al history, nor do the Op. 49 sonatas carry a dedi?cation. Should we understand them as occasional pieces--chippings from the sonata-workshop
I wouldn't go that far. But of course at the time they were addressed mainly to young players, in more or less the same way that Bach composed his Inventions, or Schumann his Album for the Young. They also provide a sort of preparation or introduction to what Beethoven went on to create within the "sonata" idea. On top of that, they show a very personal charm, which clearly surpasses the type of formulae adopted by such run-of-the-mill sonata composers as Tobias Haslinger or Clementi. Even if you compare these sonatas with Beethoven's so-called "Kurfursten" Sonatas written for the Elector of Bonn, you im?mediately sense the superiority of their inspiration and working-out.
The g-minor Sonata Op. 49, No. 1, particularly In its opening movement, is dearly directed inwards. The mood is lyrical and melancholy, and without strong contrasts: an example of unstrained con?fessional music
You could say that, though I would put the stress on unstrained. The key of g minor is one Beethoven seldom used, and here it expresses something resigned--quite different from most of Mozart's g-minor music. Both its two-move?ment form--something new to Beethoven's piano sonatas--and its atmosphere are remi?niscent of Haydn, especially if we call to mind Haydn's own two-movement sonata in g minor. It is dominated by soft and very soft dynamics, and the first movement doesn't go beyond forte. The important thing for the player is to know how to sing, because the first movement is largely a cantabile piece. In the development Beethoven foreshortens the material in free modulations; while the recapitulation presents the main theme very beautifully in transposed registers, with the melody appearing beneath the accompaniment, while the subsidiary theme now unfolds in the mi?nor of the home tonality. To me, the huge melodic interval between top 'B-flat' and low 'C-sharp' in bar 92 seems altogether operatic--a touching and eloquent gesture! The Coda is extraordinary, too, allowing the music to disappear without any ritar-dando above a deep pedal-note of 'G.'
The second movement--the "Rondo"--has a more playful mood, and offers more pianlstic challenges.
Yes, a child would probably have some techni?cal problems with it. But again, the atmosphere is more important than the structure. The cheer?ful and humorous "Rondo," with its deliberately vacillating rhythm, has to disperse the first move?ment's darker clouds at a stroke. At the same time, both in its dynamics and its ideas, this movement accords well with the intimate conception of the work as a whole. The intimacy is of a different kind--as in the witty alternation of legato and staccato, the polyphonic imitations, or the cham?ber-like thematic fragments of its Coda. I hear something of Mozart in it--the second theme, marked dolce, for instance, reminds me of the fi?nale of the Piano Concerto, K. 595.
Right from the start the second of the Op. 49 so?natas introduces a bright and decisive G Major, though there are absolutely no dynamic markings. How do you solve this problem
The manuscript is lost, and it's true that the first edition contains dynamic indications only at two points in the second movement. That means I have to decide myself, and I begin the first move?ment poco forte and alia breve, though not too fast. Above all, this "Allegro, ma non troppo" has to be understood once again as being sung, and its second subject played really legato. In the de?velopment, which surprisingly begins in d minor, the theme is compressed, introducing a certain element of drama. The thirds in the right hand above pulsating quavers in the left briefly intro?duce an orchestral tone, after which Beethoven dissipates the energy into domesticity once more, so to speak. The dynamics arise out of develop?ments like these, and are basically unproblemat-ic--mainly between piano and forte.
As a concluding movement Beethoven presents a Minuet--again full of humor--but in this case music tending towards stolidity without soul-searching.
Yes. In addition, a knowledge of the E-flat Septet i Op. 20 is a help--it takes over the first eight bars note-for-note, and in the ensemble playing, for in?stance between double-bass, cello, and viola, the
rustic dance-like element becomes still clearer. As a result the upbeat, in a sharper rhythm, assumes a more important role than the following beat. Another moment that reaches beyond the pianis-tic is the little episode in C Major, which can easily be imagined as wind music. In short, if I disregard the very poetic Coda that dies away with an echo, the piece has a certain "earthly" conviviality and cheerfulness, and for that reason it needs a piano that can evoke a variety of moods and colors--for instance, between the non legato of the left hand and the phrased dotted quavers of the melody in the main subject.
77e two Sonatas Op. 14, which Beethoven com?posed around 1798-99, undoubtedly belong back in the "main workshop," even though their filigree work seems to turn away from the pathos of the confessional.
We have to differentiate here. It's true that these works seem at first to be rather lightweight, but their inner structures--particularly as regards the E-Major Sonata--bring about a surprising multi?plicity of events. Their personal character arises not out of grand pronouncements, but nuances, transitions, and the friction between diatonic and chromatic sequences. If we take the open?ing movement of the first sonata, the ethereal character that is already suggested by the key of E Major reveals itself both in the music's rhythm and its many changes of register as something open, and almost floating: the energies of the piece are drawn upwards, and an inner agitato lends them impetus and intensity. But shortly afterwards the mood changes, with the chromatic lines of the bass and tenor adding an element of instabil?ity. The second subject seems at first innocently charming, but it is then contrapuntally intensified. Or again, the later indecisive wavering between major and minor, as though the harmonies had already influenced Schubert. All this happens in the shortest time-span: all Beethoven needs for an exposition so full of contrasting ideas is two pages. The development opens up new hori?zons--I'm thinking for instance of the yearning octaves played in an arching legato above an ac?companiment in semiquavers, where the compos?er establishes a technique of phrasing and playing that neither Haydn nor Mozart used; or of the 10 bars over a dominant pedal note, again hovering between major and minor, which pave the way
for the recapitulation. All of this, right up to the Coda that disappears airily in the top register, is extremely complex and at the same time has the effect of improvisatory music.
By contrast, the "Allegretto" and the final "Rondo" have a less dream-like and ambiguous quality-rather more of a firmly defined basic mood.
Right. However, the "Allegretto" is not a tradi?tionally construed slow movement, but a shad?owy Intermezzo that already has a "romantic" air--almost a psychological character-study in the style of Brahms. Here the music, intensified by its many unison passages, is melancholy, introspec?tive, searching, questioning. In addition, from bar 17 Beethoven conjures up an archaic tone, like a reminiscence of Palestrina, with sforzatos stand?ing out like stabs of pain. The atmosphere is fur?ther darkened with the aid of dissonances and syncopation. In the bar that acts as a transition to the much more relaxed and straightforward middle section Beethoven conjures up a pianistic curiosity: how in heaven's name is one supposed to manage a crescendo on a held note This un?accompanied leap of two octaves from a top 'E' down to the alto register would be just the thing for a lamenting operatic diva, but somehow I have to suggest a portamento with a "speaking" legato over the keys.... Let us also briefly mention the Coda: it retums to the theme of the middle section, and then becomes quieter and quieter, before we hear three heartbeats in pianissimo crotchets--a wonderful fusion of the stage, and dark intimacy.
And finally the "Rondo," marked "Allegro comodo." Does it follow the second movement attacca
Without doubt. Already in his early sonatas Beethoven is a psychologist, not only as regards the organization of the movements according to their inner logic, but also in the unity between the various movements--something we may notice and feel still more acutely in later works. In the Sonata Op. 14, No. 7 the heartbeat I mentioned is followed by a bar's rest over which Beethoven writes a fermata, which makes it absolutely clear that the upbeat of the Rondo theme has to follow immediately. But what does this actually mean The nocturnal gives way once more to daylight, to
the brightness of E Major, which admittedly is less ethereal than playfully brilliant, and even some?times downright virtuosic. What's important is that the brilliant passages should impart something of the flight of the Phoenix out of the ashes, and that there's a perceptible dance-like atmosphere and an air of convivial conversation. The latter also makes itself felt in the exhilaration of the central episode, which is underpinned by left-hand oc?taves. The manner in which Beethoven constantly varies the Rondo theme in the reprise is inspired-right up to that wild orchestral outburst in the first part of the Coda, which for the first time demands a fortissimo. In the second half of the Coda the Rondo theme breaks off without any ritardando, like a concise aphorism: that was that!
The second work of Op. 14 doesn't open up any different worlds, which, after all, it could have done: the mood is again bright and friendly, and in the slow movement it even has hints of parody.
To me, this G-Major sonata seems less flighty and capricious than its companion-piece--that's to say, to a certain extent more "down to earth." But in fact it, too, is composed on an intimate scale. It is predominantly lyrical: question, answer, and a sense of pleading run through the conception of the outer movements. A song-like style makes itself felt, and it has to be treated with appropriate care. It's true that the first movement's "Allegro" is a tempo ordinario, but its rhythmic motion is assured by the main subject's upbeat-phrase, de?layed by a semiquaver rest. What's very beautiful is the way Beethoven writes the second subject in the style of a short operatic duet, with gently rock?ing thirds moving in semitones, and the manner in which these minor-second nuances are devel?oped, leading to a virtuoso passage in demisemi-quavers, before they are finally absorbed into the exposition's closing subject. In this last moment (from bar 47 onwards), with its polyphonic layout, the music really becomes very "romantic"...
...we hear Schumann, and we even "read" Schumann if we look at the way this passage is notated...
Absolutely. Even the look of the music on the page reveals the kind of complex interplay of le?gato phrasing that we find later in Schumann, and of course the music sounds accordingly: the qua-
vers of the bass melody, like small shadows, the thirds in the right hand, and then the motion in semitones that we've already mentioned--all of this sounds almost like a murmuring, and imparts an extraordinary sense of longing. By contrast, the development tums to grand, dramatic gestures: contrapuntal imitation, triplets against pizzicato-like semiquavers, then a false-reprise out of which virtuoso rushing scales emerge over a pedal-note of 'D'--there's no doubt that the composer is pro?ducing a kind of distant view of material that had previously been very calm.
The "Andante" provides the first unambiguous variation movement in the piano sonatas, but the melodic exuberance of the first movement has giv?en way to a rather dry, or at least hesitant humor.
To me the movement, at least in its theme, is extremely humorous--one thinks of tin soldiers marching on, which even the accents would suit. At the same time the theme's second half, which Beethoven asks to be repeated, offers a surprise: for four bars the character suddenly changes to something expressively intimate, before we have to go marching on again. In so doing, the per?former has to play the short notes exactly as they are written. I mention this, because I have the im?pression that nowadays many players are worried by short note-values, and prefer to pedal through them. The contrapuntal layout of the first varia?tion produces a duet for violin and viola. The sec?ond is rather more pointillistic: fragmentary ele?ments out of which the picture has to be gradually assembled; in the third and last, played sempre le?gato, the theme evaporates, and in so doing takes on the aspect of a sort of anticipatory "homage to Schumann." At the end, the Coda reprises the theme as a marche oubliee (forgotten march) in pianissimo chords until the witty box on the ears of the final fortissimo crotchet.
Just a word about the finale: it's headed "Scherzo," but it has elements of a rondo with refrains and rapid atmospheric interjections. It shouldn't be played too quickly, in order that the significant motivic cells can be heard. A superb stroke is the very long Coda, whose crossed-hands passages, octaves, and sforzati have to convey a great deal of wit, but also something dance-like and bucolic.
You end your program with the brilliant and ex?trovert Sonata in B-flat Major, Op. 22--in other words, with a more obviously concerto-like piece.
It's a sonata that's really conceived very much in pianistic terms--on the one hand, for the audi?ence at large; and on the other, for a composer in the guise of a virtuoso, conjuring up some new technical tricks. With it, Beethoven tums away from his more chamber-like experiences, and towards the mastery of a style of piano writing that's frequently orchestral. For the first time since the Sonata Op. 10, No. 3 we find a work that's once more in four movements. But the finale of the B-flat Sonata is laid out quite differently, and on a large scale. The opening movement calls for an "Allegro con brio"--one in which, however, the con brio must not disturb the impression of the 44 bar. As so often in Beethoven, the first extended unison passage (bar eight onwards) produces a rhetorical effect of energy that contin?ues, to rather different effect, in broken chords. Everything, including the second subject with its tomboyish double-thirds that seem like a premo?nition of the "Hammerklavier" Sonata, is laid out with an emphasis on presence and strength. The only exception is the exposition's mysterious clos?ing subject, with its long octave tremolo in the bass. And of course another mysterious moment is the long transition to the recapitulation, whose continually varied bass entries modulate over wide stretches.
In their functions, both the slow movement and the Minuet also follow an uncomplicated philoso?phy.
Yes, here too Beethoven shows himself as less innovative or convoluted than as an artist of straightforward character. That doesn't mean, of course, that the "Adagio," which is to be played con molta espressione (with much expression), is in any way innocuous: on the contrary, it is very Italianate, very serious, very operatic in its orna?mentation. Lyricism and decoration are equally important in the many variations and shadings of the melodic line. But all this isn't merely pleasant-sounding: there are dissonances and crescendos of tension that need to make themselves felt, es?pecially in the wonderful profundities of the de?velopment, which harmonically reach all the way to a-flat minor. It's not surprising that after such
disruptions the "Minuet" is rather elegant, and slightly in the style of Haydn. Its minore middle section provokes a miniature storm in which the left hand plays sequences whose shape antici?pates certain passages from the "Hammerklavier" Sonata, or from Schumann's Humoreske, Op. 20.
The last movement rounds out the sonata not in an aphoristic manner, but with a long "Rondo" that's both thematically and pianistically rich.
I wouldn't say that it forms the main weight of the sonata, but there's no question about its im?portance. It's a little reminiscent of the finale of the Sonata Op. 7, and of course of the Rondo of the so-called "Spring" Sonata Op. 24 for piano and violin. And then it's possible to think of vari?ous connections with Mozart's "Kegelstatt" Trio. Now then: it's very important to play the three semiquavers of the upbeat not casually, but sing?ing with body and soul, and also to sing in the phrased octaves--no mean task for the pianist. In the central episode there's a long and techni?cally demanding toccata-like sequence that also contains a gruff contrapuntal parenthesis. In mo-
ments like these Beethoven really reveals himself as the outstanding master of a daring "abrupt?ness," as he does again in the Coda, which once more begins powerfully like a fiery concert-piece, but then--again abruptly--gives way to the gen?tle lure of the Rondo theme.
Translation by Misha Donat.
Please refer to page 30 In your program book for a biography of Mr. Schiff.
and Gil Omenn and Martha Darling present Andras Schiff Piano
Program Tuesday Evening, April 22, 2008 at 8:00 Rackham Auditorium Ann Arbor Beethoven Piano ?onatas Concert IV Sonata No. 12 in A-flat Major, Op. 26 Andante con variazioni Scherzo: Allegro molto Marcia funebre sulla morte d'un Eroe Allegro Sonata No. 13 in E-flat Major, Op. 271 ("quasi una fantasia") Andante--Allegro--Tempo I Allegro molto e vivace Adagio con espressione Allegro vivace Sonata No. 14 in c-sharp minor. Op. 272 ("Moonlight") Adagio sostenuto Allegretto Presto agitato INTERMISSION Sonata No. 15 in D Major, Op. 28 ("Pastoral") Allegro Andante Scherzo: Allegro vivace Rondo: Allegro ma non troppo
59th Performance of the 129th Annual Season Piano Series The photographing or sound and video recording of this recital or posses?sion of any device for such recording is prohibited. Tonight's performance is supported by Gil Omenn and Martha Darling. Media partnership provided by WGTE 91.3 FM and Observer & Eccentric newspapers. Special thanks to the U-M School of Music, Theatre & Dance, Steven Whiting, and Logan Skelton for their participation in this residency. The Steinway piano used in this evening's recital is made possible 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. Mr. Schiff appears by arrangement with Kirshbaum Dernier & Associates, Inc., New York, NY. Large print programs are available upon request.

On the Way Towards Music of the Soul
B
eethoven's Sonatas Opp. 26, 27, and 28: Andras Schiff in conversation with Martin Meyer
Martin Meyer: When it comes to Beethoven's sonatas we can't manage without a definite di?vision into periods, even if they fail to do justice to the individual character of the works. For you, where does the period of the early output end
Andras Schiff: It ends with the Sonata Op. 28, the so-called "Pastoral," which was written in 1801. Everything that comes later--that's to say first of all the sonata triptych Op. 31--belongs to the middle period, which also encompasses such famous pieces as the "Waldstein" Sonata Op. 53 and the "Appassionata" Sonata Op. 57. The late style begins after the "Les Adieux" Sonata Op. 81a, that is with the works in e minor Op. 90 and A Major Op. 101. But as you said, we shouldn't let ourselves be influenced by such "period" labels, either as performers or listeners. Beethoven's pi?ano sonatas are so utterly individual that stylistic features related to a specific time define only a small part of their substance.
All the same the first period encompasses a to?tal of 75 sonatas--that's to say nearly half the output. Doesn't the division into periods carry a danger of lumping too much together--or to put the question another way, what benefits do such definitions have for the performer
The danger undoubtedly exists, and it's precisely the Beethoven interpreter who has to take the greatest pains never to proceed in a schematic or stereotyped way. But although we can discern a rich variety of forms and material within this first group, I still think I can make out a certain basic trait: between 1795 and 1801 Beethoven estab?lishes himself as a superb master of the art of char?acterization, and of a reveling in experimentation. Six years are enough to develop the genre of the piano sonata in every possible manifestation: the dramatic (Op. 2, No. 1) joins forces with the hu?morous (Op. 2, No. 2); the concerto-like gestures of Op. 2, No. 3 are followed by symphonic lyri?cal relaxation (Op. 7); confessional music like the opening movement of the "Pathetique" Op. 13 gives way to the playful filigree of the two Op. 14 Sonatas, and the Sonata Op. 22 extends new invi-
tations to the virtuoso proficiency of both instru?ment and performer. In comparison, the middle period shows a concentration of strengths, both in dealing with thematic material and in formal design--Beethoven doesn't really become more strict, but to a certain extent more decisive. As interpreters it's our duty to make such develop?ments in his handwriting both comprehensible and capable of being felt.
Let's try to analyze the last four sonatas of this ear?ly period--namely Op. 26; Op. 27, Nos. 7 and 2; and Op. 28. Between 1800 and 1801 Beethoven presents pieces of the most astonishing range.
That's almost an understatement. Not only do the contrasts and the so to speak "literary" inspira?tions seem to be attempting to outdo each other, but the formal innovations are astonishingly great. While the A-flat Sonata Op. 26 for the first time places a variation movement at the start of the work, the two Op. 27 Sonatas are specifically de?scribed as being "quasi una fantasia." The Sonata Op. 28 makes a return to the "classical" four-movement design, but once again we find very surprising solutions, above all in the realm of a differentiation between sonorities.
Such diversity presents the performer with par?ticular challenges. How do you prepare yourself for a program that contains so many different kinds of intensity, and demands the same from the player
It's necessary here, too, to differentiate as precisely and naturally as possible. Beethoven's notation generally gives us clear indications, and in the case of the A-flat Sonata Op. 26 those indications are extraordinarily precise. Of course, it's not enough simply to be faithful to the text: it's even more im?portant to bring out the character--of the work as a whole, as well as the nuances of its movements and sections. The E-flat Major first Sonata of Op. 27 is worlds apart from its companion-piece in c-sharp minor, the so-called "Moonlight"--and in the latter case you have to sweep away all kinds of myths that have accumulated through roman?ticized cliches. On the other hand, such strongly characterized sonatas offer themselves to the inter?preter in a way that somehow predicts where the journey must end. In any case, the journey from "somehow or other" to a successful performance can sometimes be a quite long one....
Well, the first sonata in your fourth program is Op. 26, with the funeral march. We know, for in?stance, that Chopin was very fond of it and played it himself.
Yes, yet that shouldn't allow us to be led astray and to present it--presumably in the style of Chopin--in too "murmuring" a manner. Chopin's own "Funeral March" Sonata Op. 35 is undoubt?edly influenced by Beethoven's Op. 26, in its fi?nale, too. But the demands of the work are in no way met by a "romantic" approach. It is concise in design and at the same time extremely subtle in timbre, is basically over in a flash, and not even in its funeral march is it a document of an extrovert, concert-like kind. Beethoven is writing very psy?chologically, and we can think of various states of mind, or even--in the four-movement structure-the four temperaments. But on top of that, if we look at the variation movement, which, as I said, is a new way of beginning a sonata for Beethoven, we can see it as a "sonata within a sonata": the theme plus the first two variations would make up the first movement, the minor-mode third varia?tion the second movement, the third movement would be formed by the lively scherzo-like fourth variation, and the concluding fifth variation would provide the finale.
What can the performer learn from that Don't such classifications belong slightly to the realms of speculation and theory
Absolutely not. What can be learned and corre?spondingly drawn out of it is that already with the variation movement there's a process of strong in-dividualization that comes to the fore. So it would be wrong, for instance, if we simply maintained the tempo of the theme or even the basic pulse through all five variations. Only with the fifth vari?ation, headed dolce, with its wonderfully dissolv?ing Coda, is the tempo of the beginning reached again; while the a-flat minor third variation is plainly slower, and on the contrary the clearly "lighter" fourth variation with its bold changes of register and the interweaving of legato and sfac-cafo has to be correspondingly more lively, almost like a scherzo. That also requires the appropriate interpretation: you have to draw out the music's "psychological" elements and at the same time prepare the transitions between the individual variations adequately.
The scherzo that forms the second movement fol?lows once again almost attacca, or at least out of the concluding fermata of the variations.
It provides a dramatic virtuoso interlude, and maintains an "Allegro molto" tempo. As such, it's really interposed as a quick and strong impulse immediately after the variation movement and be?fore the funeral march. The dynamic markings are very important here, too. The piece begins piano, and even in the second half the loudest moments only go as far as forte. The trio is in the subdomi-nant, D-flat Major, and is played sempre legato, which with its widely-spaced sonorities provides a fascinating contrast to the outer sections.
Then comes the funeral march, which with its or?chestral pathos certainly sits a little uneasily within the intimate and lyrical A-flat Major landscape of the remainder.
That may be so, especially if it's played too slow?ly--which, alas, not infrequently happens. We needn't speculate too much about the subhead?ing "sulla morte d'un Eroe": in painting, sculpture, and architecture the late-18th century was already familiar with a cult of mausoleums and the imag?ined "heroes" buried in them. The music is very "sculptural" here, too, especially in the heavy chords of its dynamically wide-ranging climaxes, but also in the more lyrical moments of the song of mourning. The whole piece puts one in mind of a procession which draws near until it dominates the space, and finally disappears again. The dot?ted quavers enhance the grave, almost baroque character, and then the drum-rolls of the middle section, punctuated by fortissimo rising double-thirds, lend it a military background.
The Coda of this movement sounds very profound, but at the same timer rather laconic in its taut se?verity--and once again it ends with a fermata.
Which once again signifies that the finale has to follow immediately, as though emerging out of the post-echo of the mourning. Edwin Fischer compared it not unjustly to rain falling gently over the graves. Literary images of this kind are useful from time to time, to enable to the performer to give the piece its right atmosphere. This short "Al?legro," with its subtle modulations and rhythmic ambiguities, must not be thrown off mechani-
cally, or with empty virtuosity. It betokens recon?ciliation, if not actually cheerfulness in contrast to what has gone before, and it finally comes to rest pianissimo. The turmoil that briefly breaks loose in the central episode brings the funeral march to mind once more. The Coda is noteworthy, with its long pedal-point on a low 'A-flat' held over 16 bars, allowing the music to disappear like a breath of poetry.
The following Sonata in E-flat, the first of the Op. 27 pair, begins in a way that's just as poetic. Beethoven himself labelled it a "Sonata quasi una fantasia."
In its freedom, this sonata points the way forwards much more clearly than Op. 26. In its moods it is a psychological piece, but from the point of view of its formal criteria it shows an astonishing inter?weaving of sonata and fantasy, whereby a "classi?cal" sonata-form movement only becomes clearly evident with the finale. All four movements, or rather sections, follow each other attacca, sepa?rated only by fermatas--which is to say that Beethoven intends the work to describe a sort of overall "life-span."
The idea of an overarching structure of this kind was one that was later taken up by Schubert, Schumann, and Liszt.
Beethoven himself already developed it further after this sonata--we have only to think of the A-Major Piano Sonata Op. 101, or the C-Major So?nata for Piano and Cello, Op. 102, No. 1. In fact, without these models Schubert's "Wanderer" Fantasy, the C-Major Fantasy of Schumann and Liszt's b-minor Sonata would not have been pos?sible. In contrast, the three-movement form of the companion-piece Op. 27, No. 2, the "Moonlight," for all its equally fantasy-like psychological brush?strokes, is rather more Classical--not in its expres?sive make-up, but in its structure of movements that are complete in themselves. One advantage of a chronologically arranged cycle is that the ef?fect of contrasts of this kind between two sona?tas that were composed at more or less the same time--that's to say in 1800 to 1801--become more immediately evident.
How, in a word, would you characterize the four movements of the Sonata Op. 27, No. 1
The basic mood is first of all lyrical and tender, and the key itself has something radiantly intimate. Mind you, this affects above all the introductory "Andante," whose improvisatory air seems to be shaped by a very gentle hand. If we were to take the four temperaments as a starting-point again, we could regard the relaxed song-like character as being briefly interrupted by the very surprising "Allegro" episode that bursts out like some wild toccata. So you have a lullaby plus a rude awaken?ing, and then the lullaby again, with Beethoven exchanging the roles of the two hands in the re?prise and then increasing the sense of intimacy still further in the Coda. The scherzo that's joined on in the form of an "Allegro molto e vivace" im?mediately requires a quite different atmosphere. The quick movement of the 34 bar, and the skel?etal texture, with the two hands partly in unison, partly in simultaneous inversion, gives this piece in the relative minor key--c minor--a dark and even demonic quality. The chromatically moving bass-line additionally brings with it the associations of a sort of passacaglia. If we were to think of future developments in music of this kind, perhaps "In der Nacht" from Schumann's Fantasiestucke Op. 12 would come to mind. I hear the A-flat Major middle section as "riding music," especially in those places where the syncopation increases the urgency still further. Again the Coda is, of course, astonishing--its long insistence on a pedal-point of C Major, and the bold and very dramatic de?scent into the depths.
For the first time in his piano sonatas Beethoven didn't write a self-contained slow movement, but instead a transition to the finale consisting of no more than 26 bars.
Once again it shows a master of experimentation at work. However much profundity and nobility this "Adagio con espressione" shows, it shouldn't linger or be too broad. We meet with a similar scenario of the slow transition in the Sonata for Piano and Cello, Op. 69, for instance, and again in the Piano Sonata, Op. 707. The movement is very song-like, but the variants of the melody are intensified by octaves, and finally in the written-out scales in 128th-nor.es (semihemidemisemiquavers) it becomes concerto-like. From passages like the last four bars we can gauge how wonderfully
Beethoven must have been able to improvise. As for the "Allegro vivace" finale, it at last provides us with something like a firm footing. On top of that, it's the longest movement in the work, and the only one in sonata form. Again, in contrast to what we sometimes find in Schubert, or even Schumann and Brahms, Beethoven always re?veals himself with deliberate significance in the last movements of his pieces. After the nocturnal magic of the "Adagio," the fourth and last tem?perament produces an upsurge--the joy of life, both musically and pianistically, in a real bravura-piece whose technical challenges have to be met little by little. It contains exuberant motifs, but also fugal passages almost in the style of Bach. As it proceeds, the piece becomes increasingly dense, and the recapitulation rises to a mood of real jubilation--and then before the Coda there's the return of the "Adagio's" theme! A "philo?sophical" reminiscence, so to speak, before the work somersaults into pure joy.
There's not so much joy in the following sonata. Op. 27, No. 2, whose title has given rise to all sorts of misunderstandings.
The nickname doesn't come from Beethoven, but from Ludwig Rellstab, who likened the work to the landscape he had seen on a moonlit night on Lake Lucerne. But this legend is not the only thing that makes it difficult to elucidate the piece. For its musical interpretation it has to be stated very clearly that the first movement must be played both alia breve, in two beats to the bar, and with?out dampers--that's to say with the sustaining pedal! That produces a character that is perhaps far from any kind of moonlit effect, and is rather more akin to a mood that Beethoven emphasized at the time in a page of his sketchbook when he copied out the slow triplet motion from the moment following the murder of the Commen-datore in Mozart's Don Giovanni. This opening movement is in a highly disguised sonata form, based much more strongly on its ostinato rhythm. Of course there's also polyphony at work, and it has to be brought out accordingly. The heading of sempre pianissimo is also important, and super?fluous rubato should be avoided. The performer would do well to make the modulations felt; and in the end--and to avoid any false kind of poeti?cizing--it could be useful to think more of a Bach prelude than a picture of nature by Liszt.
Edwin Fischer likened the second movement to a flower between two abysses.
It does in fact sound charming, but at the same time it's threatened by the past and the future. Here, too, Beethoven composed in a psychological way. What's important here is the correct articu?lation, somewhere between legato and detache, also in dealing with the polyphony; and the middle section, with its syncopation, should even intro?duce something bucolic and pastoral. However, the overriding dynamic level is piano. The mood then becomes very serious again in the third move?ment, whose furioso quality Beethoven probably didn't equal again until the finale of the "Appas-sionata" Op. 57. To capture the character of the piece demands precision in pianistic fingerwork: for instance, the very precise notation in the expo?sition and the start of the development indicates the use of the pedal only on the sforzato chords, and this has to be carried out faithfully. Also, the differences between the "presto-agitato" theme and the mournful subsidiary theme have to be made quite clear. And the "orchestral" thickening of the chordal writing, the two imposing caden?za-like moments, and finally the unison outburst that emerges out of the elegiac hesitation of the Codetta--all this has to have grandeur, tragedy, and shape. As far as the proportions of the so?nata as a whole are concerned, the first and sec?ond movements together form a sort of combined weight, while the third forms the powerful coun?terweight. If we compare it with the "Pathetique" Op. 13, for example, where the opening move?ment is towering and monumental, and the finale flashes by almost aphoristically, the balance in the "Moonlight" Sonata is centered at least as much on the finale as on the first two movements.
The D-Major Sonata Op. 28 is very lyrical, with long legato developments. It has acquired the nickname of "Pastoral," and it does in fact convey the relevant associations.
Even though the metaphor again doesn't come from Beethoven, in this case it's justified. At any rate, I don't have any trouble in detecting "nature" in it: we can immediately think of the enormous pedal-note on 'D' which sets the opening move?ment in motion in pastoral style. All four move?ments are in the tonality of 'D', with the remark?able "Andante" unfolding in the minor. This is a
work that pulsates, it's full of inner voices, opens up huge spaces of sound, and yet does without any dramatic outbursts throughout. Even the opening movement's development section, in which the harmonies darken into the minor and contrapuntal interweavings unfold, doesn't stir any evil spirits. And the way the main theme is expanded in the Coda with continually wider intervals is beautiful.
The second movement unfolds in a dark and ele?giac way, yet at the same time it summons up the rhythmic energy of a march.
Yes, a fusion of nocturne and march, though in its D-Major middle section it suddenly softens into a kind of capriccio, or vision of springtime with bird-song. The pianist has to pay special atten?tion to the sonority: in the outer sections the ac?companiment in the bass is notated as staccato, while the melody that unfolds in chords has to be sustained--but, for goodness' sake, not sim?ply with the aid of the pedal! The Coda brings something eerie into play--a numbness that calls Schubert to mind--and a curious sense of loss in the recitative-like interjections.
The last two movements provide on the one hand cheerfulness, in the "Scherzo"; and on the other, calm narrative gestures, in the finale.
The "Scherzo" is very short and witty. For that reason, the pianist should place a short "hole" between the right hand's quaver groups and the repeated crotchets, as Artur Schnabel alone un?derstood correctly. The writing here is conceived in chamber music terms; and in its second half the piece tends rhythmically towards a waltz, which should be made palpable. The trio wavers between major and minor, again almost in antici?pation of Schubert. To me, the finale has traces of a barcarolle, even though it's constructed as a genuine sonata-rondo. Significantly, the fugato at the center of the developmental episode, begin?ning in a mysterious pianissimo before eventually rising to a dramatic fortissimo in the minor, seems to foreshadow Beethoven's late style. In the Coda the thematic material is at first splendidly fore?shortened, and only after that, with the rise and fall of the semiquaver figuration, should the music pour forth brilliantly and extrovertly.
Translation by Misha Donat.
Andras Schiff was born in Budapest, Hun?gary, in 1953. He began piano lessons at the age of five with Elisabeth VadSsz and continued his musical studies at the Ferenc Liszt Academy with Professor Pal Kadosa, Gyorgy Kurtag, and Ferenc Rados. He also worked with George Malcolm in London. Recitals and special projects take him to all of the international music capitals and include cycles of the major keyboard works of Bach, Haydn, Mozart, Beethoven, Schu?bert, Schumann, Chopin, and Bart6k. In 2004, he began a series of performances in Europe explor?ing the 32 Beethoven piano sonatas in chronolog?ical order--a project recorded live for ECM New Series, to be released in eight volumes though 2009. The Beethoven Sonata Project in North America begins this season.
The Beethoven Sonata Project in its entirety is slated for New York's Carnegie Hall, Los Ange-les's Disney Hall, San Francisco's Symphony Hall, and Ann Arbor's Rackham Auditorium. Individual recitals are slated for Boston; Washington, DC; Princeton; Ottawa, Ontario; and Santa Barbara. Mr. Schiff makes his only North American concert appearance this season with the Boston Sympho?ny Orchestra, under the baton of Bernard Haitink performing Bart6k's Piano Concerto No. 3.
In 1999, Mr. Schiff created his own chamber orchestra, the Cappella Andrea Barca, for a seven-year series of the complete Mozart piano concer?tos, taking place at the Mozartwoche of the In?ternationale Stiftung Mozarteum in Salzburg. The group, consisting of international soloists, cham?ber musicians, and close friends, toured North America during the 0506 and 0607 seasons in a series of concerts at Carnegie Hall and Alice Tully Hall to commemorate the 250th anniversary of Mozart's birth. The six concerts included 12 of the Mozart piano concerti, chamber music, and symphonies.
During the next few seasons, the focus of Mr. Schiff's orchestral activities will be conducting programs of Bach, Beethoven, and Mozart from the keyboard. He has annual engagements with the Philharmonia Orchestra of London and the Chamber Orchestra of Europe as conductor and soloist. He is a regular visitor as conductor and soloist with the Philadelphia Orchestra, Los Ange?les Philharmonic, National Symphony Orchestra, Staatskapelle Dresden, Budapest Festival Orches?tra, and City of Birmingham Symphony Orchestra. He has conducted Bach's Mass in b minor and
AndrSs Schiff
Haydn's Creation with the London Philharmonia and was conductor and soloist with the Chamber Orchestra of Europe on a critically acclaimed tour of New York, Chicago, and San Francisco.
Since childhood, Mr. Schiff has enjoyed play?ing chamber music and was Artistic Director of Musiktage Mondsee, an internationally praised annual chamber music festival near Salzburg from 1989 until 1998. He is presently joint Artistic Di?rector of Ittinger Pfingstkonzerte, a chamber mu?sic festival he founded in Switzerland with Heinz Holliger in 1995. In 1998, Mr. Schiff started a similar series entitled Ommaggio a Palladio at the Teatro Olimpico in Vicenza. From 2004-2007, he was Artist-in-Residence of Kunstfest Weimar in Germany.
Mr. Schiff has established a prolific discogra-phy, including recordings for Teldec (1994-1997), LondonDecca (1981-1994) and, since 1997, ECM New Series. Recordings for ECM include the com?plete solo piano music of Beethoven and lanaiek, a solo disc of Schumann piano pieces, and his sec?ond recording of the Bach Goldberg Variations. He has received several international recording awards, including two Grammy Awards for "Best Classical Instrumental Soloist (Without Orches?tra)" for the Bach English Suites and "Best Vocal Recording" for Schubert's Schwanengesang with tenor Peter Schreier. For the 49th annual Grammy Awards, Mr. Schiff was nominated for "Best Clas?sical Album (Without Orchestra)" for the second volume of his Complete Beethoven Sonata record?ings for ECM.
Among other honors, Mr. Schiff was award?ed the Bart6k Prize in 1991 and the Claudio Ar-rau Memorial medal from the Robert Schumann Society in Dusseldorf in 1994. In March 1996, Mr. Schiff received the highest Hungarian distinction, the Kossuth Prize, and in May 1997 he received the Leonie Sonnings Music Prize in Copenha?gen. He was awarded the Palladio d'Oro by the city of Vicenza, and the Musikfest-Preis Bremen for "outstanding international artistic work" in 2003. Recently, Mr. Schiff received two awards in recognition of his Beethoven performances: in June 2006, he became an Honorary Member of the Beethoven House in Bonn; and in May 2007, he was presented with the renowned Italian Prize, the Premio della critica musicale Franco Abbiati in recognition of his Beethoven Piano Sonata Cycle. In October, Mr. Schiff was honored by the Royal Academy of Music with the institution's presti-
gious Bach Prize, awarded each year to an indi?vidual who has made an outstanding contribution to the performance andor scholarly study of the music of J.S. Bach.
In 2007, Mr. Schiff and music publisher G. Henle began a unique partnership to produce spe?cial joint editions of Mozart and Bach. Mr. Schiff is currently editing the complete Mozart Piano Con-certi to include his specific fingerings and caden?zas where the original cadenzas are missing. Once the Mozart project is complete, plans are set for Bach's Well-Tempered Clavier to be edited with Mr. Schiff's insights and fingerings.
Mr. Schiff is an Honorary Professor of Mu?sic Schools in Budapest, Detmold, and Munich. In 2001, Mr. Schiff became a British citizen; he re?sides in Florence and London and is married to the violinist Yuuko Shiokawa.
UMS ARCHIVES
These third and fourth concerts of Andres Schiff's complete Beethoven piano sonata cycle mark his fifth and sixth appearances under UMS auspices. Mr. Schiff made his UMS debut as soloist in Bart6k's Piano Concerto No. 2 with the Buda?pest Festival Orchestra in 1998 at Hill Auditorium.
UMSExperience
UMS EDUCATION PROGRAMS
vww.ums.orgeducation
MS's Education and Audience Development Program deepens the relationship between audiences and art and raises awareness of the Ompact the multi-disciplinary performing arts and education can have by enhancing the Duality of life of our community. The program .creates and presents the highest quality arts education experiences to a broad spectrum pf 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.
RDULT & 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 f 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.
UlVlS
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 Icommunity through attendance at UMS events fend free preor post-concert receptions. f.TWORK members receive ticket discounts f r selected UMS events; membership is free.
B708 WINTER NETWORK PERFORMANCES h Jazz at Lincoln Center Orchestra:
Love Songs of Duke Ellington I Celebration of the Keyboard Ahmad Jamal SFJAZZ Collective: A Tribute to Wayne
Shorter Urban Bush WomenCompagnie Jant-Bi:
Les ecailles de la memories (The scales of
memories) ; Bobby McFerrin, Chick Corea, and Jack
DeJohnette
IMS YOUTH, TEEN, AND :AMILY EDUCATION
Please call 734.615.0122 or email 'msyouth@umich.edu for more information.
"
?UMS has one of the largest K--12 education ini?tiatives in the state of Michigan. Designated as a J"Best Practice" program by ArtServe Michigan tend the Dana Foundation, UMS is dedicated to making world-class performance opportunities and professional development activities available lo K-12 students and educators.
UMS Youth
JD708 Youth Performance Series
These world-class daytime performances serve pre-K through high school students. The 0708 season features special youth presentations of Shen Wei Dance Arts, Pamina Devi: A
Cambodian Magic Flute, Sphinx Competition Honors Concert, Chicago Classical Oriental Ensemble, Wu Man and the Bay Area Shawm Band, SFJAZZ Collective, and Urban Bush WomenCompagnie Jant-Bi. Tickets range from $3-6 depending on the performance and each school receives free curriculum materials.
Teacher Workshop Series
UMS is part of the Kennedy Center Partners in Education Program, offering world-class Kennedy Center workshop leaders, as well as workshops designed by local arts experts, to our community. Both focus on teaching educa?tors techniques for incorporating the arts into classroom instruction.
K-12 Arts Curriculum Materials
UMS creates teacher curriculum packets, CDs, and DVDs for all of the schools participating in UMS's Youth Education Program. UMS curricular materials are available online at no charge to all educators. All materials are designed to connect the curriculum via the Michigan State Benchmarks and Standards.
Teacher Appreciation Month!
March 2008 has been designated UMS Teacher Appreciation Month. All teachers will be able to purchase tickets for 50 off at the venue on the night of the performance (subject to availability). Limit of two tickets per teacher, per event. Teachers must present their official school I.D. when purchasing tickets. Check out the UMS website at www.ums.org for March events!
School FundraisersGroup Sales
Raise money for your school and support the arts. UMS offers a wide range of fundraising opportunities and discount programs for schools. It is one of the easiest and most rewarding ways to raise money for schools. For informa?tion contact umsgroupsales@umich.edu or 734.763.3100.
Teacher Advisory Committee
This group of regional educators, school administrators, and K-12 arts education advo?cates advises and assists UMS in determining K-12 programming, policy, and professional development.
JMS is in partnership with the Ann Arbor Public Schools and the Nashtenaw Intermediate School District as part of the Kennedy lenter: Partners in Education Program. UMS also participates in he 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 or $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 aturday, May 3, 8 PM 'ower Center
n a special collaboration with the Neutral Zone, Ann Arbor's teen center, UMS presents his annual performance highlighting the area's ibest 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.
? he 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 06107 fiscal year
Ford Motor Company Fund and Community Services
Michigan Council for Arts and Cultural Affairs University of Michigan
Arts at Michigan
Bank of Ann Arbor
Kathy Benton and Robert Brown
Borders Group, Inc.
The Dan Cameron Family
FoundationAlan and
Swanna Saltiel CFI Group
Chamber Music America Doris Duke Charitable
Foundation
DTE Energy Foundation The Esperance Family Foundation JazzNet Endowment Masco Corporation Foundation THE MOSAIC FOUNDATION (of
R. & P. Heydon) National Dance Project of the
New England Foundation for the Arts National Endowment for the Arts Noir Homes, Inc. Performing Arts Fund
Pfizer Global Research and
Development, Ann Arbor
Laboratories
Randall and Mary Pittman Prudence and Amnon Rosenthal
K-12 Education Endowment
Fund Target
Tisch Investment Advisory UMS Advisory Committee University of Michigan Credit
Union University of Michigan Health
System U-M Office of the Senior Vice
Provost for Academic Affairs U-M Office of the Vice President
for Research Wallace Endowment Fund
UMS STUDENT PROGRAMS
www.ums.orgstudents
UMS offers five programs designed to fit stu?dents' lifestyles and save students money. Each year, 15,000 students attend UMS events and collectively save $300,000 on tickets through these programs. UMS offers students additional ways to get involved in UMS, with internship ,ind 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 UMSnion
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-icretion. Tickets must be purchased in person at the Michigan League Ticket Office or at the performance venue ticket office. Just bring your valid college ID. Limit two tickets per student.
UMS Student Card
Worried about finding yourself strapped for cash in the middle of the semester The UMS Student Card is a pre-paid punch system for Rush Tickets. The Card is valid for any event for which Rush Tickets are available, and can be used up to two weeks prior to the perform?ance. The UMS Student Card is available for $50 for 5 performances or $100 for 10 per?formances. Please visit www.ums.orgstudents to order online.
Arts & Eats
Arts & Eats combines two things you can't live without--great music and free pizza--all in one night. For just $15, you get great seats to a UMS event (at least a 50 savings) and a free pizza dinner before the concert, along with a brief talk by a seasoned expert about the performance. Tickets go on sale approxi?mately two weeks before the concert.
0708 Arts & Eats Events:
Yuja Wang, Sun. 120
Christian Tetzlaff, Thurs. 214
San Francisco Symphony, Fri. 314
Bobby McFerrin, Chick Corea, Jack DeJohnette, Sat. 419
Sponsored by UMtK With support from the U-M Alumni Association
Arts Adventure Series
UMS, the U-M School of Music, Theatre & Dance, and Arts at Michigan have teamed up to offer the Arts Adventure Series, a package of three events each semester for just $35.
Arts at Michigan offers several programs designed to help students get involved in arts and cultural opportunities at the University of Michigan. Please visit www.arts.umich.edu for the latest on events, auditions, contests, fund?ing for arts initiatives, work and volunteer opportunities, arts courses, and more.
Internships and College Work-Study
Internships with UMS provide experience in performing arts administration, marketing, ticket sales, programming, production, and arts education. Semesterand year-long unpaid internships are available in many of UMS's departments. For more information, please call 734.615.1444.
Students working for UMS as part of the College Work-Study program gain valuable experience in all facets of arts management including concert promotion and marketing, ticket sales, fundraising, arts education, arts programming, and production. If you are a University of Michigan student who receives work-study financial aid and are interested in working at UMS, please call 734.615.1444.
Student Advisory Committee
As an independent council drawing on the diverse membership of the University of Michigan community, the UMS Student Advisory Committee works to increase student interest and involvement in the various pro?grams offered by UMS by fostering increased communication between UMS and the student community, promoting awareness and accessi?bility of student programs, and promoting the student value of live performance. For more information or to participate on the Committee, please call 734.615.6590.
UMSSupport
There are many ways to support the efforts of UMS, all of which are critical to the success of our season. We would like to welcome you to the UMS family and involve you more closely in our exciting programming and activities. This can happen through corporate sponsorships, business advertising, individual donations, or through volunteering. Your financial investment andor gift of time to UMS allows us to continue connecting artists and audiences, now and into the future.
CORPORATE SPONSORSHIP
AND ADVERTISING
Advertising
When you advertise in the UMS program book you gain season-long visibility among ticket buyers while enabling an important tradition of providing audiences with the detailed program notes, artist biographies, and program descrip?tions that are so important to the performance experience. Call 734.764.6833 to learn how your business can benefit from advertising in [the UMS program book.
Sponsorship
As a UMS corporate sponsor, your organization comes to the attention of an educated, diverse and growing segment of not only Ann Arbor, but all of southeastern Michigan. You make possible one of our community's cultural treas?ures, and also receive numerous benefits from your investment. For example, UMS offers you a range of programs that, depending on your level of support, provide a unique venue for:
Enhancing corporate image
Cultivating clients
Developing business-to-business relationships
Targeting messages to specific demographic groups
Making highly visible links with arts and education programs
Recognizing employees
Showing appreciation for loyal customers
For more information, please call 734.647.1176.
INDIVIDUAL DONATIONS
We could not present our season without the invaluable financial support of individual donors. Ticket revenue only covers half of the cost of our performances and educational events. UMS donors help make up the differ?ence. If you would like to make a gift, please fill out and mail the form on page P40 or call 734.647.1175.
UMS VOLUNTEERS
UMS Advisory Committee
The UMS Advisory Committee is an organiza?tion of over 70 volunteers who contribute approximately 7,000 hours of service to UMS each year. The purpose of the Advisory Committee is to raise funds for UMS's nationally-acclaimed arts education program through the events listed below. In addition, Advisory Committee members and friends provide assis?tance in ushering at UMS youth performances and assist in various other capacities through?out the season. Meetings are held every two months and membership tenure is three years. Please call 734.647.8009 to request more information.
Delicious Experiences
These special events are hosted by friends of UMS. The hosts determine the theme for the evening, the menu, and the number of guests they would like to entertain. It's a wonderful way to meet new people!
Ford Honors Program and Gala May 10, 2008
This year's program will honor renowned flutist James Galway as he receives the UMS Distinguished Artist award. Following the program and award presentation, the UMS Advisory Committee will host a gala dinner to benefit UMS Education programs. Please call 734.647.8009 for more information.
On the Road with UMS
Last September, over 300 people enjoyed an i 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) NEA Jazz Masters on Tour Jane and Edward Schulak Barbara Furin Sloat TIAA-CREF
Universal Classics Group ,'oncord Music
University of Michigan Credit Union Marina and Bob Whitman
lONCERTMASTER
$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, RL.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 I Sue and Carl Gingles I Paul and Anne Glendon I 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 TJ. 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 Bartlett
Charles and Linda Borgsdorf
Elizabeth Brien and Bruce Conybeare
Jeannine and Robert Buchanan
Robert and Victoria Buckler
Barbara and Al Cain
Jean and Ken Casey
Anne and Howard Cooper
Beverley and Gerson Geltner
General Motors Corporation
William and Ruth Gilkey
Dr. Sid Gitman 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 Net
Ernest and Adele McCarus
William C. Parkinson
Richard and Lauren Prager
Jim and Bonnie Reece
John and Dot Reed
Duane and Katie Renken
Barbara A. Anderson and John H. Romani
Corliss and Dr. l.C. Rosenberg
Prudence and Amnon Rosenthal
Dr. Nathaniel H. Rowe
John J. H. Schwarz, MD
Muaiad and Aida Shihadeh
Loretta M. Skewes
TCF Bank
Jim Toy
Don and Carol Van Curler
Don and Toni Walker
Elise Weisbach
Roy and JoAn Wetzel
Keith and Karlene Yohn
PATRON
$1,000-$2,499
Robert and Katherme 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. Bergstem
Anne Beaubien and Phil Berry
John Blankley and Maureen Foley
Howard and Margaret Bond
Gary Boren
(Laurence and Grace Boxer
Dr. Ralph and Mrs. Mary W. Bozell
Jacquelyn A. Brewer
Dale E and Nancy M. Briggs
Barbara Everitt Bryant
Lawrence and Valerie Bullen
Charles and Joan Burleigh
Letitia J. Byrd
Amy and Jim Byrne
Betty Byrne
Jean W. Campbell
Patricia and Michael Campbell
Oavid and Valerie Canter
Bruce and Jean Carlson
Carolyn M. Carty and Thomas H. Haug
John and Patricia Carver
Janet and Bill Cassebaum
Tsun and Siu Ying Chang
Anne Chase
Pat and George Chatas
James S. Chen
Leon S. Cohan
Hubert and Ellen Cohen
Lois and Avern Cohn
Cynthia and Jeffrey Colton
William J. and Ellen A. Conlin
Phelps and Jean Connell
Jim and Connie Cook
Jane Wilson Coon and A. Rees Midgley, Jr.
Kathleen Crispell and Tom Porter
Judy and Bill Crookes
Julia Donovan Darlow and John O'Meara
Susan T. Darrow
Charles W. and Kathleen P. Davenport
Hal and Ann Davis
Sally and Larry DiCarto
Andrzej and Cynthia Dlugosz
Alice Dobson
Molly Dobson
Heather and Stuart Dombey
John Dryden and Diana Raimi
Aaron Dworkm and Afa Sadykhly
Jack and Betty Edman
Joan and Emil Engel
David and Jo-Anna Featherman
Dede and Oscar Feldman
Yi-Tsi M. and Albert Feuerwerker
Susan A. Fisher
Susan Fisher and John Waidley
Bob Fleming
Esther Floyd
James W. and Phyllis Ford
Forrest Family Fund
Dan and Jill Francis
Leon and Marcia Friedman
Enid H. Galler
Patricia Garcia and Dennis
Dahlmann
Prof. David M. Gates Thomas and Barbara Gelehrter Karl and Karen Gotting Cozette T. Grabb Elizabeth Needham Graham Walter Z. Graves
Susan M. Smith and Robert H. Gray Bob Green
Leslie and Mary Ellen Guinn Helen C. Hall
Jeanne Harrison and Paul Hysen Alice and Clifford Hart Sivana Heller Paul Herstein Dianne S. Hoff Carolyn B. Houston Robert M. and Joan F. Howe Dr. Howard Hu and Ms. Rani Kotha John and Patricia Huntington Eileen and Saul Hymans Perry Irish Jean Jacobson Rebecca Jahn Walhe and Janet Jeffries Timothy and Jo Wiese Johnson Robert and Jen Kelch David and Gretchen Kennard Connie and Tom Kinnear Diane Kirkpatnck Philip and Kathryn Klintworth Carolyn and Jim Knake Charles and Linda Koopmann Bud and Justine Kuika Scott and Martha Larsen Ted and Wendy Lawrence Melvin A. Lester MD Myron and Bobbie Levine Carolyn and Paul Lichter Patricia little and Raymond
Barbehenn Jean E. Long
Richard and Stephanie Lord John and Cheryl MacKrell Cathy and Edwin Marcus Ann W. Martin and Russ Larson Marilyn Mason Natalie Matovinovic Mary and Chandler Matthews Judythe and Roger Maugh Carole J. Mayer Raven McCrory W. Joseph McCune and
Georgiana M. Sanders Griff and Pat McDonald Mercantile Bank of Michigan Henry D. Messer and Cari 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 Polverim Richard and Mary Price Produce Station Mrs. Gardner C. Quarton Donald Regan and Elizabeth
Axelson
Professor and Mrs. Raymond Reilly Maria and Rusty Restuccia Kenneth J. Robinson and Marcia
Gershenson Nancy and Doug Roosa Rosalie EdwardsVibrant Ann
Arbor Fund Doris E. Rowan Craig and Jan Ruff Agnes and David Sams Norma and Dick Sams Maya Savarino Schakolad Chocolate Factory Erik and Carol Serr Janet and Michael Shatusky Frances U. and Scott K. Simonds Dr. Bernard Sivak and Dr. Loretta
Polish
Jim Skupski and Dianne Widzinski Dr. Rodney Smith Kate and Philip Soper Lloyd and Ted St. Antoine Michael B. Staebler John and Lois Stegeman Victor and Marlene Stoeffler Dr. and Mrs. Stanley Strasius David and Karen Stutz Charlotte B. Sundelson Judy and Lewis Tann Target
Mrs. Robert M. Teeter Brad and Karen Thompson Louise Townley
Jack and Marilyn van der Velde Bruce and Betsy Wagner Florence S. Wagner Robert D. and Liina M. Wallin Harvey and Robin Wax W. Scott Westerman, Jr. Dr. and Mrs. Max V. Wisgerhof II Charles Witke and Aileen Gatten Jeanne and Paul Yhouse Edwin H. and Signe Young Maria Zampierollo and Brian Partin
BENEFACTOR
$500-$999
3POINT Machine, Inc.
Wadad Abed
Roger Albin and Nili Tannenbaum
Christine W. Alvey "
Catherine M. Andrea
Anonymous
Dr. and Mrs. Rudi Ansbacher
Harlene and Henry Appelman
Ralph Lydic and Helen Baghdoyan
Mary and Al Bailey
Robert L. Baird
Laurence R. and Barbara K. Baker
Reg and Pat Baker
Nan Barbas and Jonathan Sugar
David and Monika Barera
Norman E. Barnett
Frank and Lindsay Tyas Bateman
Harry Benford
Linda and Ronald Benson
L. S. Berlin
Naren K. and Nishta G. Bhatia
Seth Bonder
Bob and Sharon Bordeau
Catherine Brandon MD
David and Dr. Sharon Brooks
Donald R. and June G. Brown
Morton B. and Raya Brown
Dr. Frances E. Bull
H. D. Cameron
Susan and Oliver Cameron
Margot Campos
Carlisle Wortman Associates, Inc.
Jack and Wendy Carman
Drs Andrew Caughey and Shelley
Neitzel
John and Camilla Chiapuris Dr. Kyung and Young Cho Janice A. Clark Brian and Cheryl Clarkson Tris and Edna Coffin Jeanne Raisler and Jonathan Cohn Wayne and Melinda Colquitt Arnold and Susan Coran Malcolm and Juanita Cox Joan S. Crawford Peter C. and Lindy M. Cubba John G. and Mary R. Curtis Roderick and Mary Ann Daane Robert and Joyce Damschroder Norma and Peter Davis Ellwood and Michele Derr Linda Dintenfass and Ken Wisinski Cynthia M. Dodd Robert J. and Kathleen Dolan Dallas C. Dort Eva and Wolf Duvernoy Stefan and Ruth Fajans Elly and Harvey Falit Irene Fast
Margaret and John Faulkner Sidney and Jean Fine Carol Finerman Clare M. Fingerie Herschel and Adrienne Fink C. Peter and Beverly A. Fischer John and Karen Fischer Ray and Patricia Fitzgerald Howard and Margaret Fox Jason 1. Fox Ann Friedman William Fulton Tom Gasloli Beverly Gershowitz Ronald Gibala and Janice Grichor Paul and Suzanne Gikas Zita and Wayne Gillis Amy and Glenn Gottfried Jill Gramz
Dr. John and Renee M. Greden Anna and Robert Greenstone Ingrid and Sam Gregg Arthur W. Gulick MD Don P. Haefner and Cynthia J.
Stewart
Tom Hammond
Martin D. and Connie D. Harris Susan Harris Alfred and Therese Hero Herb and Dee Hildebrandt Peter Hinman and Elizabeth Young Sun-Chien and Betty Hsiao Ralph and Del Hulett Ann D. Hungerman Thomas and Kathryn Huntzicker Eugene and Margaret Ingram INVIA Medical Imaging Solutions Stuart and Maureen Isaac Jim and Dale Jerome Mark and Madotyn Kaminski Olivia Maynard and Olof Karlstrom Christopher Kendall and Susan
Schilperoort Rhea K. Kish Paul and Dana Kissner Hermine Roby Klingler Regan Knapp and John Scudder Michael J. Kondziolka and Mathias-
Philippe Florent Badin Dr. and Mrs. Melvyn Korobkin Rebecca and Adam Kozma Barbara and Ronald Kramer Dr. and Mrs. Gerald Krause Jane Laird Marilyn and Dale Larson
John K. Lawrence and Jeanine A.
DeLay
Richard LeSueur Ken and Jane Lieberthal Marilyn and Martin Lindenauer E. Daniel and Kay M. Long Frances Lyman Brigitte and Paul Maassen Pamela J. Macintosh Nancy and Philip Margolis Susan E. Martin and Randy Walker Margaret E. McCarthy Margaret and Harris McClamroch Dr. Paul W. McCracken Joanna McNamara and Mel Guyer James M. Miller and Rebecca H.
Lehto
Myrna and Newell Miller Bert and Kathy Moberg Jeanne and Lester Monts Lewis and Kara Morgenstern Frieda H. Morgenstern Gavin Eadie and Barbara Murphy Elizabeth and Robert Oneal Mark and Susan Orringer Constance and David Osier Marie L. Panchuk Zoe and Joe Pearson Jean and Jack Peirce Margaret and Jack Petersen Elaine Piasecki Evelyn Pickard Juliet S. Pierson James Eng and Patricia Randle Anthony L. Reffells and Elaine A.
Bennett R. E. Reichert Marc and Stacy Renouf Retirement Income Solutions Timothy and Teresa Rhoades
Richner & Richner
Jeff and Huda Karaman Rosen
Richard and Edie Rosenfeid
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. Towler
Jeff and Lisa Tulin-Silver
Dr. Sheryl S. Ulin and Dr. Lynn T. Schachinger
Steven and Christina Vantrease
Shirley Verrett
Drs. Bill Lee and Wendy Wahl
Elizabeth and David Walker
Enid Wasserman
Carol Weber
Angela Welch and Lyndon Welch
Iris and Fred Whitehouse
Leslie C. Whitfield
Sally M. Whiting
Reverend Francis E. Williams
Robert J. and Anne Marie Willis Lawrence and Mary Wise James and Gail Woods Dr. and Mrs. Clyde Wu Mayer and Joan Zald
ASSOCIATES
$250-$499
jnt Adler Thomas and Joann Adler Family
Foundation
Helen and David Aminoff Anonymous Arboretum Ventures 8ert and Pat Armstrong lack and Jill Arnold ,mk and Nancy Ascione enny 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. Eriing 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 Borgsdorf 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 Constance Bridges Pamela Brown Trudy and Jonathan Bulkley Tony and Jane Burton Heather Byrne Nathan and Laura Caplan Brent and Valerie Carey Thomas and Colleen Carey James W. and Mary Lou Carras Dennis J Carter Margaret and William Caveney J Wehrley and Patricia Chapman Charles Reinhart Company Realtors Charles Stewart Mott Foundation John and Christine Chatas Linda Chatters and Robert Joseph
Taylor
Andy and Dawn Chien Kwang and Soon Cho Reginald and Beverly Ciokajlo Coffee Express Co. 'leodore and Jean Cohn Uward and Anne Comeau Minor J. Coon Teter and Celia Copeland
Bfl and Kathy Cox ! oyd and Lois Crabtree Clifford and Laura Craig Merle and Mary Ann Crawford MaryC. Crichton Connie D'Amato Timothy and Robin Damschroder Sunil and Merial Das Art and Lyn Powrie Davidge Ed and Elite Davidson Alice and Ken Davis John and Jean Debbmk 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 Ouren
Swati Dutta
Jane E. Dutton
Bradley Dyer
Dr. Alan S. Eiser
Mary Ann Faeth
Mark and Karen Falahee
Dr. and Mrs. S. M. Farhat
Phil and Phyllis Fellin
James and Flora Ferrara
Dr. James F. Filgas
David Fink and Marina Mala
Dr. Lydia Fischer
Jessica Fogel and Lawrence Weiner
Paula L. Bockenstedt and David A. Fox
Hyman H. Frank
Jerrold A. and Nancy M. Frost
Philip and Renee Frost
Carol Gagliardi and David Ftesher
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
Berks
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 Hitt Ronald and Ann Hotz Robert and Barbara Hooberman Linda Samuelson and Joel Howell Mabelle Hsueh Harry and Ruth Huff Heather Hurlburt and Darius Sivtn 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 Geraldme Kruse Donald John Lachowia Kathy and Timothy Laing Neal and Anne Laurance Laune and Robert LaZebmk David Lebenbom Julaine and John Le Due John and Theresa Lee Sue Leong
Mervyn and Joan Leviisky Jacqueline H. Lewis David Baker Lewis Ken and Jane Lieberthal Don and Erica Lindow Michael and Debra Lisull Michael Charles Lin 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
Melvin and Jean Manis
Manpower. Inc. of Southeastern Michigan
Ken and Lynn Marko
W. Harry Marsden
Laurie McCauley and Jessy Grizzle
Peggy McCracken and Doug Anderson
Liam T McDonald
James A. Mclntosh
James H. Mclntosh and Elaine K. Gazda
Bill and Ginny McKeachie
McNaughton & Gunn, Inc.
Frances McSparran
Nancy A. and Robert E. Meader
Gerlmda S Melchion PhD
Warren and Hilda Merchant
Sara Meredith and James Chavey
Russ and Brigitte Merc
Liz and Art Messiter
Fei Fei and John Metzler
Don and Lee Meyer
Shirley and Bill Meyers
Joetta Midi
Leo and Sally Miedler
Kitty and Bill Moeller
Olga Moir
Jean Marie Moran and Stefan V.
Chmielewski
Patricia and Michael Morgan Mark and Lesley Mozola Roy and Susan Muir Thomas and Hedi Mulford Terence and Patricia Murphy Lisa Murray and Michael Gatti Drs. Louis and Julie Jaffee Nagel Gerry and Joanne Navarre Frederick C. Neidhardt Gayl and Kay Ness Susan and Richard Nisbett Eugene W. Nissen Laura Nitzberg Arthur S Nusbaum John and Gwen Nystuen Mrs. Elizabeth Ong Kathleen I. Operhall David and Andrea Page Wilham C. Panzer Karen Park and John Beranek Frank and Arlene Pasley Shirley and Ara Paul Judith Ann Pavitt Donald and Evonne Piantinga 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 J. Schauerte
David and Marcia Schmidt
Leonard Segel
Harriet Selin
Robert 0. 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 Spradlin
David and Ann Staiger
Rick and Lia Stevens
James L. Stoddard
Ellen M. Strand and Dennis C. Regan
Clinton and Aileen Stroebel
Donald and Barbara Sugerman
Sam and Eva Taylor
Steve and Diane Telian
Mark and Patricia M. Tessler Textron
Mary H. Thieme
Edwin J. Thomas
Nigel and Jane Thompson
Claire and Jeremiah Turcotte
Dr. Hazel M. and Victor C. Turner. Jr
Alvan and Katharine Uhle
Susan B. Ullrich
Dr. Samuel C. and Evelyn Ursu
Andrea and Douglas Van 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
Kathenne E. White
Nancy Wiernik
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 Lmeke 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
S20,000-S49,999
Bernard and Raquel Agranoff
Anonymous
Mr. and Mrs. Robert R. Gamble
Susan and Richard Gutow
David and Phyllis Herzig
Verne and Judy Istock
Sesi Investment
Herbert Sloan
510,000-S 19,999
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
S5,000-S9,999
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 Oahlmann
Macdonald and Carolin Dick
Molly Dobson
Jack and Betty Edman
Charles and Julia Eisendrath
Dede and Oscar Feldman
James and Chris Froehlich
Dr. Sid Gilman and Dr. Carol Barbour
Paul and Anne Glendon
David W. and Kathryn Moore Heleniak
Debbie and Norman Herbert
Carl and Charlene Herstein
Robert M. and Joan F. Howe
Jim Irwin
Gloria and Bob Kerry
Jill Latta and David Bach
Lawrence and Rebecca Lohr
Natalie Matovinovic
W. Joseph McCune and Georgiana M.
Sanders
Metinda 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 Rosenthat 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
Daniel and Barbara Balbach
Gary Beckman and Karla Taylor
Harvey Berman and Rochelle Kovacs Berman
Inderpal and Martha Bhatia
Sandra L. and Stanley Bies
Jack Billi and Sheryl Hirsch
Sara Billmann and Jeffrey Kuras
Linda and Maurice Bmkow
David and Martha Bloom
Blue Nile Restaurant
Mimi and Ron Bogdasarian
Paul Boylan
Carl A. Brauer, Jr.
Dale E. and Nancy M. Briggs
Jeannme and Robert Buchanan
Andrew and Emily Buchholz
Robert and Victoria Buckler
John and Janis Burkhardt
David Bun and Marianne Lockwood
Letitia J. Byrd
Carolyn M. Carty and Thomas H. Haug
Jack Cederquist and Meg Kennedy Shaw
Dr. Kyung and Young Cho
Donald and Astrid Cleveland
Michael and Hilary Cohen
Phelps and Jean Connell
Katharine Cosovich
Malcolm and Juanita Cox
George and Connie Cress
MaryC.Crichton
Dana Foundation
David Lieberman Artists Representatives, Inc.
Linda Davis and Robert Richter
Neeta Delaney and Ken Stevens
Nicholas and Elena Delbanco
Steve and Lori Director
Judy and Steve Dobson
Cynthia M. Dodd
Robert J. and Kathleen Dolan
Hal and Ann Doster
Michele Eickholt and Lee Green
Janet Eilber
Bruce N. and Cheryl W. Elliott
Charles N. and Julie G.Ellis
Stefan and Ruth Fajans
Beth B. Fischer
Gerald B. and Catherine L. Fischer
Harold and Billie Fischer
Jeanne and Norman Fischer
Esther Floyd
Bob and Terry Foster
Lucia and Doug Freeth
Marilyn L. Friedman
Susan Froelich and Richard Ingram
Bart and Cheryl Frueh
Tavi Fulkerson
Beverley and Gerson Geltner
Joyce and Steve Gerber
Heather and Seth Gladstein
Jack and Kathleen Glezen
Tom and Katherine Goldberg
William and Jean Gosling
Bob Green
Lewis R. and Many A. Green
Linda and Richard Greene
Walt and Chartene Hancock
Carol I. Harrison
Alice and Clifford Hart Joyce and John Henderson j Lawrence and Jacqueline
Stearns Henkel Bob and Barbara Hensinger Lorna and Mark Hildebrandt Helga and Jerry Hover Ann D. Hungerman Joyce M. Hunter Judith Hurtig
IATSE Local 395 Stagehands independence Community
Foundation Keki and Alice Irani Mel and Myra Jacobs Harold Johnson Ben M. Johnson Robert L. and Beatrice H. Kahn Perry and Denise Kantner Christopher Kendall and Susan
Schilperoort John B. Kennard Nancy Keppelman and Michael
Smerza
Robert and Bonnie Kidd Paul and Leah Kileny Diane Kirkpatrick Dr. David E. and Heidi Castleman
Klein
Anne Kloack Gary and Barbara Krenz Daniel Krichbaum Amy Sheon and Marvin Krislov Ted and Wendy Lawrence Mary LeDuc Leo and Kathy Legatski Melvin A. Lester MD Donald and Carolyn Dana Lewis David Baker Lewis Emmy LewisLewis & Company Ken and Jane Lieberthal William and Lois Lovejoy John and Kathy Loveless Jimena Loveluck and Timothy
Veeser Emily Maltz
Ted and Teresa Marchese Nancy and Philip Margolis Mrs. Shirley 0. Martin Mary and Chandler Matthews Jon McBride Susan McClanahan and Bill
Zimmerman Dores M. McCree Bill and Ginny McKeachie loanna McNamara and Mel Guyer Barbara Meadows Shana Meehan Chase Joetta Mial
John and Carla Michaud Patricia Mooradian Mary Morse
Lisa Murray and Michael Gatti Gerry and Joanne Navarre Frederick C. Neidhardt Gayl and Kay Ness Susan and Richard Nisbett Max and Patricia Noordhoorn Constance K. and Charles E.
Olson, Jr. Jan Onder
Constance and David Osier Anne Parsons and Donald Dietz Marv Peterson Nancy S. Pickus Julian and Evelyn Prince Steve and Ellen Ramsburgh
Stephen and Agnes Reading
John and Dot Reed
Dr. Riley Rees and Ms. Elly Wagner
Mamie Reid
Theresa Reid and Mark Hershenson
Sam and Janice Richards
Kenneth J. Robinson and Marcia
Gershenson Barbara A. Anderson and John H.
Romani
Doris E. Rowan Bill and Lisa Rozek Herbert and Ernestine Ruben Harry and Elaine Sargous Maya Savarino Ann and Thomas J. Schriber Ruth Scodel
Ingrid and Clifford Sheldon Mikki Shepard Don and Sue Sinta Jim Skupski and Dianne Widzinski Andrea and William Smith Carl and Jan Smith Rhonda Smith Scott and Amy Spooner John and Lois Stegeman Victor and Marlene 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 Elly Cooper Jill Crane Sally Cushing Diana Engel
Bill Lutes and Martha Fischer Kristin Fontichiaro John N. Gardner Walter Helmreich Ken and Joyce Holmes Dr. Nancy Houk Dria Howlett
John and Patricia Huntingdon Mika and Danielle LaVaque-Manty Judie and Jerry Lax Rod and Robin Little
Georgine Loacker
Shelley MacMilIan and Gary Decker
Jaclin and David Marlin
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 Silverstem
Lloyd and Ted St. Antoine
Peg Talbum 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
Linda and Maurice Bintcow
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 Kirkpatrick Charlotte McGeoch Michael G. McGuire M. Haskell and Jan Barney Newman Len Niehoff
Dr. and Mrs. Frederick C. O'Dell Mr. and Mrs. Dennis M. Powers Mr. and Mrs. Michael Radock Mr. and Mrs. Jack Ricketts Mr. and Mrs. Willard L Rodgers Prudence and Amnon Rosenthal Margaret and Haskell Rothstem 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 Bmkow
Mary Gene Birdsall
Carl and isabelle Brauer
Charles and Evelyn Carver
Germaine Chipault
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