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UMS Concert Program, Saturday Oct. 04 To 15: University Musical Society: Fall 2008 - Saturday Oct. 04 To 15 --

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Day
4
Month
October
Year
2008
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Rights Held By
University Musical Society
OCR Text

Season: FALL 2008
University Of Michigan, Ann Arbor

UMS
FALL 2008 SEASON UNIVERSITY OF MICHIGAN, ANN ARBOR
university musical society
Fal 08 University of Michigan Ann Arbor
2 Letters from the Presidents
5 Letter from the Chair
UMSLeadership 6 UMS Corporate and Foundation Leaders
14 UMS Board of DirectorsNational Council
SenateAdvisory Committee
15 UMS StaffCorporate Council
Teacher Advisory Committee
UMSlnfo 17 General Information
19 UMS Tickets
MSAnnals 21 UMS History
22 UMS Venues and Burton Memorial Tower
UMSExperience 27 UMS Education and Community
Engagement Programs
34 UMS Student Programs
MSSupport 37 Corporate Sponsorship and Advertising
37 Individual Donations
39 UMS Volunteers
41 Annual Fund Support
45 Endowment Fund Support
48 UMS AdvertisersMember Organizations
Cover: (R -L) Andras Schiff (photo: Roberto MasottiECM Records), Complicite: A Disappearing Number (Johs-Jan Bos), Sulayman Al-Bassam Theatre: Richard III-An Arab Tragedy. Sabine Meyer (Thomas Rabsch), Batsheva Dance Company. Hill Auditorium audience (Spencer & Wyckoff)

FROM THE U-M PRESIDENT
Welcome to the 130th season of the University Musical Society (UMS). There is so much to look forward to as UMS once again brings to the University and our regional community renowned artists from all over the world. UMS artists engage with us not only from the stage, but in the classrooms, libraries, community centers, and other places throughout the region where we gather to learn and grow.
When I consider which UMS events best exemplify the coming together of artistic performance and education, I point to the three-week residencies of the Royal Shakespeare Company (RSC) that we have enjoyed in 2001, 2003, and 2006. The most recent residency offered 21 performances of three great Shakespeare titles at the Power Center, featuring award-winning actors Patrick Stewart and Harriet Walter, and more than 140 related educational programs, including 13 for-credit courses at the University.
I am particularly pleased, then, that UMS has chosen to celebrate the partnership between the RSC, UMS, and U-M at this year's 14th Ford Honors Program. At the heart of this unique partnership has been the extraordinary artist-scholar relationship between the RSC's Olivier Award-winning Artistic Director Michael Boyd and U-M's beloved Professor Ralph Williams, both of whom will be honored at the program. This year's Ford Honors Program, usu?ally held in May, will take place Saturday, January 24, 2009, so that students who have participated in the RSC residencies or who have had Dr. Williams in class will be able to attend. Professor Williams will retire from U-M at the end of this academic year, and I hope you will join me at this very special event.
Thank you for attending this UMS performance. Please join us for other UMS events and for performances, exhibitions, and cultural activities offered by our faculty and students in U-M's many outstanding venues. To learn more about arts and culture at Michigan, including information about the grand re?opening of the renovated and expanded U-M Museum of Art in 2009, please visit the University's website at www.umich.edu.
Sincerely,
Mary Sue Coleman
President, University of Michigan
FROM THE UMS PRESIDENT
Welcome to this UMS performance, and thank you for supporting UMS through your attendance. The entire UMS family of Board, Senate, and Advisory Committee members; staff colleagues; Choral Union members; ushers; and hundreds of other volunteers hope that you enjoy the experience and will frequent more UMS events during our exciting 130th season. You'll find all of our performances listed on page 2 of your program insert.
At UMS, we try to make sure that our events offer a chance to learn something new, to look at the world through a different lens, or even to change lives. You'll find much to choose from as solo artists and ensembles from all over the world visit our community and engage with our audiences in many ways. Artists can lift the spirit, challenge perceptions, provide comfort, and deepen understanding. So whether it's Complicite Theatre's A Disappearing Number; Compagnie Heddy Maalem's The Rite of Spring; the Guarneri Quartet's Farewell Tour concert; or our 2009 Ford Honors Program celebrating the Royal Shakespeare Company, its Artistic Director Michael Boyd, and U-M Professor Ralph Williams, we hope you'll find meaning and value as we connect you with our artists for uncommon and engaging experiences.
Please mark Sunday, November 16 in your calendar. On this day, UMS will celebrate the successful completion of our first major fundraising campaign, which has been part of The Michigan Difference, the campaign of the University of Michigan. The University is devoting the weekend of November 13-16 to cele?brate the campaign's successful completion, and UMS is proud to be a part of it. We invite you to join us on November 16 for the 4 pm performance of the Jerusalem Symphony Orchestra in Hill Auditorium followed by a 6 pm reception and dinner in the Ballroom of the Michigan League. We have so much to be thankful for as the UMS family has responded magnificently to helping us achieve our $25 million goal. There is still time to be part of this historic campaign. For more information, call the UMS Development Office at 734.764.8489. Watch for your invitation in the mail in early October for these events.
There have been some transitions since last season. After 13 years of out?standing service as our Director of Education and Audience Development, Ben Johnson left UMS to become Director of Concerts and Lectures at the University of Minnesota. We also said farewell to UMS Board members Hal Davis, Sally Stegeman DiCarlo, and Philip Power, who now become members of the UMS Senate. Joining the UMS Board are Martha Darling, Junia Doan, Chris Genteel, and Robert Macek. We thank all of them for their contributions to UMS.
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.
And thanks again for coming to this event.
Very best wishes.
Kenneth C. Fischer UMS President
FROM UMS CHAIRMAN, CARL HERSTEIN
Welcome to UMS, and thank you for becoming part of one of the most extraordinary communities in the world: a small, Midwestern town in the heart of metro-Detroit that regularly presents the finest artists of our time in outstanding venues. Great artists come to Ann Arbor because we provide the freedom to perform interesting and adventuresome repertoire in an environment that welcomes both old and new, classical and modern. They also come because our audiences reflect the community, which has one of the nation's finest traditions in providing support for the arts.
You have shown your interest in participating in this community by your presence at this performance. Perhaps you have been coming for a lifetime; perhaps you are a student participating in our "Arts & Eats" program, or as part of our K-12 partnership with Ann Arbor, Detroit, and other area schools. You may be an expert who can compare a performance with dozens past or you may be experiencing something new. What each of you has in common is the desire to be a part of a community that is open to the best in our artistic tradition. You create an audience that is both welcoming and discerning. The resulting connection with our artists brings out the absolute best in their per?formances, and I strongly suspect that today will bring a stirring and meaning?ful experience for you.
Now that you have joined us, we invite you to become an active part of the UMS community. The task before us is to add to our wonderful tradition: to maintain that which is special and distinctive, and to add our own contribu?tions. We are still small. We still offer a warm Midwestern welcome. We seek the contributions of all who are willing to embrace the arts and the values they represent. Your attendance, your contributions, your participation in our many endeavors, and your advocacy on our behalf, will enrich our efforts by continuing the special community tradition that we were extraordinarily fortu?nate to inherit.
After you have experienced this performance, we are confident that you will agree that we have an obligation to pass on this artistic tradition to the next generation. UMS has prospered because the power of the arts has moti?vated our audiences to contribute their time and money to sustain it, including keeping prices affordable, providing educational experiences for the young, opportunities for new artists, and the commissioning of new work. People like you allow our community to thrive. Please come often and bring your friends. Reflect on what we have in southeastern Michigan through UMS and help keep our community vibrant through the power of the arts with your gifts of participation and your critically important financial support.
Sincerely,
Carl W. Herstein
Chair, UMS Board of Directors
Leadership
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."
Douglas L. LaFleur
Managing Director, Global Power Group "We at TAQA New World, Inc. are proud to lend our support to the UMS, and are extremely honored to be involved with the performing arts community. Truly, human potential is the most valuable commodity on earth. In joining with other Corporate and Foundation leaders supporting UMS, we find ourselves renewed and inspired."
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 performances for patients, families, and visitors sponsored by our Gifts of Art program, or thera?pies 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 entertain?ment to our communities."
Douglass R. Fox
President, Ann Arbor Automotive "We at Ann Arbor Automotive are pleased to support the artistic variety and program excellence given to us by the University Musical Society."
Laurel R. Champion
Publisher, The Ann Arbor News "The people at The Ann Arbor News are honored and pleased to partner with and be supportive of the University Musical Society, which adds so much depth, color, excite?ment, and enjoyment to this incredible community."
Timothy G. Marshall
President and CEO, Bank of Ann Arbor "A commitment to the community can be expressed in many ways, each different and all appropriate. Bank of Ann Arbor is pleased to continue its long term support of the University Musical Society by our sponsorship of the 0809 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."
Comerica Bank
"Comerica is proud to support the University Musical Society and to sponsor the presentation of the world-renowned Tokyo String Quartet. UMS continues to enrich the local community by bringing the finest performing arts to Ann Arbor, and we're pleased to continue to support this long-standing tradition."
Fred Shell
Vice President, Corporate and Government Affairs,
DTE Energy
The DTE Energy Foundation is pleased to support exemplary
organizations like UMS that inspire the soul, instruct the
mind, and enrich the community."
Edward Surovell
President, Edward Surovell Realtors
'Edward Surovell Realtors and its 300 employees and sales asso?ciates are proud of our 20-year relationship with the University Musical Society. We honor its tradition of bringing the world's leading performers to the people of Michigan and setting a standard of artistic leadership recognized internationally."
Leo Legatski
President, Elastizell Corporation of America 'Elastizell is pleased to be involved with UMS. UMS's strengths are its programming--innovative, experimental, and pioneering--and its education and outreach programs in the schools and the community."
Kingsley P. Wootton
Plant Manager, GM Powertrain Ypsilanti Site "Congratulations on your 130th season! Our community is, indeed, fortunate to have an internationally renowned musical society. The extraordinary array of artists; the variety, breadth and depth of each season's program; and the education and community component are exceptional and are key ingredients in the quality of life for our community, region, and state. It is an honor to contribute to UMS!"
Carl W. Herstein
Partner, Honigman Miller Schwartz and Cohn LLP "Honigman is proud to support non-profit organizations in the communities where our partners and employees live and work. We are thrilled to support the University Musical Society and commend UMS for its extraordinary programming, com?missioning of new work, and educational outreach programs."
Mark A. Davis
President and CEO, Howard & Howard "At Howard & Howard, we are as committed to
enriching the communities in which we live and work as we are to providing sophisticated legal services to businesses in the Ann Arbor area. The performing arts benefit us all, and we are proud that our employees have chosen to support the cultural enrichment provided by the University Musical Society."
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 its contribution to the community. Thank you, UMS. Keep up the great work!"
Dennis Serras
Owner, Mainstreet Ventures, Inc. "As restaurant and catering service owners, we consider ourselves fortunate that our business provides so many opportunities for supporting the University Musical Society and its continuing success in bringing internationally acclaimed talent to the Ann Arbor community."
Sharon J. Rothwell
Wee President, Corporate Affairs and Chair, Masco Corporation Foundation 'Masco recognizes and appreciates the value the performing arts bring to the region and to our young people. We applaud the efforts of the University Musical Society for its diverse learning opportunities and the impact its programs have on our communities and the cultural leaders of tomorrow."
Scott Merz
CEO, Michigan Critical Care Consultants, Inc. (MC3) 'MC3 is proud to support UMS in recognition of its success in creating a center of cultural richness in Michigan."
Erik H. Serr
Principal, Miller, Canfield, Paddock and Stone, P.L.C "Miller Canfield proudly supports the University Musical Society for bringing internationally-recognized artists from a broad spectrum of the performing arts to our community, and applauds UMS for offering another year of music, dance, and theater to inspire and enrich our lives."
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."
Shigeki Terashi
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."
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
W.K. Kellogg Foundation
Michigan Council for Arts and Cultural Affairs
The Power Foundation
$50,000-599,999
Anonymous DTE Energy Foundation Esperance Family Foundation National Endowment for the Arts
$20,000-$49,999
Cairn Foundation
Maxine and Stuart Frankel Foundation The Mosaic Foundation, Washington D.C. National Dance Project of the New England Foundation for the Arts
S10.000-S19,999
Bustan al-Funun Foundation for Arab Arts Community Foundation for Southeast Michigan Eugene and Emily Grant Family Foundation Martin Family Foundation Performing Arts Fund
S1.000-S4,999
THE MOSAIC FOUNDATION (of R. & P. Heydon) 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 Martha Darling Junia Doan Al Dodds Aaron P. Dworkin
Maxine J. Frankel Patricia M. Garcia Chris Genteel Anne Glendon David J. Herzig Christopher Kendall Melvin A. Lester Robert C. Macek Joetta Mial Lester P. Monts Roger Newton
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 Masayo Arakawa, 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
Hal Davis
Sally Stegeman DiCarlo 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 Philip H. Power 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 O. 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
Phyllis Herzig. Chair Janet Callaway, wee Chair Elizabeth Palms, Secretary Sarah Nicoli, Treasurer
Ricky Agranoff ManAnn Apley Lone Arbour Barbara Bach Rula Kort Bawardi Francine Bomar Luciana Borbely Mary Breakey Mary Brown Betty Byrne
Heather Byrne Laura Caplan Cheryl Cassidy Patricia Chapman Cheryl Clarkson Wendy Comstock Norma Davis Mary Dempsey Mary Ann Faeth Michaelene Farrell Sara Fink Susan A. Fischer Susan R. Fisher Kathy Goldberg Walter Graves
Joe Gnmley Susan Gross Susan Gutow Lynn Hamilton Chariene Hancock Alice Hart Rate Juarez Jen Kelch
Meg Kennedy Shaw Pam Krogness Mary LeDuc Joan Levitsky Eleanor Lord jane Maehr Jennifer J. Maisch
Joanna McNamara Liz Messiter Robin Miesel Natalie Mobley Kay Ness Thomas Ogar Allison Poggi Lisa Psarouthakis Swanna Saltiel Agnes Moy Sams Jamie Saville Penny Schreiber Bev Seiford Ahza Shevrin Alida Silverman
Loretta Skewes Andrea Smith Becki Spangler Nancy Stanley Carlin C. Stockson Karen Stutz Eileen Thacker Janet Torno Louise Townley Amanda Uhle Dody Viola Enid Wasserman 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
Claire C. Rice, Interim 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
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 Elizabeth Stover, Programming
Coordinator
Ticket Services
Jennifer Graf, Ticket Services
Manager
Sally A. Cushing, Ticket Office Associate Suzanne Davidson, Assistant Ticket
Services Manager Sara Sanders, Front-of-House
Coordinator Stephanie Zangrilli,
Ticket Office Associate Karen Zobel, Group Sales Coordinator Dennis Carter, Bruce Oshaben,
Brian Roddy, Head Ushers
Students
Catherine Allan Gabriel Bilen Greg Briley Tyler Brunsman Vinal Desai Rebecca Dragonetti Daniel Erben Toniesha Jones Bryan Langlitz Alejandro Manso Mary Martin Michael Matlock Bryan McGivern Michael Michelon Leonard Navarro Andrew Smith Trevor Sponseller Julie Wallace
UMS CORPORATE COUNCIL
Doug Rothwell,
Chair Albert Berriz
Bruce Brownlee Bob Buckler Jim Garavaglia
Rob Gruen Steve Hamp Carl Herstein
Bob Kelch Mary Kramer Sharon Rothwell
Mike Staebler Jim Vella
UMS TEACHER ADVISORY COMMITTEE
Abby Alwm
Fran Ampey Robin Bailey Grela Barf.eld Joey Barker Alana Barter Judy Barthwell Rob Bauman Brita BeiHer Eli Bleiler Ann Marie Borders
David Borgsdorf Sigrid Bower Marie Brooks Susan Buchan Deb Clancy Carl Clark Ben Cohen Julie Cohen Leslie Criscenti Orelia Dann Saundra Dunn
Johanna Epstein Susan Filipiak Katy Fillton Detores Flagg Joey Fukuchi Jeff Gaynor Joyce Gerber Barb Grabbe Joan Grissmg Linda Jones Jeff Kass
Rosalie Koenig Sue Kohfeldt Laura Machida Fran Marroquin Jose Mejia Kim Mobley Eunice Moore Michelle Peet Anne Perigo Rebeca Pietrzak Cathy Reischl
Jessica Rizof Vicki Shields Sandra Smith Gretchen Suhre Julie Taylor Cayla Tchalo Dan Tolly Alex Wagner Barbara Wallgren Kimberley Wright Kathryn Young
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GENERAL INFORMATION
Barrier-Free Entrances
For persons with disabilities, all venues have barrier-free entrances. Wheelchair locations vary by venue; visit www.ums.orgtickets or call 734.764.2538 for details. Ushers are available for assistance.
Listening Systems
For hearing-impaired persons, Hill Auditorium, Power Center, and Rackham Auditorium are equipped with assistive listening devices. Earphones may be obtained upon arrival. Please ask an usher for assistance.
Lost and Found
For items lost at Hill Auditorium, Lydia Mendelssohn Theatre, Power Center, or Rackham Auditorium please call University Productions at 734.763.5213. For the Michigan Theater, call 734.668.8397. For St. Francis of Assisi, call 734.821.2111.
Parking
Please allow plenty of time for parking as the campus area may be congested. Parking is available in the Church Street, Maynard Street, Thayer Street, Fletcher Street, and Fourth Avenue structures for a minimal fee. Limited street parking is also available. Please allow enough time to park before the performance begins. UMS donors at the Patron level and above ($1,000) receive 10 complimentary park?ing passes for use at the Thayer Street or Fletcher Street structures in Ann Arbor.
UMS offers valet parking service for Hill Auditorium performances in the 0809 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 members at the Concertmaster level and above 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 Willliam and Liberty, $.80hr, free on Sunday.
For up-to-date parking information, please visit www.ums.orgparking.
Refreshments
Refreshments are available in the lobby during intermissions at events in the Power Center, in the lower lobby of Hill Auditorium (beginning 75 minutes prior to concerts--enter through the west lobby doors), and in the Michigan Theater. Refreshments are not allowed in the seating areas.
Smoking Areas
University of Michigan policy forbids smoking in any public area, including the lobbies and restrooms.
Start Time
UMS makes every effort to begin concerts at the published time. Most of our events take place in the heart of central campus, which does have limited parking and may have several events occurring simultaneously in different theaters. Please allow plenty of extra time to park and find your seats.
Latecomers
Latecomers will be asked to wait in the lobby until seated by ushers. Most lobbies have been outfitted with monitors andor speakers so that latecomers will not miss the performance.
The late-seating break is determined by the artist and will generally occur during a suitable repertory break in the program (e.g., after the first entire piece, not after individual movements of classical works). There may be occasions where latecomers are not seated until intermis?sion, as determined by the artist. UMS makes every effort to alert patrons in advance when we know that there will be no late seating.
UMS tries to work with the artists to allow a flexible late-seating policy for family perform?ances.
UMS TICKETS
Group Tickets
Treat 10 or more friends, co-workers, and family members to an unforgettable performance of live music, dance, or theater. Whether you have a group of students, a business gathering, a college reunion, or just you and a group of friends, the UMS Group Sales Office can help you plan the perfect outing. You can make it formal or casual, a special celebration, or just friends enjoying each other's company. The many advantages to booking as a group include:
Reserving tickets before tickets go on sale to the general public
Discounts of 15-25 for most performances
Accessibility accommodations
No-risk reservations that are fully refundable up to 14 days before the performance
1-3 complimentary tickets for the group organizer (depending on size of group). Complimentary tickets are not offered for performances with no group discount.
For more information, please contact 734.763.3100 or e-mail umsgroupsalesO umich.edu.
Classical Kids Club
Parents can introduce their children to world-renowned classical music artists through the Classical Kids Club. For more information please see page P33.
NETWORK Tickets
Members of the UMS African American Arts Advocacy Committee receive discounted tickets to certain performances. For more information please see page P29.
Student Tickets
Discounted tickets are available for University students and teenagers. Information on all UMS University Student Ticketing programs can be found on page P34. Teen Ticket infor?mation can be found on page P31.
Gift Certificates
Available in any amount and redeemable for any of more than 60 events throughout our season, delivered with your personal message, the UMS Gift Certificate is ideal for weddings, birthdays, Christmas, Hanukkah, Mother's and Father's Days, or even as a housewarming pres?ent when new friends move to town.
UMS Gift Certificates are valid for 12 months from the date of purchase. 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 (by mail or in person) at least 48 hours prior to the performance. The value of the tickets
Info
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 April 26, 2009
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 the past 129 years, strong leadership coupled with a devoted community has placed UMS in a league of internationally recognized performing arts presenters. Today, the UMS seasonal program is a reflection of a thoughtful respect for this rich and varied history, balanced by a commit?ment to dynamic and creative visions of where the performing arts will take us in this new millennium. 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 many Choral Union members also belonged to the University, the University Musical Society was established in December, 1880. UMS included the Choral Union and University Orchestra, and throughout the year presented a series of concerts featuring 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 projects, UMS has maintained its reputation for quality, artistic distinction, and innovation. UMS now hosts over 50 performances and more than 125 educational events each sea?son. UMS has flourished with the support of a generous community that this year gathers in eight different Ann Arbor venues.
The UMS Choral Union has likewise expanded its charge over its 129-year history. Recent collaborations have included the Grammy Award-winning recording of William Bolcom's Songs of Innocence and of Experience (2004), John Adams's On the Transmigration of Souls with the Detroit Symphony Orchestra (2007), and Shostakovich's Symphony No. 13 ("Babi Yar") with the Kirov Orchestra of St. Petersburg (2006).
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 FALL 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, new seats to
increase patron comfort, introduction of barriei-free seating and stage access, the replacement of theatrical performance and audio-visual systems, and the complete replacement of mechanical and electrical infrastructure systems for heating, ventilation, and air conditioning. Hill Auditorium seats 3,575.
Michigan Theater
The historic Michigan Theater opened January 5, 1928 at the peak of the vaudevillemovie palace era. Designed by Maurice Finkel, the 1,710-seat theater cost around $600,000 when it was first built. As was the custom of the day, the theater was equipped to host both film and live stage events, with a full-size stage, dressing rooms, an orchestra pit, and the Barton Theater Organ. At its opening, the theater was acclaimed as the best of its kind ir the country. Since 1979, the theater has been operated by the not-for-profit Michigan Theater Foundation. With broad community support, the Foundation has raised over $8 million to restore and improve the Michigan Theater. The beautiful interior of the theater was restored in 1986.
In the fall of 1999, the Michigan Theater opened a new 200-seat screening room addi?tion, which also included expanded restroom facilities for the historic theater. The gracious facade and entry vestibule was restored in 200C
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 Auditoriurr was too massive and technically limited for most productions, and the Lydia Mendelssohn Theatre was too small. The Power Center was built to supply this missing link in design and seating capacity.
In 1963, Eugene and Sadye Power, togethe with their son Philip, wished to make a major gift to the University, and amidst a list of University priorities "a new theater" was
r lentioned. The Powers were immediately inter-i sted, realizing that state and federal govern-nents were unlikely to provide financial support for the construction of a new theater.
Opening in 1971 with the world premiere cf The Grass Harp (based on the novel by Iruman Capote), the Power Center achieved the seemingly contradictory combination of providing a soaring interior space with a mique level of intimacy. Architectural features include two large spiral staircases leading from he orchestra level to the balcony and the well-known mirrored glass panels on the exterior. The lobby of the Power Center presently faatures two hand-woven tapestries: Modem Tapestry by Roy Lichtenstein and Volutes (Arabesque) by Pablo Picasso.
The Power Center seats approximately ' ,400 people.
rbor Springs Water Company is generously providing complimentary water to UMS artists backstage at the I ower Center throughout the 0809 season.
I ackham Auditorium S ixty years ago, chamber music concerts in Ann Arbor were a relative rarity, presented in in assortment of venues including University Hall (the precursor to Hill Auditorium), Hill Auditorium, and Newberry Hall, the current ome of the Kelsey Museum. When Horace H. Fackham, a Detroit lawyer who believed s:rongly in the importance of the study of ruman 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 cevelopment of graduate studies. Even more remarkable than the size of the gift is the fact tnat neither he nor his wife ever attended the University of Michigan.
Designed by architect William Kapp and architectural sculptor Corrado Parducci, I ackham Auditorium was quickly recognized
as the ideal venue for chamber music. In 1941, UMS presented its first chamber music festival with the Musical Art Quartet of New York per?forming three concerts in as many days, and the current Chamber Arts Series was born in 1963. Chamber music audiences and artists alike appreciate the intimacy, beauty, and fine acoustics of the 1,129-seat auditorium, which has been the location for hundreds of chamber music concerts throughout the years.
St. Francis of Assisi Catholic Church
Dedicated in 1969, St. Francis of Assisi Catholic Church has grown from 248 families when it first started to more than 2,800 today. The present church seats 1,000 people and has ample free parking. In 1994, St. Francis pur?chased a splendid three manual "mechanical action" organ with 34 stops and 45 ranks, built and installed by Orgues Letourneau from Saint Hyacinthe, Quebec. Through dedication, a commitment to superb liturgical music, and a vision to the future, the parish improved the acoustics of the church building, and the reverberant sanctuary has made the church a gathering place for the enjoyment and con?templation of sacred a cappella choral music and early music ensembles.
Burton Memorial Tower
Seen from miles away, Burton Memorial Tower is one of the most well-known University of Michigan and Ann Arbor landmarks. Designed by Albert Kahn in 1935 as a memorial to U-M President Marion Leroy Burton, the 10-story tower is built of Indiana limestone with a height of 212 feet. The carillon, one of only 23 in the world, is the world's fourth heaviest containing 55 bells and weighing a total of 43 tons. UMS has occupied administrative offices in this building since its opening, with a brief pause in the year 2000 for significant renovations.
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Fall 2008 Season 130th Annual Season i
General Information
On-site ticket offices at performance venues open 90 minutes before each performance.
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
Saturday, October 4 through Wednesday, October 15, 2008
The Art of the Oud featuring 5
Omar Bashir, Rahim AlHaj, and Farida and the Iraqi Maqam Ensemble
Saturday, October 4, 8:00 pm Rackham Auditorium
Tokyo String Quartet with 9
Sabine Meyer
Sunday, October 12, 7:00 pm Rackham Auditorium
Compagnie Heddy Maalem 17
Le Sacre du Printemps
Wednesday, October 15, 8:00 pm Power Center
THE 130TH UMS SEASON
Fall 2008
September
10-14 Wed-Sun Complicate: A Disappearing Number
19-20 Fri-Sat Mark Morris Dance Group
27 SatWayne Shorter Quartet and the Imani Winds
October
4 Sat The Art of the Oud featuring Omar Bashir, Rahim AlHaj, and Farida and the Iraqi Maqam Ensemble 12 Sun Sphinx Orchestra
12 Sun Tokyo String Quartet with
Sabine Meyer, clarinet
15 WedCompagnie Heddy Maalem: The Rite of Spring
17 Fri Soweto Gospel Choir
18 Sat Milton Nascimento and the Jobim Trio
19 Sun Camerata Salzburg with
Anne-Sophie Mutter, violin 24 Fri Andras Schiff: Beethoven Concert 5
26 Sun Andras Schiff: Beethoven Concert 6
27 Mon Michigan Chamber Players
November
7 FriJoe Lovano "Us Five" Quintet and Jason Moran
8 SatEmanuel Ax and Yefim Bronfman, pianos
13 Thu Estonian Philharmonic Chamber Choir
16 Sun Jerusalem Symphony Orchestra with Robert
McDuffie, violin
December
6-7 Sat-Sun Handel's Messiah
Winter 2009
January
9-10 Fri-SatRubberbandance Group 11 Sun Guarneri String Quartet 16 Fri Tord Gustavsen Trio
19 Mon Rev. Dr. Martin Luther King, Jr. Day Event, TBA 23-24 Fri-SatOilgamesh: Kinan Azmeh, clarinet and Kevork Mourad, MaxMSP
24 SafFord Honors Program honoring the Royal
Shakespeare Company, Michael Boyd, and Ralph Williams
25 Sun Richard Goode, piano 29 Thu Chanticleer
31 SafMichigan Chamber Players
February
7 SatLawrence Brownlee, tenor with
Martin Katz, piano 12 Thu Sweet Honey in the Rock 13fr-Kodo 14-15 Sat-Sun Batsheva Dance Company
March
7-8 Sat-Sun New York Philharmonic
10 Tue Wynton Marsalis and Jazz at Lincoln Center
Orchestra
11 WedBrentano String Quartet with Peter Serkin,
piano and Richard Lalli, baritone
12 Thu Aswat: Celebrating the Golden Age of Arab
Music with Simon Shaheen and the Golden Age
Orchestra 13-14 Fri-SatThe Silk Road Ensemble with
Yo-Yo Ma, cello
18 WedAltenberg Trio Vienna 19-22 Thu-Sun Sulayman Al-Bassam Theatre:
Richard III An Arab Tragedy
22 Sun Zakir Hussain, tabla with
Pandit Shivkumar Sharma, santoor 26 Thu The Romeros 29 Sun Dan Zanes & Friends
April
1 WedJohn Williams, guitar
2 Thu St. Louis Symphony Orchestra with
Anssi Karttunen, cello 4 Sat Chick Corea and John McLaughlin:
Five Peace Band
9 Thu Andras Schiff: Beethoven Concert 7 11 SatAndras Schiff: Beethoven Concert 8
16 ThuKurt Elling Sings the ColtraneHartman
Songbook
17 FriTakacs Quartet with Marc-Andre Hamelin, piano 18-19 Sat-Sun Mohammed Bennis and the Hmadcha
Ensemble (from the Fez Festival of Sufi Culture)
23 Thu-VMS Choral Union
24 FriJulia Fischer, violin with Milana Chernyavska, piano 25-26 Sat-Sun Compagnie Marie Chouinard
UMS Educational Events
through Wednesday, October 15, 2008
All UMS educational activities are free, open to the public, and take place in Ann Arbor unless otherwise noted. For complete details and updates, please visit www.ums.org or contact the UMS education department at 734.647.6712 or umsed@umich.edu.
The Art of the Oud featuring Omar Bashir, Rahim AlHaj, and Farida and the Iraqi Maqam Ensemble
Panel Discussion: "The Arts of Iraq: Artists in the Diaspora"
Saturday, October 4, 11 am
Performance Network Stage (120 E. Huron Street)
Every American has heard about the devasta?tion of the Iraq war, most often from a distinctly American perspective. Now, hear firsthand from Iraqi artists and scholars about a different and un?seen consequence of that conflict: its devastating impact on arts and culture, artists and their fami?lies, and the fabric of society that arts and culture provide. Learn what happened, and what artists in the diaspora are doing to survive and rebuild their livelihoods, while processing their experi?ences through art.
Iraqi oudist Rahim AlHaj will be a featured panelist.
This collaboration between Performance Network Theatre (PNT) and UMS is in conjunc?tion with the PNT production of Heather Raffo's 9 Parts of Desire and UMS's Performing Arts of the Arab World opening event.
Post-Performance Reception with the Artists
Saturday, October 4, post performance Rackham Auditorium Lobby
Join fellow audience members and artists for a re?ception following the performance in the lobby of Rackham Auditorium. Masri Sweets will provide delicacies from the Arab World.
A collaboration with the Bustan al-Funun Foundation for Arab Arts in America.
Compagnie Heddy Maalem
Artist Interview: Heddy Maalem
Monday, October 13, 2:30-3:30 pm Betty Pease Studio, 2nd Floor, U-M Department of Dance, 1310 N. University Court, behind CCRB, off Observatory Road
French-Algerian choreographer Heddy Maalem will be interviewed by Robin Wilson, U-M Associ?ate Professor of Dance. Mr. Maalem will discuss his life and work including his most recent piece, Le Sacre du Printemps. His explosive version of The Rite of Spring was inspired by his time spent in Lagos, Nigeria, and features 14 performers from Mali, Benin, Nigeria, Senegal, Togo, and Mozam?bique. In his rendition, the story of a pagan spring ritual is transported to modern Africa. Open to the public for observation.
A collaboration with the U-M Department of Dance and the U-M School of Music, Theatre & Dance.
Masterclass: Compagnie Heddy Maalem
Tuesday, October 14, 12:45-2:15 pm
U-M Department of Dance, 1310 N. University
Court, behind CCRB, off Observatory Road
Dancers from Compagnie Heddy Maalem lead U-M Dance students in a modern technique masterclass. Open to the public for observation only.
presents
The Art of the Olid
featuring
Omar Bashir, Oud Rahim AlHaj, Oud
and
Farida and the Iraqi Maqam Ensemble
Farida Abbas, Vocals Mohammad Al Bawi, Jozza Abdulatif S. Al Obaidi, Riq Wesam Alazzawy, Santur
Program
Saturday Evening, October 4, 2008 at 8:00 Rackham Auditorium Ann Arbor
The Art of the Oud
Remembering Munir Bashir and the Baghdad Conservatory of Music
Tonight's program will be performed with one intermission following Mr. AlHaj's solo oud set and will be announced from the stage by the artists.
10th Performance of the 130th Annual Season
UMS Global: Performing Arts of the Arab World
The photographing or sound and video recording of this concert or posses?sion of any device for such recording is prohibited.
The Performing Arts of the Arab World series is sponsored by TAQA New World, Inc.; The Mosaic Foundation, Washington DC; and the Community Foundation for Southeast Michigan and Bustan al-Funun Foundation for Arab Arts.
Made possible in part by U-M Center for World Performance Studies and the U-M Islamic Studies Initiative.
Funded in part by the Wallace Endowment Fund.
Funded in part by the Consulate General of the Netherlands in New York.
Special thanks to Rahim AlHaj and Ben Johnson for participating in tonight's Prelude Dinner.
Media partnership provided by The Arab American News and ArabDetroit.com.
Special thanks to Bustan al-Funun Foundation for Arab Arts in America and Performance Network for their participation in this residency.
Special thanks to Steven Ball for coordinating the pre-concert music on the Charles Baird Carillon.
Large print programs are available upon request.
Iraq's Exiled Virtuoso
In 2004, Rahim AlHaj visited Iraq for the first time in 13 years and found that the Institute of Music in Baghdad--his alma mater--was burned and desolate.
There is no music anymore in Iraq," says Ra?him AlHaj, a renowned master of the oud, a stringed instrument that some trace to the beginning of Mesopotamian civilization 5,000 years ago.
Mr. AlHaj, who came to the US as a political refugee in 2000 and now lives in Albuquerque, re?leased his fourth album, When the Soul is Settled: Music of Iraq, in 2006. Produced by Smithsonian Folkways Recordings, it's a collection of traditional Iraqi maqams, or "suites," that include improvised passages. Folkways set out to produce the album following the US-led invasion, largely to counter the superficial picture of Iraqi life in newscasts, says producer D. A. Sonnebom. The label wasn't look?ing for political music, and Mr. AlHaj's maqams, which touch on phenomena such as the cycles of the moon, are about the ancient land's culture.
Which isn't to say that Rahim AlHaj himself is apolitical. As a young man, he was active in a se?cret political party that opposed Saddam Hussein's regime, and he wrote protest songs. He says he was imprisoned in 1986 and 1988--the first time for a year-and-a-half--and that he was subjected to beatings. He hid his hands so they would not be injured. Mr. AlHaj's family arranged for him to leave the country; his mother sold all her posses?sions, even her clothes, and spent $20,000 on false identity papers.
In February 1991, a month after the Persian Gulf war started, Mr. AlHaj fled to Jordan. Musi?cal instruments could not be taken out of Iraq, and when he reached the border he could not explain that he was the famous Rahim AlHaj; his oud was seized. He lived in Jordan for two years and then in Syria, where he met his wife, Nada Kherbik, before coming to the US.
Now Rahim AlHaj performs dozens of US concerts. The oud he plays was made by a child?hood friend, Farhan Hassn, who lives in Iraq. The instrument bears two homing pigeons, inlaid in wood; as boys, Mr. AlHaj and Mr. Hassn raised the birds in Baghdad. Today, Rahim AlHaj raises homing pigeons in his backyard. "I learned from them," says Mr. AlHaj, who says he might live again in Iraq. "Send them thousands of miles, but
one day, they will come back. They have some kind of very unique relationship with their place."
--Katy June-Friesen
Omar Bashir was born in 1970 in Budapest, Hun?gary. Mr. Bashir began studying the oud at the age of five under the tu?telage of his father, the legendary musician and teacher Munir Bashir. At age seven, Mr. Bashir joined the Baghdad School of Music and Ballet where he eventually became a
Omar Bashir
teacher and set up his own band ot Z4 musicians specializing in traditional Iraqi music. Omar Bashir's ensemble performed regularly across Egypt, Russia, Turkey, and many Arabic countries.
In 1991, Omar Bashir returned to Budapest where he joined the Franz Liszt Academy and per?formed with his father until his passing in 1997. To?day, he is considered one of the most brilliant oud players alive, creating a sparkling mixture of tradi?tional Arabic music with jazz-like improvisation.
Rahim AlHaj, virtuoso oud musician and composer, was born in Baghdad, Iraq, and began playing the oud at age nine. Early on, it was evident that he had a remarkable talent for playing the oud. Mr. AlHaj studied under the renowned Munir Bashir, considered by many to be the greatest oud player of all time, and Salim Ab?dul Kareem, at the Institute of Music in Baghdad, Iraq. Mr. AlHaj won various awards at the Con?servatory and graduated in 1990 with a diploma in composition. He also holds a degree in Arabic Literature from Mustunsariya University in Bagh?dad. In 1991, after the first Gulf War, Mr. AlHaj was forced to leave Iraq due to his activism against the Saddam Hussein regime and began his life in Jordan and Syria. He moved to the US in 2000 as a political refugee and has resided in Albuquerque, New Mexico ever since.
Rahim AlHaj has performed hundreds of con?certs all over the world, on tour with Munir Bashir, as well as solo and with his string quartet, includ-
ing in the Middle East, Europe, and throughout the US. Mr. Al-Haj's music deli?cately combines traditional Iraqi maqams with con?temporary styling and influence. His compositions are
Rahim AlHai
about the experience of exile from his homeland and of new beginnings in his adopted country. His songs establish new concepts without altering the foundation of the traditional Iraqi School of Oud.
Mr. AlHaj currently has five CD recordings: Home Again, When the Soul is Settled: Music of Iraq, Friendship: Oud and Sadaqa String Quartet, The Second Baghdad, Iraqi Music in a Time of War, and lingua franca. In June 2006, Don Heckman, reviewing one of AlHaj's album releases for the Los Angeles Times, wrote: "AlHaj's spontaneous inventions are constantly fascinating--a convinc?ing affirmation of the rich culture of an embattled area of the world." Rahim AlHaj won the Albu?querque Arts Alliance Bravo Award 2003 for Ex?cellence in Music and was dubbed "The Prophet with an Oud" by a music reviewer at the College of William and Mary.
Mr. AlHaj's CD's have become bestsellers and his songs and life story are frequently featured on na?tional radio shows and movies worldwide, including the BBC, CNN International, NPR's All Things Con?sidered, ABC National Radio Australia, Amy Good?man's Democracy Now, and NPR's Studio 360.
Farida Mohammad AM was born in 1963 in Kerbala, Iraq. She has established a reputa?tion throughout the Arab world for her brilliant per?formances of the classical maqam, a form of Arab art music traditionally sung by men. Her power?ful voice and her extensive training in the Iraqi and
Farida
Arab maqams have enabled her to perform some of the most challenging maqams of Arab music. Teachers Munir Bashir, Sha Ubi Ibrahim, Hus-
sein Al-Athami, and Mohammad Gomar encour?aged her to perform classical Iraqi maqam despite the traditional barrier to women. Farida was a member of Munir Bashir's Iraqi Musical Heritage Group from 1986-1989 before the formation of the Iraqi Maqam Ensemble. Farida graduated from the Institute of Music in Baghdad in 1990, mas?tered 19 maqams, and became the first woman to teach classical maqam in Iraq. Her CD Mawal & Maqama Iraq by New Samarkand was chosen as "Top of the World" by the international music magazine Songlines published in London in Oc?tober 2000. She has participated in many inter?national events, including prestigious festivals in Moscow, Uzbekistan, Tunisia, Jordan, Lebanon, Morocco, Algeria, Iraq, Holland, England, France, Germany, and Belgium.
The Iraqi Maqam Ensemble was founded in 1989 in Baghdad by Mohammad H. Gomar as a continuation of the Iraqi Musical Heritage Group, which was initiated in 1973 by Munir Bashir. The musicians of the Iraqi Maqam Ensemble studied and received diplomas from the Musical Institute and Academy of Fine Arts in Baghdad, Iraq. The ensemble's objective is to revive and spread Iraqi maqam and Iraqi musical heritage through per?forming in Arabic and international music festi?vals. The Iraqi Maqam Ensemble is considered to be one the most important forces in the revival of the Iraqi maqam. The ensemble has been invited to many of the most prestigious international mu?sic festivals and is considered to be one of the best performing Arabic ensembles in the world.
UMS ARCHIVES
Tonight's opening concert of UMS's Performing Arts of the Arab World Series celebrating the legacy of Munir Bashir and the Baghdad Conservatory of Music features the UMS debuts of both Omar Bashir and Farida and the Iraqi Maqam Ensemble. Tonight marks Rahim AlHaj's second UMS ap?pearance, having made his UMS debut in a duet concert with percussionist Souhail Kaspar in Rackham Auditorium in March 2007.
and
Comerica Bank
present
Tokyo String Quartet
Martin Beaver, Violin Kikuei Ikeda, Violin Kazuhide Isomura, Viola Clive Greensmith, Cello
with
Sabine Meyer
Clarinet
Program Sunday Evening, October 12, 2008 at 7:00
Rackham Auditorium Ann Arbor
Ludwig van Beethoven String Quartet in A Major, Op. 18, No. 5
Allegro
Menuetto
Andante cantabile
Allegro
Bela Bartok String Quartet No. 5, Sz. 102
Allegro
Adagio molto
Scherzo: Alia bulgarese
Andante
Finale: Allegro vivace
INTERMISSION
Johannes Brahms Clarinet Quintet in b minor. Op. 115
Allegro
Adagio
Andantino; Presto non assai, ma con sentimento
Con moto
Ms. Meyer

11th Performance of the 130th Annual Season
46th Annual Chamber Arts Series
The photographing or sound and video recording of this concert or posses?sion of any device for such recording is prohibited.
Tonight's performance is sponsored by Comerica Bank.
Media partnership provided by WGTE 91.3 FM and Observer & Eccentric Newspapers.
Special thanks to Steven Ball for coordinating the pre-concert music on the Charles Baird Carillon.
Tokyo String Quartet appears by arrangement with Opus 3 Artists.
Tokyo String Quartet is Artist-in-Residence at Yale University's School of Music.
Tokyo String Quartet has recorded for AngelEMI, BMG Classics, CBS Masterworks, Deutsche Grammophon, Vox Cum Laude, and Vanguard.
Tokyo String Quartet performs on the four Stradivarius instruments known as the "Paganini Quartet", generously on loan from the Nippon Music Foundation.
Large print programs are available upon request.
Now that you're in your seat...
Since Bach wrote no string quartets (the genre not having been invented yet during his life?time), the three great "B's" of the quartet literature are Beethoven, Brahms, and Bartbk. The three works on tonight's program span more than 130 years in history, yet their central concern is essentially the same: the relationship between tradition and innovation. Each compo?sition reconciles those two opposites in its own way; each reflects on the past while speaking in an unmistakably personal voice that is very much part of the present.
String Quartet in A Major, Op. 18, No. 5 (1798-1800)
Ludwig van Beethoven
Born December 15 or 76, 1770 in Bonn, Germany
Died March 26, 1827 in Vienna
Snapshot of History...
1798: Edward Jenner discovers vaccination 1798: Samuel Taylor Coleridge writes The Rime
of the Ancient Mariner 1798: Thomas Malthus publishes Essays on the
Principles of Population 1799: Napoleon stages a coup, and becomes
First Consul 1800: Thomas Jefferson becomes President of
the United States
When Beethoven left his native Bonn for Vienna in 1792, his patron Count Waldstein sent him on his way with the prophetic words: "With the help of assiduous labor you shall receive Mozart's spirit from Haydn's hands." Once in Vienna, the young composer lost no time in claiming his place as the rightful heir of Haydn and Mozart. But it was like someone who moves into an old house and im?mediately starts remodeling.
Commentators on Beethoven's A-Major quartet (and their number is legion) never fail to point out the young composer's debt to Mozart, in particular the quartet in the same key (K. 464) that Mozart included in a set of six works dedi?cated to Haydn. No one will dispute this claim, which is based on the external structuring of the work: like Mozart, Beethoven placed his minuet in second place, and included a set of slow varia?tions in the key of D Major. The more important question, however, is whether this quartet sounds anything like Mozart. And there, the answer has to be a definite no--from the very first measures
we hear the sudden offbeat accents so typical of Beethoven, a certain dance rhythm rarely used by Mozart, and myriad other fingerprints that unmis?takably belong to Beethoven and no one else.
In a more profound sense, Beethoven's debt--to Mozart and even more importantly to Haydn who had also been Mozart's model--is in the way the four instruments blend together as equals, or take tums as leaders. Between 1799-1800, when Beethoven was composing his Op. 18, Mozart had been dead for nearly a decade, but the much older Haydn was still actively com?posing. Haydn and his erstwhile rebellious student even found themselves in a kind of quartet-writing competition, as both had been commissioned by Prince Franz Joseph von Lobkowitz. But the older composer only finished two quartets from the six that had been planned (eventually published as Op. 77), leaving the field to the young genius that Haydn used to call, jokingly, the "Grand Mogul."
The general feeling of the opening move?ment is rather cheerful and lighthearted, but that feeling seems to be constantly contradicted by the frequent incursions into the minor mode and the sudden rests interrupting the musical flow. As a result, we are kept on the edge of our seats, never knowing what is going to happen in the next minute.
Experts have called the second-movement minuet "simple," mainly because it is an old-fash?ioned minuet rather than the more novel scherzo. Yet it is a sophisticated simplicity; even when the texture is down to the two violins as it is at the beginning, the phrases don't always go where they are expected to, nor are they necessarily over after the standard length of eight bars. The sud?den outburst in a minor key in the middle of the minuet, followed by a general rest, is certainly a surprise, as is the varied recapitulation involving some contrapuntal imitation. The trio would be
"simple" indeed, and even "Schubertian" as has been claimed, were it not for those persistent, and disquieting, offbeat accents.
With its theme completely assembled by scales, going first down and then up, the third movement again looks like a model of simplicity. It is one of many variation themes by Beethoven that are kept purposely "bare-bones" in order to allow for some spectacular development in the variations. But the latter turn out to be much more than the figurative embellishments of tradi?tional variation writing. The very first one intro?duces counterpoint. The second variation may be more conventional, but the third is a breathtaking essay in musical color; the fourth a stunning chro?matic chorale; and the fifth a grandiose statement of almost symphonic breadth. One would expect a sixth variation, but instead--after a sudden leap into a remote key--Beethoven appends a coda (conclusion) which is really a free meditation on the opening portion of the theme.
The finale is brilliant and virtuosic, with a swiftly running first theme and a second one that moves quite a bit more slowly. Both themes are manipulated with great ingenuity and are finally combined in the witty coda.
String Quartet No. 5, Sz. 102 (1934)
Bela Bart6k
Born March 25, 1881 in Nagyszentmiklos,
Hungary (now Stnnicolau Mare, Romania) Died, September 26, 1945 in New York
Snapshot of History...
1934: Shostakovich's opera Lady Macbeth of the Mtsensk District is first performed in Leningrad (January)
1934: Virgil Thomson and Gertrude Stein's opera Four Saints in Three Acts is first performed in Hartford, Connecticut (February)
1934: Bonnie Parker and Clyde Barrow commit their crimes and are shot (May)
1934: Austrian Chancellor Engelbert Dollfuss is assassinated by the Nazis (July)
1934: Luigi Pirandello receives the Nobel Prize in Literature (October)
1934: Sergei Kirov, the head of the Communist Party in Leningrad, is assassinated, prob?ably on Stalin's orders (December)
In his six masterful quartets, Bela Bart6k cre?ated a classical sense of harmony and balance using entirely new and non-classical means--an achievement to which few of his contemporaries can lay claim. Each of the quartets has a different sequence of movements, and there is not a single one that adheres to the classical allegro-adagio-scherzo-finale scheme. Devising the unique form to best serve his intentions in each case was one of Bartbk's most important contributions to the genre of the string quartet. String Quartet No. 5 follows a symmetrical five-movement layout, with a scherzo in the center, framed by two slow movements (Nos. 2 and 4) and two fast ones in the extreme positions. This scheme, which makes for a regular alternation of fast and slow tempos, actually results in a seven-fold symmetry, since the central scherzo is itself in an A-B-A form.
The main theme of the first movement grows out of a single note, repeated many times by the four instruments in rhythmic unison. Similarly to the first movement of the String Quartet No. 4, this "Allegro" follows sonata form, and the con?trast among the various themes (the opening os-tinato, the angular rhythms of the second theme, and the long legato lines of the third) propels the movement on its path. Bart6k's fondness for mirror symmetries is further expressed in the the?matic inversions during the recapitulation: in that section, all the themes return "upside down," with ascending intervals substituted for descend?ing ones and vice versa.
The second movement is one of Bartok's so-called "night musics"--a gripping evocation of the mysterious noises of the night as heard by a solitary observer lost in contemplation. A theme of an almost Romantic tenderness, harmonized with conventional triads that sound entirely non-con?ventional in their 20th-century context, emerges out of the isolated trills of the opening, represent?ing the voice of the individual. The tremolos and pizzicatos that soon appear, including pizzicatos with the nail of the left index finger, create an eerie atmosphere, which is relieved by a return of the pure chords of the earlier melodic section. True to his concept of symmetry that governs the entire quartet, Bartok retums to the opening trills at the very end.
The third movement is a scherzo in "Bul?garian rhythm," that is, in the characteristic mixed meters often found in the folk music of the Bal?kan nation. The basic pattern of the scherzo is
one-two-three-four, one-two, one-two-three (in a rather fast tempo). Two different melodic mo?tifs are made to fit into the "regular irregularity" of the rhythm: an idea that moves up and down in a chain of thirds, and another one that evokes Hungarian folk music with its melodic outline. The Trio section (which is the center of symmetry for the entire work) brings a particularly striking folk melody played by the viola in its high register, an?swered by the cello, against the agitated figura?tions of the first violin. The return of the scherzo is a free re-composition rather than a literal repeat, again involving inversion of the themes.
In many ways, the fourth-movement "An?dante" harks back to the second movement: again we hear isolated gestures and mysterious noises gradually giving rise to more sustained melodies. But this time, Bartbk includes an additional ele?ment: a powerful cry in the form of a terse motif of only two notes--an ascending minor third. This motif becomes the basis of a passionate middle section that is the total emotional opposite of the quiet and meditative "Adagio." A few slow pizzicato chords played by the cello serve to bring some calm to the final measures of the move?ment.
The music of the last movement is driven for?ward by rambunctious dance rhythms and playful imitations (as though the instruments were play?ing catch). The many repeated notes recall the os-tinatos of the first movement (another symmetri?cal touch), but the earlier thematic contrasts have all but disappeared. A startling episode occurs just before the end: a passage marked Allegretto con indifferenza where the second violin plays an in?tentionally banal little melody to the "meccanico" accompaniment of the viola. When the first violin takes over the melody a jarring half-step higher, the joke becomes cruel, and is finally brushed aside by a return of a fast tempo and a mad rush which will last to the end.
Clarinet Quintet in b minor. Op. 115 (1891) Johannes Brahms
Born May 7, 1833 in Hamburg, Germany Died April 3, 1897 in Vienna
Snapshot of History...
1891: The University of Chicago is founded 1891: Carnegie Hall opens its doors in New York
City 1891: Oscar Wilde writes The Picture of Dorian
Gray
1891: Tchaikovsky starts work on The Nutcracker 1891: Henri Toulouse-Lautrec paints his famous
poster Moulin-Rouge
The clarinet was the only woodwind instrument Johannes Brahms ever included in his chamber music works. Clarinetists have to be eternally grateful to Richard Muhlfeld, a member of the ex?cellent Meiningen Orchestra, for inspiring no few?er than four magnificent late works by Brahms: the Trio (Op. 114), the Quintet (Op. 115), and the two Sonatas (Op. 120).
Brahms was a frequent visitor to the Ger?man city of Meiningen, whose orchestra had become one of the best in Europe under the great Hans von BCilow. (The premiere of Brahms's Symphony No. 4 was given there in 1885.) Muh?lfeld was already a member of the orchestra at that time, but his personal friendship with Brahms did not begin until 1891, when Brahms came to town to hear the orchestra under Biil-ow's successor. The Clarinet Trio and the Clari?net Quintet were composed that same summer.
The one great clarinet quintet before Brahms was, of course, Mozart's masterpiece in A Major. To revisit this genre in 1891, exactly 100 years af?ter Mozart's death, was clearly an act of homage. Brahms did not need to allude directly to Mozart's style to make that explicit. The connection is un?mistakable: in his own style, Brahms managed to re-create that perfect beauty in music that he and every musician of the last 200 years have always associated with Mozart's name. It is, without a doubt, Brahms at his most idyllic--which is not to say that it doesn't have plenty of that autumnal nostalgia that is present in so many of his later works.
Brahms's letters attest that he associated the sound of the clarinet with the voice of a beauti?ful woman (he liked to refer to the instrument as
"Fraulein Klarinette" [Miss Clarinet]). In his excel?lent Brahms biography, Jan Swafford calls the clar?inet works "perhaps the only true love songs to an instrument Brahms ever wrote." That love is to be felt in all four of the work's movements, starting from the sweet thirds and sixths of the opening (which will return at the end of the finale). In an?other fine book on Brahms, written by Malcolm MacDonald, we read: "No other work of Brahms is more consistently euphonious in sonority." For once, a sonata "Allegro" does not emphasize con?trast and struggle among the themes but rather harmony and unity.
The second-movement "Adagio," whose function would normally be to provide some re?spite after a hectic opening, now plunges into a "profound mood of nature-mysticism," reaching the "ne plus ultra of Brahmsian Romanticism" (MacDonald). In the middle of this "Adagio," there is an astonishing episode in Gypsy style. The last passage Brahms was to write in this idiom, it is completely different from such earlier instances as the finales of the Violin Concerto and the Piano Quartet in g minor, to say nothing of the Hungari?an Dances. To quote MacDonald: "It is a desolately beautiful series of florid clarinet arabesques that spiral and swoop over a fantastic string texture.... The effect is of wild, spontaneous improvisation."
The third movement begins with a dreamy "Andantino" that soon tums out to be a mere in?troduction to the main body of the movement in a faster tempo (Presto), based on the same melody. It is a nimble and delicate scherzo, somewhat reminiscent of Mendelssohn. The opening "An?dantino" is briefly recalled just before the end.
The finale is a set of variations--perhaps the only direct allusion to the Mozart quintet, which also ends that way. A theme of classical simplic?ity is followed by five variations, which take on different characters and highlight different in?struments in the group, as usually happens in variation movements. In variation No. 1, the cello weaves elegant ornaments around the melody; in No. 2, the mood suddenly becomes passion?ate and agitated; in No. 3, the clarinet and the first violin jointly demonstrate their virtuosity. In No. 4, the tonality changes from minor to major; in No. 5 (back in minor), the duple meter gives way to the "one-two-three" of a romantic "love-song waltz," in the manner of Brahms's popular Liebeslieder-Walzer. Finally, the opening of the
first movement (whose rhythm comes as a natu?ral continuation of the waltz we have just heard) reappears to bring the work to a quiet and won?derfully understated close.
Program notes by Peter Laki.
German-born Sabine Meyer is widely re?garded as a pioneer of solo clarinet per?formance. She began her career with the Bayerische Rundfunk (Bavarian Radio) Symphony Orchestra and, in 1983, became the first female member of the Berlin Philharmonic Orchestra. In?creasingly in demand as a solo artist, Ms. Meyer left the Berlin Philharmonic nine months later, go?ing on to become an internationally celebrated solo clarinetist. Career highlights have included a position as the Artist-in-Residence at the Lucerne Festival in 2000, where she performed the world premiere of Toshio Hosokawa's Metamorphosis, and a 2002 debut with the Vienna Philharmonic Orchestra as part of the Salzburg Festival.
As an established chamber musician, Ms. Meyer has performed with Barbara Hendricks, Bruno Canino, Aloys Kontarsky, Heinrich Schiff, Gidon Kremer, the Alban Berg and Hagen Quar?tets, and the Vienna String Sextet. Ms. Meyer is the founder of Trio di Clarone, with her husband, Reiner Wehle, and her brother, Wolfgang Mey?er (both clarinetists). In 1988 she founded the Blaserensemble Sabine Meyer, a collaboration among principal woodwind soloists of major Eu?ropean orchestras. The ensemble performs regu?larly on an international scale, with a repertoire ranging from classical favorites to contemporary compositions.
Sabine Meyer has become a favorite of con?temporary composers. Over the past few years, several have dedicated compositions to her, in?cluding Jean Francaix, Edison Denissov, Harald Genzmer, Niccolo Castiglioni, and Manfred Tro-jahn. In February of 2008, Ms. Meyer (alongside her brother, Wolfgang Meyer) performed a new double-concerto by Peter Eotvos.
Ms. Meyer has made numerous recordings in the recent years, on EMI Classics. Recorded rep?ertoire varies from pre-classical to contemporary compositions and includes all important solo con-certi and chamber music pieces for clarinet. She has received an Echo Prize seven times, four of
Sabine Meyer
them as "Instrumentalist of the Year." Among the recordings which have received an Echo award are the Clarinet Concert! of Johann and Carl Starnitz, a recent recording of the Mozart Clarinet Con?certo with the Berlin Philharmonic conducted by Claudio Abbado, as well as works of Weber, Men?delssohn, and Baermann with the Academy of St. Martin-in-the-Fields.
In collaboration with her husband, Ms. Mey?er developed a systematic training program that specifically addresses the issues of sound quality (embouchure, volume, and tonal colors) which are often neglected by many modern clarinetists. She currently serves as a professor at the Lubeck Academy of Music, as well as a member of the Hamburg Academy of Arts.
The Tokyo String Quartet has captivat?ed audiences and critics alike since it was founded more than 30 years ago. Regarded as one of the supreme chamber ensembles of the world, the Tokyo Quartet--Martin Beaver and Kikuei Ikeda (violins), Kazuhide Isomura (viola),
and Clive Greensmith (cello)--has collaborated with a remarkable array of artists and compos?ers, built a comprehensive catalogue of critically acclaimed recordings, and established a distin?guished teaching record. Performing over 100 concerts worldwide each season, the Tokyo String Quartet has a devoted international following that includes the major capitals of the world and ex?tends to all four corners, from Australia to Estonia to Scandinavia and the Far East.
Officially formed in 1969 at The Juilliard School of Music, the quartet traces its origins to the Toho School of Music in Tokyo, where the founding members were profoundly influenced by Professor Hideo Saito. Soon after its forma?tion, the Quartet won "First Prize" at the Cole-man Competition, the Munich Competition, and the Young Concert Artists International Auditions. An exclusive contract with Deutsche Grammophon firmly established it as one of the world's leading quartets, and it has since released more than 40 landmark recordings. The ensemble now records on the Harmonia Mundi label.
The members of the Tokyo String Quartet have served on the faculty of the Yale School of Music as quartet-in-residence since 1976. Deeply committed to coaching young string quartets, they devote much of the summer to teaching and performing at the prestigious Norfolk Chamber Music Festival. They also conduct masterclasses in North America, Europe, and the Far East through?out the year.
The ensemble performs on the "Paganini Quartet," a group of renowned Stradivarius instru?ments named for legendary virtuoso Niccolb Pa?ganini, who acquired and played them during the 19th century. The instruments have been on loan to the ensemble from the Nippon Music Founda?tion since 1995, when they were purchased from the Corcoran Gallery of Art in Washington, DC.
For further information on the Quartet, please visit www.tokyoquartet.com.
UMS ARCHIVES
TThis evening's concert marks the Tokyo String Quartet's ninth appearance under UMS auspices. The Quartet made their UMS debut in February 1975 and most recently appeared on the UMS stage in Janu?ary 2006 (along with Sabine Meyer) in Rackham Auditorium. Tonight's concert marks Sabine Meyer's third appearance under UMS auspices. Ms. Meyer made her UMS debut in November 2002 in a concert with vio?linist Gidon Kremer and pianist Oleg Maisenberg.
Tokyo String Quartet
presents
Compagnie Heddy Maalem
Heddy Maalem, Artistic Director
Music by Igor Stravinsky
ie Sacre du Printemps conducted by Pierre Boulez with the Cleveland Orchestra, recorded July 28, 1969 at Severance Hall, Cleveland, OH
Dancers
Rachelle Agbossou Koffitse Akakpo-Adzaku Awoulath Alougbin Serge Anagonou Alou Cisse Dramane Diarra Marie Diedhiou
Agnes Dru Vincent Etagweyo Amie Gomis Marie-Pierre Gomis Hardo Papa Salif Ka Alberto Jacinto Nhabangue Kingsley Odiaka
Images by Benoit Dervaux
Soundtrack composed by Benoit De Clerck
Costumes by Agathe Laemmel
Marc Vergely, Technical Director Jerome le Lan, Lighting Director Laurence Brisard, Company Manager
US Tour Producer MAPP International Productions
Program
Wednesday Evening, October 15, 2008 at 8:00 Power Center Ann Arbor
Le Sacre du Printemps
(The Rite of Spring)
Tonight's program runs approximately one hour and is performed without intermission.
12th Performance of the 130th Annual Season
UMS Global: Performing Arts of the Arab World
The photographing or sound and video recording of this performance or possession of any device for such recording is prohibited.
The Performing Arts of the Arab World series is sponsored by TAQA New World, Inc.; The Mosaic Foundation, Washington DC; and the Community Foundation for Southeast Michigan and Bustan al-Funun Foundation for Arab Arts.
Funded in part by the National Dance Project of the New England Foundation for the Arts, with lead funding from Doris Duke Charitable Foundation. Additional funding provided by The Andrew W. Mellon Foundation, the Ford Foundation, and MetLife Foundation.
Also funded in part by the Performing Arts Fund, a program of Arts Midwest funded by the National Endowment for the Arts, which believes a great nation deserves great art, with additional contributions by Michigan Council for Arts and Cultural Affairs, General Mills Foundation, and Land O'Lakes Foundation.
Media partnership provided by Metro Times, Between the Lines, Michigan Radio 91.7 FM, The Arab American News, ArabDetroit.com, and Michigan Chronicle Front Page.
Special thanks to U-M Department of Dance, U-M Residential College, and Beth Genne for their participation in this residency.
The 2008 US tour is produced by MAPP International Productions with The Africa Contemporary Arts Consortium--a coalition of 11 diverse arts institutions, advancing a dynamic exchange of arts and ideas between artists, arts organiza?tions, cultural, and other institutions of Africa and the United States.
Generous support for the US tour has been provided by The Cultural Services of the French Embassy of the United States, CulturesFrance, Afrique en Creation, and ADAMI.
Le Sacre du Printemps was produced by Compagnie Heddy Maalem. Co-produc?tion by; CDCCentre de Developpement Choregraphique de Toulouse, Midi-Pyre?nees; Theatre National de Toulouse, Midi-Pyrenees; Le Parvis Scene Nationale Tarbes, Pyrenees; Centre Culturel Frangais de Bamako; Centre Culturel Frangais de Lagos; La Rose des Vents Scene Nationale de Villeneuve-d'Ascq; La Ferme du Buisson Scene Nationale de Marne-la-Vallee; CCN de Biarritz. Co-direction by; Les Francophonies en Limousin. Artistic Residencies provided by: Centre Culturel Francais de Bamako; Theatre National de Toulouse Theatre de la Cite; Theatre d'Angouleme Scene Nationale; Centre culturel Jean-Pierre Fabregue Saint-Yrieix-la-Perche dans le cadre des Francophonies en Limousin. Additional support is provided by Elf Petroleum Nigeria.
Cie Heddy Maalem is supported by the Ministere de la Culture--DRAC Midi-Pyrenees; City of Toulouse, Region Midi-Pyrenees; and the Departement de la Haute-Garonne.
Compagnie Heddy Maalem appears by arrangement with MAPP International Productions.
Large print programs are available upon request.
Any images that come to most of us from Sergei Diaghilev's original production of Le Sacre du Printemps (The Rite of Spring) seem like hieroglyphs from a vanished civilization. But this "lost ballet," depicting a pagan commu?nity celebrating its fertility ritual and sacrifice, still holds fascination. Diaghilev's company, the Bal?lets Russes, conquered audiences and critics, and he assembled some of the greatest artists of the time: dancers, choreographers, composers, and designers. His ballets burst on the stage with ex?oticism and people looked to the company as the epitome of style.
On May 29, 1913, in Paris, the curtain went up on the premiere performance of this choreog?raphy by Vaslav Nijinsky, with designs by Nicholas Roerich and music by composer Igor Stravinsky. The audience's irate reaction--the boos, stomp?ing, and shouting that greeted the opening--has become legend. The original Sacre, in the words of Marie Rambert, "had a blunt, wooden quality to the dancing."
The music and the dance were unprec?edented. Stravinsky's Sacre touches the essence of nature. The rich multiplicity in the music and its rhythmic impact evoke the ruptures and the spasmodic tone of seasonal awakening. Nijinsky was bent on reproducing every last note of the score. Although the ballet vanished from memory (its short life consisted of six performances), the music endured. Sacre became a modern master?piece, took on a life of its own in the concert hall, and over the years it has been tackled by many other choreographers.
Ninety years later, it was Heddy Maalem's turn. Acclaimed as an innovator among a current generation of contemporary African dance art?ists, he formed the Compagnie Heddy Maalem in 1989 in Toulouse, France. A pivotal and disturbing visit to the urban boom and devastation in Lagos, Nigeria, with its teeming population of 12 million, propelled him to dive into this project. This is not the Africa we imagine, he remarked. While there, he could never quite shake Stravinsky's haunting, driving score. The music spoke to the clash of mo?dernity that he saw before him; with its embrace of Western values, the rampant poverty, and the utter despair that seemed to envelop the place as a whole. In African terms, the encounter sparked an essential conversation for him, as many Africans don't see themselves as cut off from tradition in order to be modern. Connection with "village" is essential. It is a reality in people's lives because vil-
lage means culture, ethnic group, clan, and above all, ancestry. Likewise, the spirits of African drum rhythms that instigate a dancer's pulse--and their pulsing movements--link them to the universe, past and present.
Born to an Arab father and a French mother, Mr. Maalem is a composite of African and Euro?pean manners, steeped in the idea of metissage (mixing or blending). With roots in two conti?nents, identity figures largely in his poetic dis?course: "I was taken away from my own country; I was made to feel like an illegal there. And when I would ask, 'Where is my country' I would think of the works of the great poet Francois Villon: 'In my country, naked as a worm, but costumed as a president, nothing is sure but uncertainty, I seem to win everything, but lose all.'"
Mr. Maalem takes an unorthodox approach to movement, actively exploring ambiguity, work?ing with the intuitive powers that his dancers have to offer. "We are aware of the idea of beauty, as well as the feeling of being repulsed by it." A dancer is a portent to beauty as well as death, he says. "This is a mystery which interests me and it continues to evolve."
The Franco-Algerian says he understands that his identity as a white man working with black dancers may pose problems in some quarters. In an interview with Le Monde, Heddy Maalem stated, "With Stravinsky I am choosing to speak of forbidden things. I want to skew the Western view of the black body." But it's not about being black in his view, "It's about being human." As he tells it, there has been a disingenuous overture from the West that projects a fascination in Africa, but has no real interest in the African. So he went to Africa, he recalls, because of his heritage and roots and his overriding questions. "I sensed that I would find there some piece of brutal reality of human movement that speaks to me and that I would want to work with."
Fourteen dancers with both traditional and contemporary dance backgrounds, from across West Africa and the diaspora--Mali, B6nin, Sen?egal, Nigeria, and Guadeloupe--perform Mr. Maalem's Sacre; the mass of bodies unites, sway?ing, clinging, feet stomping with a potent energy, in a "white box" rather than the traditional black box, the kind of room you might see in a gallery or museum.
Design elements in his work do not obscure the audience's focus on the body. "On stage I ab?solutely despise what they call sets, set design, all
that. I like it in other people's work, but my per?sonal tendency is to empty out the stage, some?times even costumes on the dancers' bodies are unacceptable to me."
Dance is a society's way of resisting, surviv?ing. And according to Mr. Maalem, movement acts as transmission, eliciting possibilities for openness and knowledge. "Dance in Africa and the diaspora", he says, recalling the dances of his youth, "is an all-encompassing experience"; con?stantly reaffirming the strength of a community and each person within it. Succinctly put, in Africa you are never from nowhere.
O 2008 Philip Szporer and Jacob's Pillow Dance Festival
Heddy Maalem was born in Batna, in the Aures, Algeria, to an Algerian father and a French mother. Before forming his own company in 1990, Mr. Maalem trained as a boxer and in the Japanese martial art of Aikido. Early works include: Transport phenomena (1991), Cor?ridors (1992), and Trois Vues sur la douce paresse (1994). In 1997, he created Un Petit Moment de faiblesse, the prologue to Beau Milieu which pre?miered the same year at the Avignon Festival in the Vif du Sujet section. In 1999, he created K.O. Debout, a piece for seven dancers at the Mai-son de la Culture in Amiens. Black Spring (2000) marked the beginning of Mr. Maalem's work with dancers of African origin from both France and the African continent. In addition to the staged performance, a film version made in collaboration with filmmaker Benoit Dervaux was co-produced by Arte France and Heures d'ete Productions as part of a series called DanseDanseDanse. In 2001 at the Festival Danse a Aix, Heddy Maalem cho?reographed Petite Logique des forces, three solos in which the dancers are accompanied by images of the filmmaker Nicolas Klotz. A second collabo?ration with Benoit Dervaux in 2002 resulted in L'Ordre de la bataille. Le Sacre du Printemps fol?lowed in 2004. Consciously pursuing a pattern of alternating small pieces with large group works, in 2006 Mr. Maalem premiered a series of solos and short pieces, Le Principe de solitude, and Un Champ de forces, a piece for 12 dancers.
Tonight's performance marks Compagnie Heddy Maalem's UMS debut.
Artistic Collaborators
Benoit Dervaux (FilmImages) was born in Bel?gium in 1966. He directed the documentary films Gigi, Monica et Bianca, La Deviniere, and A Di-manche. He is also a cinematographer and was AC on Rosetta (1999) and L'Enfant (2005) by the Dardenne brothers, winners of the Golden Palm at the Cannes Festival. His collaboration with Heddy Maalem, Black Spring, co-produced by Arte France and Heures d'F_te Productions, won "Best Choreography" for the Camera Award at the New York Dance on Camera Festival 2003. He also collaborated with Heddy Maalem on L'Ordre de la bataille and Le Sacre du Printemps.
BenoTt De Clerck (Soundtrack Composer) was born in Liege, Belgium in 1969, studied sound engineering at the INSAS in Bruxelles, and par?ticipated in the construction of several docu?mentaries. He collaborated with Benoit Dervaux on Gigi, Monica et Bianca, La Deviniere, and on A Dimanche, and was sound technician for the feature films Rosetta, Le fits, and L'Enfant. He also works in venues with live performances and on recordings. With Heddy Maalem he has worked on Black Spring, L'Ordre de la bataille, and Le Sa?cre du Printemps.
Agathe Laemmel {Costume Designer) has been a costume designer since 1990. She has worked with Heddy Maalem since 1999, as well as with Frederic Lescure and Alfred Alerte; with theater directors such as Stephane Fievet, Benoit Bradel, and Jacques Dacqmine; and with directors such as Emilie Chedid, Igor Wojtowicz, and Christophe Barraud.
MAPP International Productions, based in New York City, works in close partnership with diverse artists and arts organiz?ers throughout the world to develop functional and sustainable environments for artists to create, premiere, and tour performing arts projects. It provides support and opportunities for chal?lenging artistic voices to be fully heard and engaged by bringing together arts, humanities, and public dialogue.
MAPP International is co-directed by veteran arts producers and managers, Ann Rosenthal and Cathy Zimmerman, who have developed 27 multi-disciplinary projects and produced well over 50 multi-city tours with US and international artists from 13 countries in Asia, Africa, Europe, and the Caribbean. Working or behalf of artists and their organizations, Ms. Rosenthal and Ms. Zimmerman have raised and managed more than $3.5 million from foundations, corporations, government agencies, and co-commissioners for the realization and distribution of new work.
For more information about Le Sacre du Printemps. please visit www.mappinternational.org.
UMSExperience
UMS EDUCATION AND COMMUNITY ENGAGEMENT PROGRAMS
www.ums.orgeducation
UMS's Education and Audience Development Program deepens the relationship between audiences and art and raises awareness of the impact the multi-disciplinary performing arts and education can have by enhancing the quality of life of our community. The program creates and presents the highest quality arts education experiences to a broad spectrum of community constituencies, proceeding in the spirit of partnership and collaboration. Details about all educational events and residency activities are posted one month before the per?formance date. Join the UMS Email Club to have updated event information sent directly to you. For immediate event info, please email umsed@umich.edu, or call the numbers listed below.
ADULT & COMMUNITY ENGAGEMENT
Please call 734.647.6712 or email umsed@umich.edu for more information.
The UMS Adult and Community Engagement Program serves many different audiences through a variety of educational events. With over 100 unique regional, local, and university-based partnerships, UMS has launched initia?tives for the area's Arab-American, African,
MexicanLatino, AsianChinese, and African-American audiences. Among the initiatives is the creation of the NETWORK: UMS African American Arts Advocacy Committee, 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 pro?active 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
Book Clubs Discussions on UMS-related literature
UMS is grateful to the University of Michigan _ for its support of many educational activities I
scheduled in the 0809 season. These programs ''.......
provide opportunities for students and members of the University community to further appreciate the artists on the UMS series
The NETWORK: UMS African American Arts Advocacy Committee
Celebrate. Socialize. Connect. 734.615.0122 I www.ums.orgnetwork
The NETWORK was launched during the 0405 season to create an opportunity for African-Americans and the broader community to cele?brate the world-class artistry of today's leading African and African-American performers and creative artists. NETWORK members connect, socialize, and unite with the African-American community through attendance at UMS events and free preor post-concert receptions. NETWORK members receive ticket discounts for selected UMS events; membership is free.
0809 NETWORK PERFORMANCES
Wayne Shorter Quartet with the Imani Winds
Compagnie Heddy Maalem
Soweto Gospel Choir
Rubberbandance Group
Lawrence Brownlee
Sweet Honey In The Rock
Jazz at Lincoln Center Orchestra with Wynton Marsalis
UMS YOUTH, TEEN, AND FAMILY EDUCATION
Please call 734.615.0122 or email umsyouth@umich.edu for more information.
UMS has one of the largest K-12 education ini?tiatives in the state of Michigan. Designated as a "Best Practice" program by ArtServe Michigan and the Dana Foundation, UMS is dedicated to making world-class performance opportunities and professional development activities available to K-12 students and educators.
UMS Youth
0809 Youth Performance Series
These world-class daytime performances serve pre-K through high school students. The 0809 season features special youth presentations of Compagnie Heddy Maalem, Soweto Gospel Choir, Rubberbandance Group, Sweet Honey In The Rock, Jazz at Lincoln Center Orchestra, Aswat: Celebrating the Golden Age of Arab Music, and Dan Zanes and Friends. Tickets range from $3-6 depending on the perform?ance; 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 2009 has been designated UMS Teacher Appreciation Month. All teachers will be able to purchase tickets for 50 off at the venue on the night of the performance (subject to availability). Limit of two tickets per teacher, per event. Teachers must present their official school I.D. when purchasing tickets. Check out the UMS website at www.ums.org for March events!
School FundraisersGroup Sales
Raise money for your school and support the arts. UMS offers a wide range of fundraising opportunities and discount programs for schools. It is one of the easiest and most rewarding ways to raise money for schools. For informa?tion contact umsgroupsales@umich.edu or 734.763.3100.
Teacher Advisory Committee
This group of regional educators, school administrators, and K-12 arts education advo?cates advises and assists UMS in determining K-12 programming, policy, and professional development.
UMS is in partnership with the Ann Arbor Public Schools and the Washtenaw Intermediate School District as part of the Kennedy Center: Partners in Education Program. UMS also participates in the Ann Arbor Public Schools' "Partners in Excellence" program.
UMS Teen
Teen Tickets
Teens can attend UMS performances at signifi?cant discounts. Tickets are available to teens for $10 the day of the performance (or on the Friday before weekend events) at the Michigan League Ticket Office and $15 beginning 90 minutes before the performance at the venue. One ticket per student ID, subject to availability.
Breakin' Curfew
In a special collaboration with the Neutral Zone, Ann Arbor's teen center, UMS presents this yearly performance highlighting the area's best teen performers. Details about this per?formance will be announced in Spring 2009.
I am proof that the University of Michigan changes lives.
When I first came to campus, I didn't know of any black composers and didn't see manv minorities attending classical concerts. With the support of
Drofessors at the School of Music, I established
an organization to encourage diversity in
the classical arts--and I did it while still a student. U-M introduced me
to a whole new world of music and allowed me to discover my life's work.
Being a member of the Alumni Association is how I give back to the University that has provided me so much.
I am proud to say, I am Michigan.
ALUMNI ASSOCIATION
University of Michigan Uniting the Leaders and Best
Aaron Dworkin, '97, MM'98 Founder and president of the Sphinx Organization for minorities in the classical arts, accomplished violinist, 2005 MacArthur Fellow, poet, film producer and director. Alumni Association member
UMS Family
The 0809 season features family performances of Rubberbandance Group and Dan Zanes and Friends. Family-friendly performances also include Soweto Gospel Choir, Silk Road Ensemble, and Kodo. Please visit www.ums.org for a complete list of family-friendly performances.
The 0809 Family Series is sponsored by TOYOTA
Classical Kids Club
Barents 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 UMS E-News and check the box for Classical Kids Club.
Education Program Supporters
Reflects gifts received during the 0708 fiscal year
tft?fe; Ford Motor Company Fund "t'& and Community Services
Michigan Council for Arts and Cultural Affairs University of Michigan
Anonymous Arts at Michigan Bank of Ann Arbor Borders Group, Inc. Bustan al-Funun Foundation
for Arab Arts The Dan Cameron Family
FoundationAlan and
Swanna Saltiel CFI Group Community Foundation for
Southeast Michigan Doris Duke Charitable
Foundation
DTE Energy Foundation The Esperance Family
Foundation GM Powertrain
Willow Run Site Honigman Miller Schwartz
and Cohn UP JazzNet Endowment WK Kellogg Foundation Masco Corporation
Foundation The Mosaic Foundation,
Washington, DC
THE MOSAIC FOUNDATION
(of R. & P. Heydon) National Dance Project of the
New England Foundation
for the Arts National Endowment
for the Arts Performing Arts Fund Pfizer Global Research and
Development, Ann Arbor
Laboratories 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 four programs designed to fit stu?dents' lifestyles and save students money. Each year, 18,000 students attend UMS events and collectively save over $350,000 on tickets through these programs. UMS offers students additional ways to get involved in UMS, with internship and workstudy programs, as well as a UMS student advisory committee.
Half-Price Student Ticket Sales
At the beginning of each semester, UMS offers half-price tickets to college students. A limited number of tickets are available for each event in select seating areas. Simply visit www.ums.orgstudents, log in using your U-M unique name and Kerberos password, and fill out your form. Orders will be processed in the order they are received. You will pay for and pick up your tickets at a later date at the Michigan League Ticket Office.
Winter Semester: Begins Sunday, January 11, 2009 at 8 pm and ends Tuesday, January 13 at 5 pm.
Sponsored by
Rush Tickets
Sometimes it pays to procrastinate! UMS Rush Tickets are sold to college students for $10 the day of the performance (or on the Friday before weekend events) and $15 beginning 90 minutes before the event. Rush Ticket availability and seating are subject to Ticket Office discretion. Tickets must be purchased in person at the Michigan League Ticket Office or at the per?formance 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 someone knowledgeable about the performance. Tickets go on sale approximately two weeks before the concert.
0809 Arts & Eats Events:
Complicite: A Disappearing Number, Thurs. 911
Compagnie Heddy Maalem, Wed. 1015
Joe Lovano "Us Five" Quintet and Jason Moran, Fri. 117
Handel's Messiah, Sat. 126
Rubberbandance Group, Sun. 111
Sweet Honey In The Rock, Thurs. 212
Silk Road Ensemble with Yo-Yo Ma, Fri. 313
Richard III: An Arab Tragedy, Thurs. 319
St. Louis Symphony Orchestra, Thurs. 42
With support from the U-M Alumni Association
Internships and College Work-Study
Internships with UMS provide experience in performing arts administration, marketing, ticket sales, programming, production, and arts education. Semesterand year-long unpaid internships are available in many of UMS's departments. For more information, please call 734.615.1444.
Students working for UMS as part of the College Work-Study program gain valuable experience in all facets of arts management including concert promotion and marketing, ticket sales, fundraising, arts education, arts
programming, and production. If you are a University of Michigan student who receives work-study financial aid and are interested in working at UMS, please call 734.615.1444.
Student Advisory Committee
As an independent council drawing on the diverse membership of the University of Michigan community, the UMS Student Advisory Committee works to increase student interest and involvement in the various pro?grams offered by UMS by fostering increased communication between UMS and the student community, promoting awareness and accessi?bility of student programs, and promoting the student value of live performance. For more information or to participate on the Committee, please call 734.615.6590.
PRELUDE DINNERS
Join us for camaraderie, fine cuisine, and musical insights T
at the Prelude Dinners before select performances. =
For reservations and information, please call 734.764.848g r
ums
Wednesday, September 10,5:30 pm at the Rackham Building (4th Floor) Complicite: A Disappearing Number Speaker: Enoch Brater, Kenneth T. Rowe Collegiate Professor of Dramatic Literature, U-M College of Literature, Science, and the Arts
Saturday, October 4, 5:30 pm at the Rackham Building (4th floor)
A Tribute to Munfr Bashir and the Baghdad Conservatory of Music
Speaker: Rahim AlHaj, oud player for tonight's performance interviewed by Ben Johnson, Director of Concerts and Lectures, University of Minnesota and Curator, UMS Performing Arts of the Arab World Series
Sunday, October 19,5 pm (Note Time) at the Rackham Building (4th floor) Anne-Sophie Mutter and Camerata Salzburg Speaker: Stephen Shipps, Professor of Violin, U-M School of Music, Theatre and Dance
Friday, October 24,5:30 pm at the Rackham Building (4th floor)
Andras Schiff
Speaker: Steven Whiting, Associate Dean for Graduate
Studies and Associate Professor of Musicology,
U-M School of Music, Theatre &. Dance
Saturday, November 8,5:30 pm at the Alumni Center Emanuel Ax and Yefim Bronfman Speaker: Logan Skelton, Associate Professor of Piano, U-M School of Music, Theatre & Dance
Special Celebration! Join us to celebrate the successful completion of the Campaign for UMS
Sunday, November 16,6 pm, immediately following the Jerusalem Symphony Orchestra performance, Michigan League Ballroom
Support
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 January 24, 2009
This year's program will honor the Royal Shakespeare Company, its Artistic Director Michael Boyd, and U-M Professor Ralph Williams with UMS Distinguished Artist awards. Following the program and award presenta?tion, the UMS Advisory Committee will host a festive reception and dinner to benefit UMS Education programs. Please call 734.764.8489 for more information.
On the Road with UMS
Last September, over 300 people enjoyed an evening of food, music, and silent and live auc?tions, netting more than $80,000 to support UMS educational programs. This year's event will be held on Friday, September 26. Please visit www.ums.org for further information and details.
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 UMS Front-of-House Coordinator at 734.615.9398 or e-mail fohums@umich.edu.
ANNUAL FUND SUPPORT
July 1, 2007-June 30, 2008
Thank you to those who make UMS programs and presentations possible. The cost of presenting world-class performances and education programs exceeds the revenue UMS receives from ticket sales. The difference is made up through the generous 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 July 1, 2007 and June 30, 2008. 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 P45.
DIRECTOR
$100,000 or more
Anonymous
Leonore M. Delanghe Trust
Doris Duke Charitable Foundation
Ford Motor Company Fund and
Community Services W.K. Kellogg Foundation Michigan Council for Arts and Cultural Affairs Pfizer Global Research & Development:
Ann Arbor Laboratories University of Michigan Health System
SOLOIST
$50,000-$99,999
Esperance Family Foundation
National Endowment for the Arts: American
Masterpieces Presenting program TAQA New World, Inc.
MAESTRO
$20,000-$49,999
Anonymous
Brian and Mary Campbell
Cairn Foundation
Charles H. Gershenson Trust
DTE Energy Foundation
Maxine and Stuart Frankel Foundation
Lillian A. Ives
KeyBank
Robert and Pearson Macek
Masco Corporation Foundation Natalie Matovinovic Mosaic Foundation, Washington, DC National Dance Project of New England
Foundation For The Arts National Endowment for the Arts Gilbert Omenn and Martha Darling Laurence and Beverly Price Jane and Edward Schulak Dennis and Ellie Serras Toyota University of Michigan Office of the
Vice President for Research
VIRTUOSO
$10,000-$ 19,999
Michael Allemang and Janis Bobrin
Arts at Michigan
Beverly Franzblau Baker
Emily Bandera and Richard Shackson
Bank of Ann Arbor
Linda and Maurice Binkow Philanthropic Fund
Borders
Carl and Isabelle Brauer Fund
Bustan al-Funun Foundation for Arab Arts
Community Foundation for Southeast Michigan
Eugene and Emily Grant
David W. and Kathryn Moore Heleniak
David and Phyllis Herzig
Honigman Miller Schwartz and Cohn
Frank Legacki and Alicia Torres
Lawrence and Rebecca Lohr
Charlotte McGeoch
Mrs. Robert E. Meredith
Donald L. Morelock
THE MOSAIC FOUNDATION
(of R. & P. Heydon) Performing Arts Fund A. Douglas and Sharon J. Rothwell University of Michigan Credit Union Marina and Robert Whitman Ann and Clayton Wilhite
CONCERTMASTER
$7,500-$9,999
Amgen Foundation
Rachel Bendit and Mark Bernstein
Comerica Bank
Carl and Charlene Herstein
Miller Canfield Paddock and
Stone, P.L.C. Pfizer Foundation Herbert and Ernestine Ruben Loretta M. Skewes Barbara Furin Sloat
PRODUCER
$5,000-$7,499
Herb and Carol Amster
Ann Arbor Automotive
Anonymous
Essel and Menakka Bailey
Blue Nile Restaurant
Marilou and Tom Capo
Mary Sue and Kenneth Coleman
Dennis Dahlmann and Patricia Garcia
Alice B. Dobson
Jim and Patsy Donahey
Ken and Penny Fischer
llene H. Forsyth
General Motors Powertrain--
Willow Run
Paul and Anne Glendon Debbie and Norman Herbert Howard & Howard Attorneys, PC Keki and Alice Irani Judy and Verne Istock David and Sally Kennedy Gay and Doug Lane Jill Latta and David Bach Leo and Kathy LegatskiElastizell
Corporation of America Richard and Carolyn Lineback Mainstreet Ventures Martin Family Foundation Masco Corporation Susan McClanahan and
Bill Zimmerman Marion T. Wirick and
James N. Morgan National City Pepper Hamilton LLP Don and Judy Dow Rumelhart Alan and Swanna Saltiel Sesi Investment Nancy and Brooks Sitterley
Rick and Sue Snyder James and Nancy Stanley Ed and Natalie Surovell
Edward Surovell Realtors Thomas B. McMullen Company Tisch Investment Advisory United Bank & Trust Max Wicha and Sheila Crowley Jay and Mary Kate Zelenock
LEADER
$3,500-$4,999
Jerry and Gloria Abrams Bernard and Raquel Agranoff Anonymous
Kathy Benton and Robert Brown Raymond and Janet Bernreuter Suzanne A. and Frederick J. Beutler Edward and Mary Cady Sara and Michael Frank Susan and Richard Gutow H. David and Dolores Humes Martin Neuliep and Patricia Pancioli M. Haskell and Jan Barney Newman Virginia and Gordon Nordby Eleanor and Peter Pollack Duane and Katie Renken Kenneth J. Robinson and
Marcia Gershenson John J. H. Schwarz MD Craig and Sue Sincock Lois A. Theis Dody Viola
Robert 0. and Darragh H. Weisman Keith and Karlene Yohn
PRINCIPAL
$2,500-$3,499
Jim and Barbara Adams Barbara A. Anderson and
John H. Romani Janet and Arnold Aronoff Bob and Martha Ause Paulett Banks DJ and Dieter Boehm Gary Boren
Charles and Linda Borgsdorf Jeannine and Robert Buchanan Barbara and Al Cain Jean and Ken Casey Pat and Dave Clyde Anne and Howard Cooper Stuart and Heather Dombey John Dryden and Diana Raimi David and Jo-Anna Featherman Fidelity Investments Stephen and Rosamund Forrest William and Ruth Gilkey Sid Gilman and Carol Barbour Tom and Katherine Goldberg Linda and Richard Greene John and Helen Griffith Janet Woods Hoobler Robert L. and Beatrice H. Kahn Robert and Jeri Kelch Jim and Patti Kennedy Samuel and Marilyn Krimm Donald and Carolyn Dana Lewis Jeffrey Mason and Janet Netz Ernest and Adele McCarus
William C. Parkinson
Jim and Bonnie Reece
John and Dot Reed
Prue and Ami Rosenthal
Dr. and Mrs. Nathaniel H. Rowe
Frances U. and Scott K. Simonds
Muaiad and Aida Shihadeh
Lewis and Judy Tann
Target
Jim Toy
Don and Carol Van Curler
Jack and Marilyn van der Velde
Don and Toni Walker
Elise Weisbach
PATRON
$1,000-$2,499
Roger Albin and Nili Tannenbaum Robert and Katherine Aldrich Susan and Alan Aldworth Michael and Suzan Alexander Anastasios Alexiou Dr. and Mrs. David G. Anderson Anonymous
Dr. and Mrs. Rudi Ansbacher Harlene and Henry Appelman Jonathan Ayers and Teresa Gallagher Laurence R. and Barbara K. Baker Dr. Lesli and Mr. Christopher Ballard Norman E. Barnett Robert H. and Wanda Bartlett Bradford and Lydia Bates Dr. Astrid B. Beck Linda and Ronald Benson Ruth Ann and Stuart Bergstein Anne Beaubien and Philip Berry Naren and Nishta Bhatia John Blankley and Maureen Foley Howard and Margaret Bond Laurence and Grace Boxer Dr. and Mrs. Ralph R. Bozell Dale E. and Nancy M. Briggs Barbara Everitt Bryant Robert and Victoria Buckler Lawrence and Valerie Bullen Charles and Joan Burleigh Letitia J. Byrd Amy and Jim Byrne Betty Byrne Jean W. Campbell David and Valerie Canter Bruce and Jean Carlson Carolyn M. Carty and Thomas H. Haug John and Patricia Carver Janet and Bill Cassebaum Tsun and Siu Ying Chang Anne Chase Pat and George Chatas Leon S. Cohan Hubert and Ellen Cohen Jane Wilson Coon and A. Rees Midgley, Jr. Paul N. Courant and Maria A. Manildi Connie D'Amato Julia Donovan Darlow and John Corbett O'Meara Susan Tuttle Darrow Charles W. and Kathleen P. Davenport Hal and Ann Davis Andrzej and Cynthia Dlugosz Robert I. and Kathleen Dolan Dallas C. Dort
Ivo Drury and Sun Hwa Kim Jack and Betty Edman Emil and Joan Engel Irene Fast
Dede and Oscar Feldman Yi-Tsi M. and Albert
Feuerwerker Clare M. Fingerle Susan A. Fisher Susan R. Fisher and
John W. Waidley Robben Fleming Food Art
James W. and Phyllis Ford Dan and Jill Francis Leon and Marcia Friedman Enid H. Galler Tom Gasloli Prof. David M. Gates Thomas and Barbara Gelehrter Beverley and Gerson Geltner Sue Gingles Karl and Karen Gotting Cozette T. Grabb Elizabeth Needham Graham Robert A. Green MD Leslie and Mary Ellen Guinn Helen C. Hall Alice and Clifford Hart Sivana Heller Diane S. Hoff Carolyn B. Houston Cheryl and Kevin Hurley Eileen and Saul Hymans Perry Irish Jean Jacobson Wallie and Janet Jeffries John E. Fetzer Institute Timothy and Jo Wiese Johnson Shirley Y. and Thomas E. Kauper David and Gretchen Kennard Gloria and Bob Kerry Tom and Connie Kinnear Diane Kirkpatrick Drs. Paul and Dana Kissner Philip and Kathryn Klintworth Carolyn and Jim Knake Michael J. Kondziolka and
Mathias-Philippe Florent
Badin
Melvyn and Linda Korobkin Bud and Justine Kulka Scott and Martha Larsen Wendy and Ted Lawrence Melvin A. Lester MD Richard LeSueur Myron and Bobbie Levine Carolyn and Paul Lichter Jean E. Long
John and Cheryl MacKrell Cathy and Edwin Marcus Ann W. Martin and
Russ Larson
Claude and Marie Martin Marilyn Mason and
William Steinhoff Mary and Chandler Matthews Judythe and Roger Maugh Raven McCrory Griff and Pat McDonald Lester and Jeanne Monts Alan and Sheila Morgan Melinda Morris Cyril Moscow William Nolting and
Donna Parmelee NuStep, Inc. Marylen S. Oberman Marie L. Panchuk Elaine and Bertram Pitt Stephen and Bettina Pollock
Peter and Carol Polverini Richard and Lauren Prager Mrs Frances Quartern Mr. Donald Regan and
Ms. Elizabeth Axelson Ray and Ginny Reilly Malverne Reinhart Doug and Nancy Roosa Rosalie Edwards
Vibrant Ann Arbor Fund Jeffrey and
Huda Karaman Rosen Corliss and Dr. J. C. Rosenberg Doris E. Rowan David and Agnes Sams Maya Savarino Erik and Carol Serr Janet and Michael Shatusky Carl Simon and Bobbi Low Elaine and Robert Sims Rodney W. Smith MD Susan M. Smith and
Robert H. Gray Kate and Philip Soper Joseph H. Spiegel Michael B. Staebler Lloyd and Ted St. Antoine Lois and John Stegeman Victor and Marlene Stoeffler Dr. and Mrs. Stanley Strasius Charlotte Sundelson Jan Svejnar and Katherine Terrell Brad and Karen Thompson Jeff and Lisa Tulin-Silver Susan B. Ullrich Florence S. Wagner Harvey and Robin Wax W. Scott Westerman, Jr. Roy and JoAn Wetzel Dianne Widzinski and
James Skupski MD Dr. and Mrs. Max V Wisgerhof II Charles Witke and
Aileen Gatten
BENEFACTOR
$500-$999
3Point Machine, Inc. Fahd Al-Saghir and Family Richard and Mona Alonzo
Family Fund
Helen and David Aminoff Anonymous Penny and Arthur Ashe J. Albert and Mary P. Bailey Reg and Pat Baker Nancy Barbas and Jonathan Sugar David and Monika Barera Frank and Lindsay Tyas Bateman James K. and Lynda W. Berg L.SBerlin
Jack Bilh and Sheryl Hirsch William and llene Birge Paul and Anna Bradley Jane Bridges
David and Sharon Brooks Morton B. and Raya Brown Trudy and Jonathan Bulkley Frances E. Bull, MD Louis and Janet Callaway H.D. Cameron Nathan and Laura Caplan Jack and Wendy Carman J. W. and Patricia Chapman John and Camilla Chiapuris Dr. Kyung and Young Cho Janice Clark Cheryl and Brian Clarkson
Alice S. Cohen
Jonathan Cohn
Wayne and Melinda Colquitt
Jim and Connie Cook
Malcolm and Juanita Cox
Mr Michael and Dr. Joan Crawford
Mary C. Crichton
Jean Cunningham and
Fawwaz Ulaby
Roderick and Mary Ann Daane Mr and Mrs.
Robert L Damschroder Timothy and Robin Damschroder Norma and Peter Davis Jean and John Debbink Ellwood and Michele Derr Linda Dintenfass and Ken Wisinski Steve and Judy Dobson Cynthia M. Dodd Bill and Marg Dunifon Eva and Wolf Duvernoy Dr. Alan 5. Eiser Stefan and Ruth Fajans Harvey and Elly Falit Margaret and John Faulkner Carol Finerman David Fink and Manna Mata John and Karen Fischer Ray and Patricia Fitzgerald George W. and Serena E. Ford Arthur B. French and Beverly Ward Jerrold A. and Nancy M. Frost Tavi Fulkerson James M. and
Barbara H. Garavaglia Beverly Gershowitz Dr. and Mrs. Paul W. Gikas Zita and Wayne Gillis Amy and Glenn Gottfried Dr. John and Renee M. Greden Arthur W. Gulick MD Don P. Haefner and
Cynthia J. Stewart Susan R. Harris
Jeanne Harrison and Paul Hysen Dan and Jane Hayes Alfred and Therese Hero Herb and Dee Hildebrandt Nina Howard Harry and Ruth Huff Jane Hughes Ann D. Hungerman John and Patricia Huntington Thomas and Kathryn Huntzicker Maha Hussain and Sal Jafar Eugene and Margaret Ingram Invia Medical Imaging Solutions Stuart and Maureen Isaac Rebecca S. Jahn Jim and Dale Jerome Drs Kent and Many Johnson Paul and Olga Johnson Mark and Madolyn Kaminski Christopher Kendall and
Susan Schilperoort Elie R. and Farideh Khoury Rhea Kish
Hermine Roby Klingler Anne Kloack
Charles and Linda Koopmann Rebecca and Adam Kozma Donald J. and Jeanne L. Kunz Donald John Lachowicz Jane F. Laird LaVonne L Lang John K. Lawrence and
Jeanine A. De Lay David Lebenbom Ken and Jane Lieberthal Marilyn and Martin Lindenauer Mark Lindley and Sandy Talbott Rod and Robin Little Julie M. Loftin
E. Daniel and Kay Long
Frances Lyman
Brigitte and Paul Maassen
Pamela Mackintosh
Martin and Jane Maehr
Manpower, Inc. of Southeastern
Michigan Carole JMayer Margaret E. McCarthy James H. Mclntosh and
Elaine K. Gazda Henry D. Messer and
Carl A. House Fei Fei and John Metzler Don and Lee Meyer Joetta Mia I James M. Miller and
Rebecca H. Lehto Myrna and Newell Miller Bert and Kathy Moberg Lewis and Kara Morgenstern Kay and Gayt Ness Randolph and Margaret Nesse Susan and Richard Nisbett Eugene W. Nissen Elizabeth Ong Susan and Mark Orringer Constance and David Osier Marysia Ostafin and
George Smillie Donna D. Park Shirley and Ara Paul Judith Ann Pavitt Zoe and Joe Pearson Evelyn Pickard
Dr. Steven and Paula Poplawski Wallace and Barbara Prince Patricia L. Randle and
James R. Eng Anthony L. Reffells and
Elaine A. Bennett R.E. Reichert
Richard and Edie Rosenfeld Margaret and Haskell Rothstein Samuel H. Kress Foundation Linda Samuelson and Joel Howell Miriam Sandweiss Ann and Thomas J. Schriber David E. and Monica Schteingart Harriet Selin Julie and Mike Shea Howard and Aliza Shevrin Johnson Shiue Edward and Kathy Silver Sandy and Dick Simon Irma J. Sklenar Andrea and William Smith Gregory and Margaret Smith Shelly Soenen and
Michael Sprague Mrs. Gretchen Sopcak Gus and Andrea Stager Gary and Diane Stahle Naomi and James Starr Virginia and Eric Stein Eric and Ines Storhok David and Karen Stutz Manuel Tancer John and Geraidine Topliss Fr. Lewis W. Towler Claire and Jerry Turcotte Doug and Andrea Van Houweling Steven and Christina Vantrease Drs. Bill Lee and Wendy Wahl David C. and Elizabeth A. Walker Liina and Bob Wallin Shaomeng Wang and Ju-Yun Li Jo Ann Ward
Arthur and Renata Wasserman Gary Wasserman Zachary B. Wasserman Angela and Lyndon Welch Iris and Fred Whitehouse
Leslie C. Whitfield
Nancy Wiermk
Rev. Francis E. Williams
Robert J. and Anne Marie Willis
I W and Beth Winsten
Or. Lawrence and Mary Wise
Frances A. Wright
Jeanne and Paul Yhouse
ASSOCIATES
$250-$499
Judith Abrams
Chris and Tena Achen
Dortt Adler
Thomas and Joann Adler Family
Foundation
Martha Agnew and Webster Smith Dr. Diane M Agresta James and Catherine Allen Doug Anderson and
Peggy McCracken Catherine M. Andrea Anonymous Arboretum Ventures Bert and Pat Armstrong James and Doris August Robert L. Baird
Bruce Baker and Genie Wolfson Daniel and Barbara Balbach John and Ginny Bareham Cheryl Barget and Tom Darnton Frank and Gail Beaver Gary M. Beckman and Karta Taylor Harry and Kathryn Benford Effing and Merete Blondal Bengtsson Linda Bennett and Bob Bagramian Dr. Rosemary R. Berardi Marc Bernstein and Jennifer Lewis Beverly J. Bole Bob and Sharon Bordeau Amanda and Stephen Borgsdorf Victoria C. Botek and
William M. Edwards Susan W. Bozell Robert M. Bradley and
Charlotte M. Mistretta William R. Brashear Joel Bregman and Elaine Pomerantz Alexander and Constance Bridges Donald R. and June G. Brown Pamela Brown Richard and Karen Brown Tony and Jane Burton Heather Byrne Doris Caddell Brent and Valerie Carey Dennis J. Carter
Andrew Caughey and Shelly Neitzel Sylvia M. Meloche Charles Stewart Mott Foundation Joan and Mark Chesler Andy and Dawn Chien Kwang and Soon Cho Reginald and Beverly Ciokajlo Donald and Astrid Cleveland Coffee Express Co. Anne and Edward Comeau M.J. Coon Dr. Hugh Cooper and
Elly Rose-Cooper Celia and Peter Copeland Katharine Cosovich Cliff and Kathy Cox Uoyd and Lois Crabtree Clifford and Laura Craig Merle and Mary Ann Crawford Jean C. Crump Sunil and Menal Das Arthur and Lyn Powrie Davidge Ed and Ellie Davidson Alice and Ken Davis Dale and Gretchen Davis Dawda, Mann, Mulcahy &
Sadler, PLC
Elena and Nicholas Delbanco
Sophie and Marylene Delphis
Judith and Kenneth DeWoskin
Elizabeth Dexter
Sally and Larry DiCarlo
Mark and Beth Dixon
Elizabeth A. Doman
Michael and Elizabeth Drake
Elizabeth Duell
Peter and Grace Duren
Swati Dutta
Jane E. Dutton
Kim and Darlene Eagle
Morgan and Sally Edwards
Mary Ann Faeth
Dr. and Mrs. S.M. Farhat
Inka and David Felbeck
Phil and Phyllis Fellin
James and Flora Ferrara
Sidney and Jean Fine
Herschel and Adrienne Fink
C. Peter and Beverly A. Fischer
Dr. Lydia Fischer
Jessica Fogel and Lawrence Weiner
Scott and Janet Fogler
David Fox and Paula Bockenstedt
Howard and Margaret Fox
Philip and Renee Frost
Carol Gagliardi and Dave Flesher
Sandra Gast and Greg Kolecki
Martin Garber and Beth German
Richard L. Garner
Michael Gatti and Usa Murray
Beth Genne and Allan Gibbard
Ronald Gibala and Janice Grichor
Elmer G. Gilbert and
Lois M Verbrugge J. Martin Gillespie and
Tata Gillespie Beverly Jeanne Giltrow Maureen and David Ginsburg Richard Gonzalez and
Carrie Berkley
Mitchell and Barbara Goodkin Enid Gosling and Wendy Comstock William and Jean Gosling Mr and Mrs. Charles and
Janet Goss
James and Maria Gousseff Michael L. Gowing Steve and Carol Grafton Martha and Larry Gray Jeffrey B. Green
Nancy Green and Wiliiam Robinson Raymond and Daphne Grew Mark and Susan Griffin Werner H. Grilk Dick and Marion Gross Bob and Jane Grover Robin and Stephen Gruber Anna Grzymala-Busse and
Joshua Berke Ken and Margaret Guire M. Peter and Anne Hagiwara Yoshiko Hamano Marfys Hamill Tom Hammond Walt and Charlene Hancock Martin and Connie Harris Abdelkader and Huda Hawasli Anne M Heacock Rose and John Henderson J. Lawrence Henkel and
Jacqueline Stearns Keith and Marcelle Henley Dr. and Mrs. Michael Hertz Paul and Erin Hickman Peter Hinman and Elizabeth Young John Hogikyan and Barbara Kaye Ronald and Ann Holz Mabelle Hsueh
Dr. Howard Hu and Ms. Rani Kotha Hubert and Helen Huebl Robert B. Ingling ISCIENCES, LLC. John H. and Joan L. Jackson
Mel and Myra Jacobs Beverly P. Jahn Frances and Jerome Jelinek Harold R. Johnson Mark and Linda Johnson Mary and Kent Johnson The Jonna Companies Jack and Sharon Kalbfleisch Irving and Helen Kao Arthur A. Kaselemas MD Morris and Evelyn Katz Nancy Keppelman and
Michael Smerza Drs. Nabil and Mouna Khoury Robert and Bonnie Kidd Don and Mary Kiel Fred and Sara King Richard and Patricia King James and Jane Kister Shira and Steve Klein Laura Klem
Joseph and Mahlynn Kokoszka Alan and Sandra Kortesoja Barbara and Ronald Kramer Donald and Doris Kraushaar Mary and Charles Krieger Dorothea Kroell and
Michael Jonietz Bert and Geraldine Kruse Kathy and Timothy Laing Lucy and Kenneth Langa Jean Lawton and James Ellis Bob and Laurie Lazebnik John and Theresa Lee Sue Leong David Baker Lewis Jacqueline H. Lewis Michael and Debra Lisull Dr. Daniel Little and
Dr. Bernadette Lintz Gail Solway Little Bill and Lois Lovejoy Charles and Judy Lucas Claire and Richard Malvm Melvin and Jean Manis Nancy and Phil Margolis W. Harry Marsden Irwin and Fran Martin HI. Mason Regent Olivia Maynard and
Olof Karlstrom
Martha Mayo and Irwin Goldstein Margaret and Harris McClamroch James and Mary E. McConvitle Liam T. McDonald Eileen Mclntosh and
Charles Schaldenbrand Bill and Ginny McKeachie Mercantile Bank of Michigan Warren and Hilda Merchant Russ and Brigitte Merz Liz and Art Messiter Walter and Ruth Metzger Gabnelle M.Meyer Shirley and Bill Meyers Leo and Sally Miedler George Miller and Deborah Webster Kitty and Bill Moeller Olga Moir
William G. and Edith O. Moller Mr. and Mrs. Michael Morgan Frieda H. Morgenstern Sean Morrison and
Theodora Ross Mark and Lesley Mozoia Thomas and Hedi Mulford Douglas Mullkoff and
Kathy Evaldson
Drs. Louis and Julie Jaffee Nagel Gerry and Joanne Navarre Laura Nitzberg Christer and Outi Nordman Kathleen I. Operhall David and Andrea Page Betty and Steve Palms Karen Park and John Beranek
John and Mary Pedley
Jean and Jack Peirce
Donald and Evonne Plantinga
Allison and Gregory Poggi
Pomeroy Financial Services, Inc.
Bill and Diana Pratt
Ann Preuss
Richard and Mary Price
The Produce Station
Peter Railton and Rebecca Scott
Stephen and Agnes Reading
Marc Renouf
Timothy and Teresa Rhoades
Alice Rhodes
Jack and Aviva Robinson
Jonathan and Anala Rodgers
Stephen J. Rogers
Dr. Susan M. Rose
Stephen Rosenblum and
Rosatyn Sarver Steve Rosoff and Tanis Allen Rosemarie Rowney Carol Rugg and Richard
Montmorency Ina and Terry Sandalow Jamie Saville
Stephen J. and Kim Rosner Saxe Bet ina Schlossberg David and Marcia Schmidt Matthew Shapiro and
Susan Garetz
David and Elvera Shappirio Patrick and Carol Sherry George and Gladys Shirley Jean and Thomas Shope Hollis and Martha A. Showalter Bruce M. Siegan Dr. Terry M. Silver Gene and Alida Silverman Scott and Joan Singer Tim and Marie Slottow Carl and Jan Smith David and Renate Smith Robert W. Smith Doris and Larry Sperling Jim Spevak Jeff Spindler Judy and Paul Spradlin David and Ann Staiger Rick and Lia Stevens James L. Stoddard Bashar and Hoda Succar Barbara and Donald Sugerman Brian and Lee Talbot Peg Talburtt and Jim Peggs Sam and Eva Taylor Steve and Diane Telian Mark and Patricia Tessler Mary H. Thieme Edwin J. Thomas Nigel and Jane Thompson Louise Townley Dr. Hazel M. and
Victor C. Turner, Jr. Alvan and Katharine Uhle Drs. Matthew and Alison Uzieblo Hugo and Karla Vandersypen Marie Vogt
Drs. Harue and Tsuguyasu Wada Virginia Wait
Charles R. and Barbara H. Wallgren Enid Wasserman Carol Weber
Jack and Jerry Weidenbach Connie Witt and John Glynn Charlotte A. Wolfe Bryant Wu and Theresa Chang Betty and Bob Wurtz Don and Charlotte Wyche Mary Jean and John Yablonky Richard and Kathryn Yarmain MaryGrace and Tom York Zakhour and Androulla Youssef Erik and Lineke Zuiderweg Gail and David Zuk
ENDOWMENT FUND SUPPORT
July 1, 2007-June 30, 2008
The University Musical Society is grateful to those have supported UMS endowment funds, which will generate income for UMS in perpetuity and benefit UMS audiences in the future.
$100,000 or more
Doris Duke Charitable
Foundation The Power Foundation
S50,000-$99,999
Anonymous
llene H. Forsyth
Estate of Lillian G. Ostrand
S20,000-S49,999
Anonymous
Bernard and Raquel Agranoff Ralph G. Conger Trust Susan and Richard Gutow David and Phyllis Herzig
S10,000-S19.999
Maxine and Stuart Frankel
Foundation Toni Hoover
Richard and Carolyn Lineback Robert and Pearson Macek Dr. Robert J. and Janet M. Miller Estate of Betty Ann Peck James and Nancy Stanley
$5,000-59,999
Herb and Carol Amster Joan Akers Binkow Robert and Frances
Gamble Trust Mrs. Robert E. Meredith Susan B. Ullrich Marina and Robert Whitman Ann and Clayton Wilhite
$1,000-54,999
Michael Allemang and
Janis Bobrin Essel and Menakka Bailey
Robert H. and Wanda Bartlett DJ and Dieter Boehm Jean W. Campbell Jean and Ken Casey Kathleen Crispell and Tom Porter Molly Dobson Jack and Betty Edman Charles and Julia Eisendrath Dede and Oscar Feldman Sid Gilman and 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
Robert L. and Beatrice H. Kahn Gloria and Bob Kerry Richard and Stephanie Lord Natalie Matovinovic Jerry A. and Deborah Orr May Melinda Morris Susan and Mark Orringer Mrs. Charles Overberger (Betty) Richard N. Peterson and
Wayne T. Bradley Stephen and Bettina Pollock Jeffrey and Huda Karaman Rosen Corliss and Dr. J. C. Rosenberg Prue and Ami Rosenthal Nancy W. Rugani Norma and Dick Sarns Frances U. and Scott K. Simonds Herbert Sloan Lewis and Judy Tann Karl and Karen Weick Ronald and Eileen Weiser Jeanne and Paul Yhouse Jay and Mary Kate Zelenock
$100-5999
Jerry and Gloria Abrams Mrs. Bonnie Ackley Barbara A. Anderson and John H. Romani
Anonymous
Arts League of Michigan
Lynne Aspnes
Bob and Martha Ause
John U. Bacon
Daniel and Barbara Balbach
Emily Bandera and Richard Shackson
Harvey Berman and
Rochelle Kovacs Berman Inderpal and Martha Bhatia Stan and Sandra Bies Sara Billmann and Jeffrey Kuras Maurice and Linda Binkow Martha and David Bloom Blue Nile Restaurant Paul Boylan Carl A. Brauer, Jr. Dale E. and Nancy M. Briggs Jeannine and Robert Buchanan Andrew and Emily Buchholz John and Janis Burkhardt David Bury and Marianne Lockwood Letitia J. Byrd
Carolyn Carty and Thomas Haug Sue and Bill Chandler Shana Meehan Chase Dr. Kyung and Young Cho Edward M. and Rebecca Chudacoff Toby Citrin and Phyllis Blumenfeld Hilary and Michael Cohen Sandra and Ted Cole Phelps and Jean Connell Katharine Cosovich Malcolm and Juanita Cox George and Connie Cress Mary C. Crichton Dana Foundation Linda Davis and Robert Richter Neeta Delaney and Ken Stevens Macdonald and Carolin Dick Steve and Lori Director Steve and Judy Dobson Cynthia M. Dodd Robert J. and Kathleen Dolan Hal and Ann Doster Janet Eilber
Cheryl and Bruce Elliott Beth B. Fischer
Gerald B. and Catherine L.
Fischer
Harold and Billie Fischer Jeanne and Norman
Fischer
Esther M. Floyd Bob and Terry Foster Neal and Meredith Foster Lucia and Doug Freeth Marilyn L Friedman Bart and Cheryl Frueh Tavi Fulkerson Luis and L. April Gago Otto and Lourdes Gago Michael Gatti and
Lisa Murray Beverley and
Gerson Geltner Gail Gentes and
Phil Hanlon
Joyce and Steve Gerber Heather and Seth Gladstein Kathleen and Jack Glezen Tom and
Katherine Goldberg William and Jean Gosling Mr. and Mrs. Charles and
Janet Goss Robert A. Green MD Larry and Sandy Grisham Charles Hamlen Walt and Charlene
Hancock
Alice and Clifford Hart Daniel and Jane Hayes Joyce and John Henderson Dr. John and
Mrs. Donna Henke J. Lawrence Henkel and
Jacqueline Stearns John and Martha Hicks Lorna and
Mark Hildebrandt Diane S. Hoff Jerry and Helga Hover Ralph M. Hulett Joyce M. Hunter Judith Hurtig
IATSE Local 395 Stagehands Richard Ingram and
Susan Froelich Keki and Alice Irani Mel and Myra Jacobs Dolores R. Jacobson Beverly P. Jahn Ellen Janke and Ian Lewis Marilyn G. Jeffs Ben Johnson Christopher Kendall and
Susan Schilperoort John B. Kennard, Jr. David and Sally Kennedy Paul and Leah Kileny
Diane Kirkpatrick Dr. David E. and
Heidi Castleman Klein Anne Kloack Mary L. Kramer Gary and Barbara Krenz Daniel H. Krichbaum Amy Sheon and
Marvin Krislov Edna LandauIMG Artists Wendy and Ted Lawrence Leslie Lazzerin Cyril and Ruth Leder Mary LeDuc Leo and Kathy Legatski
Elastizell Corporation
of America Melvin A. Lester MD Lewis & Company Marketing
Communications, Inc. David Baker Lewis Donald and
Carolyn Dana Lewis David Lieberman Ken and Jane Lieberthal Marilyn and
Martin Lindenauer Jimena Loveluck and
Timothy Veeser Jonathan Trobe and
Joan Lowenstein Dale Schatzlein and
Emily Maltz Fund Shirley Dorsey Martin Mary and
Chandler Matthews Regent Olivia Maynard
and Olof Karlstrom Jon McBride Laurie McCauley and
Jessy Grizzle Susan McClanahan and
Bill Zimmerman Dores McCree Joe McCune and
Gigi Sanders
Bill and Ginny McKeachie Joanna McNamara and
Mel Guyer Barbara Meadows Joetta Mial Patricia E. Mooradian Jean M. Moran Mary Morse
Gerry and Joanne Navarre Fred Neidhardt Kay and Gayl Ness M. Haskell and
Jan Barney Newman Susan and Richard Nisbett Patricia and
Max Noordhoorn Jan Onder
Constance and David Osier Anne Parsons and
Donald Dietz Frances and Arlene Pasley
Michelle Peet and
Rex Robinson Steven and Janet Pepe Marv Peterson Stephen and Agnes Reading John and Dot Reed Mamie Reid Theresa Reid and
Marc Hershenson Kenneth J. Robinson and
Marcia Gershenson Doris E. Rowan Bill and Lisa Rozek Herbert and
Ernestine Ruben Harry and Elaine Sargous Maya Savarino Ann and Thomas J. Schriber Ingrid and Cliff Sheldon Mikki Shepard Don and Sue Sinta Carl and Jari Smith Rhonda SmithStanding
Ovation Productions Lois and John Stegeman Victor and
Marlene Stoeffler Ronald Stowe and
Donna Power Stowe David and Karen Stutz Teresa A. Sullivan and
Douglas Laycock Charlotte Sundelson Mark and Patricia Tessler Norman and
Marcia Thompson Carrie and Peter Throm Claire and Jerry Turcotte Frank and Amanda Uhle Elizabeth and
Stephen Upton Richard and
Madelon Weber W. Scott Westerman, Jr. Max Wicha and
Sheila Crowley Dianne Widzinski and
James Skupski MD Phyllis B. Wright
S1-S99
Joseph Ajlouny Friends at Alverno Arts Alliance of the
Ann Arbor Area Barbara Bach Jenny Bilfield-Friedman and
Joel Friedman Ed and Luciana Borbely
Barbara Everitt Bryant
Simon Carrington
Mark Clague
Edward S. and Ruth P. Cogen
Guy L. Cooper
Richard and Edith Croake
Sally Cushing
Diana R. Engel
Madeleine Faith
Stefan and Ruth Fajans
Martha Fischer and Bill Lutes
Kristin Fontichiaro
John N. Gardner
Walter Helmreich
Kenneth and Joyce Holmes
John and Patricia Huntington
Judie and Jerry Lax
Shelley MacMillan and
Gary Decker
Jaclin L. and David H. Marlin Janice Mayer Ronald G. Miller Shelley and Dan Morhaim Warren and Shelley Perlove Julianne Pinsak Eileen Pollack Michael and
Lisa Psarouthakis Thomas and
Sue Ann Reisdorph Omari Rush Liz Silverstein Charles E. Sproger Lloyd and Ted St. Antoine Peg Talburtt and Jim Peggs Denise Thai and
David Scobey
Christina and Tom Thoburn Linda Tubbs Harvey and Robin Wax Zelma Weisfeld 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 Frances Mauney Lohr Choral
Union Endowment Fund Hal and Ann Davis
Endowment Fund
Doris Duke Charitable
Foundation Endowment
Fund
Ottmar Eberbach Funds Epstein Endowment Fund David and Phyllis Herzig
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. Arcure
Herbert E. Sloan
Endowment Fund University Musical Society
Endowment Fund The Wallace Endowment
Fund
Burton Tower Society
The Burton Tower Society recognizes and honors those very special friends who have included UMS in their estate plans. UMS is grateful for this important support which will continue the great traditions of artistic excellence, educational opportunities, and community partnerships in future years.
Bernard and Raquel Agranoff Carol and Herb Amster Mr. Neil P. Anderson Dr. and Mrs. David G.
Anderson
Catherine S. Arcure Linda and Maurice Binkow Elizabeth S. Bishop Mr. and Mrs.
W. Howard 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 Rothstein Irma J. Sklenar Herbert Sloan Art and Elizabeth Solomon Roy and JoAn Wetzel Ann and Clayton Wilhite Mr. and Mrs.
Ronald G. Zollars
Tribute Gifts
Contributions have been made in honor andor memory of the following people:
H. Gardner Ackley
Matthew Arcure
Naren and Nishta Bhatia
Linda and Maurice Binkow
llene Birge
Isabelle Brauer
Jean W. Campbell
Charles and Evelyn Carver
Jean Burnett Cassidy
Douglas D. Crary
Ellwood Derr
Benning Dexter
Angela S. Dobson
John S. Dobson
Mrs. Jane D. Douglass
Ken Fischer
Sally Fleming
Maxine and Stuart Frankel
Mary Carol Fromes
E. James Gamble
Boris Gankin
Fred M. Ginsberg
Carl Herstein
Dr. Sidney S. Hertz
David and Phyllis Herzig
Dr. Julian S. Hoff
Ben Johnson
Doug Kelbaugh and Kat Nolan
Francis W. Kelsey
Elizabeth Earhart Kennedy
Marilyn Krimm
Robert Lazzerin
Susan McClanahan
Valerie D. Meyer
Ella Baker Munger
Sophia Nanos Holmes E. and
Susan E. Newton James Pattridge Gwen and Emerson Powrie Gail W. Rector Steffi Reiss
Margaret E. Rothstein Eric H. Rothstein Nona Schneider Barry Sloat George E. Smith Edith Marie Snow Virginia W. Stuart Sonja Astrid Stutz Dr. and Mrs. E. Thurston
Thieme
Charles R. Tieman Francis V. Viola III Elea C. and Alexandra Vlisides Martha J. Whitney Clayton Wilhite Carl H. Wilmot '19 Maria Wolter Peter Holderness Woods Stanley Wrobel
Gifts In-Kind
16 Hands
4 Seasons Perfume and
LingerieAllure Boutique Wadad Abed Abracadabra Jewelry
Gem Gallery Acme Mercantile Benjamin Acosta-Hughes Bernie and Ricky Agranoff Alice Lloyd Residence Hall Carol and Herb Amster Blair Anderson Ann Arbor Art Center Ann Arbor Art Center
Gallery Shop
Ann Arbor Aviation Center Ann Arbor District Library Ann Arbor Framing Ann Arbor Hands-On Museum Ann Arbor Public Schools Ann Arbor Tango Club Ann Arbor's 107one Arbor Brewing Company Avanti Hair Designers Ayla S Company John U. Bacon Bailey. Banks & Biddle Bana Salon and Spa Bob and Wanda Bartlett Joseph W. Becker Gary Beckman Bellanina Day Spa Kathy Benton and
Robert Brown Yehonatan Berick Lynda Berg Berry Goldsmiths The Betty Brigade Nishta Bhatia
Maurice and Linda Binkow Jerry Blackstone Bloomfield Gourmet Shoppe Blue Nile
Boychoir of Ann Arbor Enoch Brater Beth BruceThe Carlisle Collection
Bob Buckler
Jim Bumstein
Patty ButzkeOrbit Hair Design
Cafe Zola
Cake Nouveau
Lou and Janet Callaway
Camp Michigania
Mary CampbellEveryday Wines
Nathan and Laura Caplan
Casey's Tavern
Cass Technical High School
Cesar Chavez High School
Mignonette Cheng
Cherry Republic
The Chippewa Club
Mark Clague
Deb Clancy
Coach Me Fit
Cole Street Salon & Spa
The Common Grill
Community High School
Community High School
Dance Program Complete Chiropractic and
Bodywork Therapy Howard CooperHoward
Cooper Import Center Liz Copeland James Corbett and
Mary Dempsey Curves Habte Dadi Gary Decker Judith DeWoskin Salty and Larry DiCarlo Andrew S. DixonPersonal
Computer Advisor Heather Dombey Downtown Home & Garden DTE Energy Duggan Place Bed and
Breakfast Aaron Dworkin The Earle Restaurant Eastern Michigan University
Dance Department Eastern Michigan University
Department of Theater
Education Gillian Eaton Jack and Betty Edman Lisa and Jim Edwards El Bustan Funoun Anthony Elliott Julie Ellison Equilibrium Espresso Royale Mary Ann Faeth Fantasy Forest
Jo-Anna and David Featherman Susan Filipiak Ucal Finley
Susan Fisher and John Waidley Kristin Fontichiaro Frame Factory Fran Coy Salon Sara Frank
Maxine and Stuart Frankel Traianos Gagos Deborah Gabrion Zvi Gitelman Glass Academy LLC Anne Glendon Kathy and Tom Goldberg The Golden Apple Larry Greene Greenstone's Fine Jewelry
Linda Gregerson
Tim Grimes
Groom & Go
Susan Guiheen
Susan and Richard Gutow
Walt and Charlene Hancock
Lavinia Hart
Heather's Place
David W. and
Kathryn Moore Heleniak Carl and Charlene Herstein Hill Top Greenhouse and Farms Barbara Hodgdon The Homestead Bed
and Breakfast Hong Hua
Howell Nature Center Carol and Dan Huntsbarger
The Moveable Feast Iguanaworks Integrated Architecture Inward Bound Yoga Julie's Music Imagining America Mohammad Issa Andrew Jennings Mercy and Stephen Kasle Meg Kennedy Shaw Ken's Flower Shops Kerrytown Concert House Patty and David Kersch Iman Khagani Kenneth Kiesler Tom and Liz Knight Knit A Round Yarn Shop Knit Pickers Joan Knoertzer Gayle LaVictoire Lynnae Lehfeldt Lori Lentini-Wilbur Richard LeSueur Bobbie and Myron Levine Lewis Jewelers Karen Lindenberg Logan An American Restaurant Eleanor Lord Stephanie Lord Martin and Jane Maehr Mariachi Especial de Alma Martha Cook Residence Hall Marygrove College Dance
Department Chandler and Mary Matthews
Marilyn McCormick
Zarin Mehta
Kate Mendeloff
The Metro Cafe
MFit Culinary Team
MFit Fitness Center
Michigan Theater
Carla Milarch
Miles of Golf
Jeff MoreAshley's Restaurant
Morgan and York
Mosaic Youth Theater
Motawi Tileworks
Vince Mountain
Louis Nagel
The Neutral Zone
John Neville-Andrews
M. Haskell and
Jan Barney Newman Sarah and Dan Nicoli Tom OgarMerrill Lynch Jane Onder and Pat Shure Opus One Marysia Ostafin Pacific Rim by Kana Paesano's Restaurant Kimberly Pearsall Penny Stamps Visiting
Distinguished Visitors Series Performance Network Peter's Palate Pleaser Pierre Paul Art Gallery Gregory and Allison Poggi The Polo Fields Golf and
Country Club David Potter Phil and Kathy Power Yopie Prins Purple Rose Theater Putterz Golf & Games The Quarter Bistro and Tavern Ingrid Racine
Paula RandJuliana Collezione Mamie Reid Huda Rosen Steve Rosoff Ellen Rowe Russell S. Bashaw Faux Finish
Studio. LLC Afa Sadykhly Sam's Clothing Store Agnes and David Sarns Jamie Saville and Rusty Fuller
Schakolad Chocolate Factory Michael Schoenfeldt Penny Schreiber Ruth Scodel SeloShevel Gallery Sesi Lincoln Mercury
Volvo Mazda Seva Restaurant Rabia Shafie
Shaman Drum Bookshop Nelson Shantz Piano Service Bright Sheng George Shirley John Shultz Photography Silkmoons Susan Silver-Fink Loretta Skewes Tim and Marie Slottow Andrea Smith Mandisa Smith Elizabeth Southwick Cynthia Sowers The Spa at Liberty Peter Sparling Rick Sperling Sphinx Organization Jim and Nancy Stanley St. Anne's Church in Detroit Bennett Stein Stonebridge Golf Club Cindy Straub Ed and Natalie Surovell
Edward Surovell Realtors Sweet Gem Confections Swing City Dance Studio Ten Thousand Villages Tom Thompson Flowers Liz Toman Trader Joe's
Travis Pointe Country Club Sue Ullrich
U-M Alumni Association U-M Arts of Citizenship U-M Arts on Earth U-M Arts at Michigan U-M Black Arts Council U-M Center for Afroamerican
and African Studies U-M Center for Chinese Studies U-M Center for Latin American
and Caribbean Studies U-M Center for Middle Eastern
and North African Studies
U-M Center for Russian and
East European Studies U-M Department of Dance U-M Department of Internal
Medicine U-M Department of Musical
Theatre
U-M Gifts of Art U-M Golf Course U-M Hatcher Graduate Library U-M Honors Program U-M Institute for the
Humanities
U-M International Institute U-M Museum of Art U-M Office of New Student
Programs
U-M Residential College U-M School of Art and Design U-M School of Education U-M School of Law U-M School of Music.
Theater and Dance Urban Jewelers Van Boven Shoes Arthur Verhoogt Vie Fitness and Spa Viking Sewing Center VOLUME Youth Poetry Project Martin Walsh Washtenaw Community
College Washtenaw Intermediate
School District Enid Wasserman Waterscape Wayne State University Dance
Department Weber's Inn and Hotel The West End Grill Steven Whiting Ann and Clayton Wilhite Cassie Williams Ralph Williams Debbie Williams-Hoak Yolles-Samrah Wealth
Management, LLC Yotsuba Japanese
Restaurant & Bar Tom Zimmerman Zingerman's Bakehouse Zingerman's Delicatessen
UMS ADVERTISERS
Alumni Association of the University
of Michigan 32 Ann Arbor Public Schools Educational
Foundation18
Ann Arbor Symphony Orchestra 35 Bank of Ann Arbor 24 Center for Plastic and Reconstructive
Surgery 24 Charles Reinhart 30 Donaldson and Gunther, DDS 26 Edward Surovell Realtors 22 Edwards Brothers18 Honigman Miller Schwartz and
Cohn LLP 4
Howard Cooper Imports 16 Iris Cleaners 39
Jaffe Raitt Heuer and Weiss 18 Kellogg Eye Center 38 Kensington Court inside front cover Measure For Measure 20 Performance Network 4 Red Hawk 25 Schakolad 30 Tisch Investments (StanCorp Investment Advisors) 30 Totoro Japanese Restaurant 20 United Bank and Trust 35 WEMU inside back cover WGTE16 WKAR 25
Wright Griffen Davis 28 WUOM 26
MEMBER ORGANIZATIONS
UMS is proud to be a member of the following organizations:
Ann Arbor Area Convention & Visitors Bureau
Ann Arbor Chamber of Commerce
Arts Alliance of the Ann Arbor Area
ArtServe Michigan
Association of Performing Arts Presenters
Chamber Music America
International Society for the Performing Arts
Main Street Area Association
Michigan Association of Community
Arts Agencies
National Center for Nonprofit Boards State Street Association Think Local First

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