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UMS Concert Program, Friday Oct. 17 To 27: University Musical Society: Fall 2008 - Friday Oct. 17 To 27 --

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Day
17
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
Fall 08 University of Michigan Ann Arbor
P2 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
UMSAnnals 21 UMS History
22 UMS Venues and Burton Memorial Tower
UMSExperience 27 UMS Education and Community
Engagement Programs
34 UMS Student Programs
UMSSupport 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) AndrSs Schiff (photo: Roberto MasottiECM Records). Complicite:
A Disappearing Number (Joris-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 Conn LLP A
"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
S20,000-S49,999
Cairn Foundation
Maxine and Stuart Frankel Foundation The Mosaic Foundation, Washington D.C. National Dance Project of the New England Foundation for the Arts
$10,000-$ 19,999
Bustan al-Funun Foundation for Arab Arts Community Foundation for Southeast Michigan Eugene and Emily Grant Family Foundation Martin Family Foundation Performing Arts Fund
$1,000-$4,999
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 5. 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 MariAnn 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 Grimley Susan Gross Susan Gutow Lynn Hamilton Charlene Hancock Alice Hart Rafe Juarez Jeri 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 Mamie 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 Alwin Fran Ampey Robin Bailey Greta Barfield loey Barker Alana Barter ludy Barthwell Rob Bauman Brita Beitler Eli Bleiler Ann Marie Borders
David Borgsdorf Signd Bower Marie Brooks Susan Buchan Deb Clancy Carl Clark Ben Cohen Julie Cohen Leslie Criscenti Orelia Dann Saundra Dunn
Johanna Epstein Susan Filrpiak Katy Fillion Delores Flagg Joey Fukuchi Jeff Gaynor Joyce Gerber Barb Grabbe Joan Grissing Linda Jones Jeff Kass
Rosalie Koenig Sue Kohfeldt Laura Machida Fran Marroquin Jose Mejia Kim Mobley Eunice Moore Michelle Peet Anne Pertgo Rebeca Pietrzak Cathy Reischl
Jessica Rizor Vicki Shields Sandra Smith Gretchen Suhre Julie Taylor Cayla Tchalo Dan Tolly Alex Wagner Barbara Wallgren Kimberley Wright Kathryn Young
UMSlnfo
GENERAL INFORMATION
Barrier-Free Entrances
For persons with disabilities, all venues have oarrier-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, Dower 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 Droductions 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.
.atecomers
Latecomers will be asked to wait in the lobby until seated by ushers. Most lobbies have been outfitted with monitors andor speakers so that atecomers will not miss the performance.
The late-seating break is determined by the artist and will generally occur during a suitable epertory break in the program (e.g., after the first entire piece, not after individual movements of classical works). There may be occasions yvhere latecomers are not seated until intermis?sion, as determined by the artist. UMS makes ?very effort to alert patrons in advance when ve know that there will be no late seating.
UMS tries to work with the artists to allow i flexible late-seating policy for family perform?ances.
UMS TICKETS
3roup Tickets
Treat 10 or more friends, co-workers, and family nembers to an unforgettable performance of ive music, dance, or theater. Whether you nave a group of students, a business gathering, i college reunion, or just you and a group of riends, the UMS Group Sales Office can help vou plan the perfect outing. You can make it ormal or casual, a special celebration, or just riends enjoying each other's company. The many advantages to booking as a group include:
Reserving tickets before tickets go on sale to the general public
Discounts of 15-25 for most performances
Accessibility accommodations
No-risk reservations that are fully refundable up to 14 days before the performance
1-3 complimentary tickets for the group organizer (depending on size of group). Complimentary tickets are not offered for performances with no group discount.
For more information, please contact '34.763.3100 or e-mail umsgroupsalesO jmich.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
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 he diverse spectrum of today's vigorous and exciting live performing arts world. Over the oast 129 years, strong leadership coupled with a devoted community has placed UMS in a eague of internationally recognized performing irts presenters. Today, the UMS seasonal program s a reflection of a thoughtful respect for this rich and varied history, balanced by a commit?ment to dynamic and creative visions of where he 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 :.he 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 oelonged 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 in the country. Since 1979, the theater has been operated by the not-for-profit Michigan Theater Foundation. With broad community support, the Foundation has raised over $8 million to restore and improve the Michigan Theater. The beautiful interior of the theater was restored in 1986.
In the fall of 1999, the Michigan Theater opened a new 200-seat screening room addi?tion, which also included expanded restroom facilities for the historic theater. The gracious facade and entry vestibule was restored in 2000
Power Center
The Power Center for the Performing Arts grew out of a realization that the University of Michigan had no adequate proscenium-stage theater for the performing arts. Hill Auditorium was too massive and technically limited for most productions, and the Lydia Mendelssohn Theatre was too small. The Power Center was built to supply this missing link in design and seating capacity.
In 1963, Eugene and Sadye Power, 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
nentioned. The Powers were immediately inter?ested, realizing that state and federal govern-nents were unlikely to provide financial sjpport for the construction of a new theater.
Opening in 1971 with the world premiere of 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 unique level of intimacy. Architectural features iiclude two large spiral staircases leading from tie orchestra level to the balcony and the well-known mirrored glass panels on the exterior. The lobby of the Power Center presently features two hand-woven tapestries: Modern Tapestry by Roy Lichtenstein and Volutes (Arabesque) by Pablo Picasso.
The Power Center seats approximately 1,400 people.
Arbor Springs Water Company is generously providing complimentary water to UM5 artists backstage at the Power Center throughout the 0809 season.
Fackham Auditorium
Sixty years ago, chamber music concerts in Ann Arbor were a relative rarity, presented in an assortment of venues including University Hall (the precursor to Hill Auditorium), Hill Auditorium, and Newberry Hall, the current rome of the Kelsey Museum. When Horace H. Packham, a Detroit lawyer who believed srongly in the importance of the study of human history and human thought, died in 1933, his will awarded the University of Michigan the funds not only to build the Horace H. Rackham Graduate School, which I ouses Rackham Auditorium, but also to estab-I sh a $4 million endowment to further the cevelopment of graduate studies. Even more remarkable than the size of the gift is the fact that neither he nor his wife ever attended the I niversity of Michigan.
Designed by architect William Kapp and architectural sculptor Corrado Parducci, Rackham Auditorium was quickly recognized
as the ideal venue for chamber music. In 1941, UMS presented its first chamber music festival with the Musical Art Quartet of New York per?forming three concerts in as many days, and the current Chamber Arts Series was born in 1963. Chamber music audiences and artists alike appreciate the intimacy, beauty, and fine acoustics of the 1,129-seat auditorium, which has been the location for hundreds of chamber music concerts throughout the years.
St. Francis of Assisi Catholic Church
Dedicated in 1969, St. Francis of Assisi Catholic Church has grown from 248 families when it first started to more than 2,800 today. The present church seats 1,000 people and has ample free parking. In 1994, St. Francis pur?chased a splendid three manual "mechanical action" organ with 34 stops and 45 ranks, built and installed by Orgues Letourneau from Saint Hyacinthe, Quebec. Through dedication, a commitment to superb liturgical music, and a vision to the future, the parish improved the acoustics of the church building, and the reverberant sanctuary has made the church a gathering place for the enjoyment and con?templation of sacred a cappella choral music and early music ensembles.
Burton Memorial Tower
Seen from miles away, Burton Memorial Tower is one of the most well-known University of Michigan and Ann Arbor landmarks. Designed by Albert Kahn in 1935 as a memorial to U-M President Marion Leroy Burton, the 10-story tower is built of Indiana limestone with a height of 212 feet. The carillon, one of only 23 in the world, is the world's fourth heaviest containing 55 bells and weighing a total of 43 tons. UMS has occupied administrative offices in this building since its opening, with a brief pause in the year 2000 for significant renovations.
Fall 2008 Season 130th Annual Season
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
Friday, October 17 through Monday, October 27, 2008
Soweto Gospel Choir 5
Friday, October 17, 8:00 pm Hill Auditorium
Milton Nascimento and The Jobim Trio 9
Saturday, October 18, 8:00 pm Hill Auditorium
Anne-Sophie Mutter with Camerata Salzburg 13
Sunday, October 19, 7:00 pm Hill Auditorium
Andras Schiff 21
Beethoven Sonata Project Concert V Friday, October 24, 8:00 pm Rackham Auditorium
Andras Schiff 29
Beethoven Sonata Project Concert VI Sunday, October 26, 4:00 pm Rackham Auditorium
Michigan Chamber Players 39
Complimentary Admission
Monday, October 27, 8:00 pm
Stamps Auditorium, Walgreen Drama Center
THE 130TH UMS SEASON
Fall 2008
September
10-14 Wed-Sun Complicite: A Disappearing Number
19-20 Fri-Sat Mark Morris Dance Group
27 Sat Wayne Shorter Quartet and the Imani Winds
October
4 Sat The Art of the Oud featuring Omar Bashir, Rahim AlHaj, and Fanda and the Iraqi Maqam Ensemble 12 Sun Sphinx Orchestra
12 Sun Tokyo String Quartet with
Sabine Meyer, clarinet
15 Wed-Compagnie Heddy Maalem: The Rite of Spring
17 FriSoweto Gospel Choir
18 SatMilton Nascimento and the Jobim Trio
19 Sun Camerata Salzburg with
Anne-Sophie Mutter, violin 24 FriAndras Schiff: Beethoven Concert 5
26 Sun Andras Schiff: Beethoven Concert 6
27 Mon Michigan Chamber Players
November
7 fri-Joe 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
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-Sat Gilgamesh: Kinan Azmeh, clarinet and Kevork Mourad, MaxMSP
24 SatFord Honors Program honoring the Royal
Shakespeare Company, Michael Boyd, and Ralph Williams
25 Sun Richard Goode, piano 29 Thu Chanticleer
31 SatMichigan Chamber Players
February
7 SatLawrence Brownlee, tenor with
Martin Katz, piano 12 Thu Sweet Honey in the Rock 13F7-Kodo 14-15 Sat-Sun Batsheva Dance Company
March
7-8 Sat-Sun New York Philharmonic
10 TueWynton 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 Wed-John 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 Thu Kurt 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, pianc 25-26 Sat-Sun Compagnie Marie Chouinard
and the University of Michigan Health System present Soweto Gospel Choir Musical Directors David Mulovhedzi, Lucas Bok, and Vusimuzi Shabalala
Performers
Jabulile Dladla Thandile Mnduzulwane Jeho Fata Goodwell Mandla Modawu Nkosinathi Hadebe Original Velile Msimango Noluthando Jiyane Bongani Ncube Shimmy Jiyane Melusi Ndawonde Sipokazi Luzipo Maserame Ndindwa Bongani Mabaso Sipho Ngcamu Vusumuzi Madondo Linda Nxumalo Warren Mahlangu Fanizile Nzuza Tshepo Maitisa Vusimuzi Shabalala Sibongile Makgathe Linda Sambo Thuli Jeanette Mazibuko Kevin Williams Lungisani Mhlongo
Program Friday Evening, October 17, 2008 at 8:00 Hill Auditorium Ann Arbor
African Spirit
Traditional Jesu Ngowethu (Sung in Zulu)
Traditional Seteng Sediba (Sung in Sotho)
Traditional Izwi Lahlab'lnhliziyo Yami (Sung in Zulu)
Traditional Arr. D. Mulovhedzi Ke Na Le Modiso (Sung in Sotho)
Traditional Ziyamazumekisi (Sung in Zulu)
A. ShabalalaB. Marley Avulekile AmasangoOne Love (Sung in Zulu)
V. Mahlasela River Jordan
TraditionalL. Bok, V. Jiyane, J. Mtineka, N. Vilakazi Ahuna Ya Tswanang Le JesuKammatla (Sung in Sotho)
9. Dylan I'll Remember You
Traditional This Little Light of MineN'Lilo Vuta Matanje If You Ever Needed the Lord

Traditional Jerusalem (Sung in Zulu)
Traditional Nomalanga (Sung in Zulu)
INTERMISSION
L Bok, J. Beukes Dance Segment: Woza Moyam
J. Beukes Canteen Segment
Traditional Hakeleje (Sung in Sotho)
Traditional Woza Meli Wami (Sung in Zulu)
Traditional, An J, Mojapelo Tshepa Thapelo (Sung in Sotho)
Traditional American Amazing Grace
Traditional Bayete (Sung in Zulu)
Traditional American Swing Down
Traditional Africa (Sung in Zulu)
HoistTraditional, An. L. Bok, M. Mulovhedzi, V. Msimango World In Union
13th Performance of the Tonight's performance is sponsored by the University of Michigan Health System
130th Annual Season Special thanks to Robert Kelch, Executive Vice President for Medical Affairs, for his continued and generous support of the University Musical Society.
hamuy benes The 200809 Family Series is sponsored by Toyota.
The photographing or sound and video recording of this performance or possession of any device Media partnership provided by WEMU 89.1 FM, Ann Arbor's 107one, Michigan ChronicleFront Page, and WRCJ 90.9 FM. The Steinway piano used in this evening's performance is made possible by William and Mary Palmer and by the Steinway Piano Gallery of Detroit.
for such recording is prohibited. Soweto Gospel Choir appears by arrangement with IMG Artists, New York, NY.
Soweto Gospel Choir's recordings Voices From Heaven, Blessed, African Spirit, and Sowefo Gospel Choir--Live in Concert are available on the Shanachie Entertainment label.
Large print programs are available upon request.

Production Staff
Andrew Kay and David Vigo, Producers
Beverly Bryer, Executive ProducerDirector
Shimmy Jiyane, ChoreographerChoir Master
Lyn Leventhorpe, Costume Designer
Robin Hogarth, Record Producer
Allan Maguire and Mikki Lipson, Tour Managers
Bernard Manchee, Production Manager
Lighting Operator Paul Bardini, Sound Operator Maija Putans, Stage Manager
Formed in November 2002 by promoters and presenters Andrew Kay, David Vigo, and Clifford Hocking, in association with Execu?tive Producer and Director Beverly Bryer and Musi?cal Director David Mulovhedzi, Soweto Gospel Choir's six-year existence has become a multi-award-winning sensation.
In 2003, the Choir won a Helpmann Award, Australia's prestigious Performing Arts Award for "Best Contemporary Music Concert." They also received the 2003 American Gospel Music Award for "Best Choir" and the 2004 Gospel Music Award for "Best International Choir." In South Africa, their debut CD Voices From Heaven was nominated for a SAMA (South African Music Award). This CD reached the number-one spot on Billboard's World Music Chart within three weeks of its US release and debuted at number three. In 2007, the Choir won a SAMA for "Best Live DVD" for Blessed.
The Choir has performed with internationally-renowned artists Diana Ross, Celine Dion, Red Hot Chilli Peppers, Bono of U2, Annie Lennox, and Queen, and has recorded with Robert Plant and Peter Gabriel. They have sung for Oprah Winfrey, President Bill Clinton, Archbishop Des?mond Tutu, and former President Nelson Man?dela. They were invited guests on NBC's Today Show and The Tonight Show with Jay Leno.
On February 11, 2007, Soweto Gospel Choir received its greatest accolade: a Grammy Award for the CD Blessed, in the category "Best Tradi?tional World Music." They went on to win their second Grammy Award--in the same category-n February 2008 for their CD African Spirit.
Soweto Gospel Choir is a proud Ambassa?dor for 46665, former President Nelson Mande?la's AIDS awareness initiative, having performed
at the inaugural concert in Cape Town in 2003, and the concerts in Johannesburg in December 2007 and London in June 2008. The Choir also has its own charity foundation, Nkosi's Haven Vukani, which raises money to support AIDS or?phans organizations that receive little or no gov?ernment funding.
The Choir continues to tour the world and perform to sold-out audiences with huge ac?claim, and has been heralded as one of the most exciting musical groups to emerge in the interna?tional world music market in recent years. Sowe-to Gospel Choir is honored to have Archbishop Emeritus Desmond Tutu as its patron.
For more details, please visit www.sowetogospelchoir.com
Beverly Bryer (Executive ProducerDirector) has been involved in the entertainment industry for over 25 years, working with some of South Af?rica's premier recording artists. In August 2002, Ms. Bryer formed her own company, Eventsco, and was approached by Australian producers promoters International Concert Attractions and Hocking & Vigo to form an African gospel choir, now known as the Soweto Gospel Choir. Her po?sition as Executive ProducerDirector incorporates the producing, directing, management, market?ing, and publicizing of the choir in South Africa in association with the Australian producers.
David Mulovhedzi (Founding Musical Director) has been managing gospel choir groups in Sowe?to since 1986. A member of the Holy Jerusalem Evangelical Church, the creative and enterprising Soweto resident has entertained the President of China, the Prince of Saudi Arabia, and former President Nelson Mandela. His choir, the Holy Je?rusalem Choir, also performed at a Miss World pageant and for Michael Jackson during his South African tour. Mr. Mulovhedzi's extensive knowl?edge of African Gospel and traditional music has been extremely influential in the selection of the repertoire for this show.
Lucas Deon Bok (Musical Director) was first in?troduced to music by his father, a guitarist. By the age of seven, he was playing the bass guitar and then moved on to acoustic guitar and joined a church choir. Mr. Bok writes music, plays many instruments, and sings hauntingly. He has per-
formed with the group In Harmony, and in 1995 he participated in a project called Gospel Explo?sion. In 1999 Mr. Bok was employed as the Mu?sic Director of the Berea Christian Tabernacle, an experience that helped him grow as a musician and composer. Mr. Bok is no longer a regular tour?ing member but still takes a major role in musical direction of the Choir and performs with them where possible.
Vusimuzi Shabalala (Musical Director) was born in Madadeni in Newcastle, Natal--one of five brothers brought up in a Christian family of singers. He started playing organ in his church in Natal and studied music and piano for two years at Fuba Music School. Owing to financial difficul?ties, he was unable to complete his third year of study. In 2001, he returned to South Africa where he formed a group called Mecsa Sounds of Praise, and held the position of voice trainer and musi?cal director under Peter Mbuli. Mr. Shabalala has worked with local gospel star Benjamin Dube, as well as the Grace Choir, Thembinkosi Booi, and Lundi Tyamara.
Shimmy Jiyane (ChoreographerChoir Master) has wanted to dance for as long as he can remem?ber. In performances with Tina Turner, South Afri?can star Vicki Samson, and choreographers Adele Blank, David Matamela, and Debbie Rakusin, he has realized this dream. In 1997 Mr. Jiyane was a member of Vusa Dance Company's African Moves which performed to capacity audiences at the Melbourne International Festival. He was nomi?nated for a FNB Vita Award (Dance) and he has appeared on numerous stage and TV shows. Mr. Jiyane joined Soweto Gospel Choir in 2002 and has emerged as one of its lead tenors. He is now Choir Master as well as Choreographer, dancer, and singer.
UMS ARCHIVES
This evening's performance marks the Soweto Gospel Choir's third appearance under UMS auspices. The Choir made its UMS debut in February 2005 at Hill Auditorium.
presents Milton Nascimento and The Jobim Trio Milton Nascimento, Vocals and Guitar Daniel Jobim, Piano Paulo Jobim, Guitar Rodrigo Villa, Bass Paulo Braga, Drums
Program Saturday Evening, October 18, 2008 at 8:00 Hill Auditorium Ann Arbor Celebrating 50 years of Bossa Nova Tonight's program will be performed without intermission and will be announced from the stage by the artists.
14th Performance of the 130th Annual Season The photographing or sound and video recording of this concert or posses?sion of any device for such recording is prohibited. Media partnership provided by WEMU 89.1 FM and Michigan Chronicle Front Page. The Steinway piano used in this evening's performance is made possible by William and Mary Palmer and by the Steinway Piano Gallery of Detroit. Special thanks to Mary Catherine Smith, host of WEMU's Brazilian Sol, for her support of this evening's performance. Milton Nascimento and the Jobim Trio appear by arrangement with Mondo Mundo Agency. American Airlines is an official sponsor of the 2008 Milton Nascimento tour. Large print programs are available upon request.

International singing superstar and songwriter Milton Nascimento may have his roots in Brazil, but his songs have touched audiences all over the world. Born in Rio, Mr. Nascimento's adoptive parents, both white, brought him to Tres Pontas, a small town in the state of Minas Gerais when he was two. His mother sang in a choir and at local music festivals often accom?panied by her son, and his father ran a local ra?dio station where a young Milton occasionally worked as a DJ. He began singing as a teenager, and at 19, moved to the capital Belo Horizonte and began singing wherever and whenever he could. Mr. Nascimento's career was launched after pop singer Elis Regina recorded his song "Cancao do Sal" in 1966, landing him a show?case on a popular Brazilian TV program and a performance opportunity at Brazil's International Song Festival the following year.
In 1972, Mr. Nascimento collaborated with fellow lyricists MSrcio Borges, Fernando Brant, Ronaldo Bastos, and other friends to record Cube da Esquina, a double album that spurred three hit singles including "Cais" (Dock) and "Cravo e Canela" (Clove and Cinnamon). The singles are still being recorded by artists today and have become Brazilian standards. Since he began recording with his self-titled debut in 1967, Mr. Nascimento has written and recorded 28 albums.
Mr. Nascimento's many achievements in?clude two Grammy Award nominations and sev?eral Down Beat Critics and Readers Poll Awards. Mr. Nascimento has toured throughout the US, Europe, Japan, and Latin America. Collaborations with artists such as Paul Simon, Wayne Shorter, George Duke, Pat Metheny, and even Duran Du-ran demonstrate the breadth of his creative vi?sion and universal appeal.
Last year, in virtue of the celebration for what would have been Antonio Carlos Jobim's 80th birthday, Milton Nascimento and The Jobim Trio performed together at Rio de Janeiro's Bo?tanical Garden in a concert rendering homage to the supreme maestro. "Our relationship is so fan?tastic that it seems as if we have always played together," Mr. Nascimento stated in response to their collaboration. It seemed only appropriate for the longtime friends to join together and cel?ebrate the 50th anniversary of bossa nova's birth. This collaboration resulted in a North American tour and their current release, Novas Bossas.
UMS ARCHIVES
T
'his evening's concert marks the UMS debuts of both Milton Nascimento and The Jobim Trio.
Milton Nascimento and The Jobim Trio
Our relationship is so fantastic that it seems as if we have always played together.
-Milton Nascimento
and
THE MOSAIC
FOUNDATION
(of R. & P. Heydon)
present
Anne-Sophie Mutter
Violin with
Camerata Salzburg
Program
Johann Sebastian Bach
Bach
Bach
Giuseppe Tartini, Arr. Ricardo Zandonai
Sunday Evening, October 19, 2008 at 7:00 Hill Auditorium Ann Arbor
Violin Concerto No. 1 in a minor, BWV 1041
Allegro moderato Andante Allegro assai
Anne-Sophie Mutter
Concerto for Two Violins in d minor, BWV 1043 Vivace
Largo ma non tanto Allegro
Anne-Sophie Mutter, Vilde Frang
INTERMISSION
Violin Concerto No. 2 in E Major, BWV 1042
Allegro Adagio Allegro assai
Anne-Sophie Mutter
Violin Sonata in g minor. Op. 1, No. 4
Larghetto affettuoso Allegro
Andante Allegro Allegro assai
Anne-Sophie Mutter
15th Performance of the 130th Annual Season
130th Annual Choral Union 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 THE MOSAIC FOUNDATION (of R. & P. Heydon).
Special thanks to Stephen Shipps. Professor of Violin, U-M School of Music, Theatre & Dance, for participating in tonight's Prelude Dinner.
Media partnership provided by WGTE 91.3 FM and Observer & Eccentric Newspapers.
Special thanks to Tom Thompson of Tom Thompson Flowers, Ann Arbor, for his generous contribution of lobby floral art for this evening's performance.
Special thanks to Steven Ball for coordinating the pre-concert music on the Charles Baird Carillon.
Ms. Mutter and Camerata Salzburg appear by arrangement with Columbia Artists Management LLC.
Ms. Mutter records for Deutsche GrammophonUniversal Classics Group and is available on EMI Classics and EratoWarner Classics.
Large print programs are available upon request.
Now that you're in your seat...
The art of violin playing as we know it today originated during the Baroque era. Celebrated luthiers such as the Amatis and Guarneris had been making their priceless instruments for many years; two of the greatest makers, Giuseppe Guarneri del GesCi and Antonio Stradi?vari, were contemporaries of Bach and Tartini, the two composers on tonight's program. The instruments and their music evolved hand in hand: composers, who in those days were invariably performers as well, invented new techniques, and luthiers found ways to bring those techniques into sharper relief.
Violin Concerto No. 1 in a minor,
BWV1041 (1720) Concerto for Two Violins in d minor,
BWV 1043 (1720) Violin Concerto No. 2 in E Major,
BWV 1042 (1720) Johann Sebastian Bach Born March 21, 1685 in Eisenach, Gernmany Died July 28, 1750 in Leipzig
Snapshot of History...
1717: Antoine Watteau paints The Embarkation
for the Isle of Cythera 1718: The city of New Orleans is founded 1719: Daniel Defoe's Robinson Crusoe is published 1721: The Zwinger palace is completed in Dresden 1721: Montesquieu's Persian Letters are published
The instrumental concerto was one of the Ba?roque era's most exciting innovations. The idea of juxtaposing different groups of instruments to display individual and collective virtuosity proved to be extraordinarily fruitful. The history of the concerto, which began around 1700, continues to this day, and the genre's possibilities seem virtu?ally inexhaustible.
The Baroque concerto, as perfected most famously in the works of Antonio Vivaldi, was in three movements (fast-slow-fast) and was based upon the idea of the "ritornello" or refrain. This recurrent theme, played tutti (by the entire en?semble), alternated with a number of solo epi?sodes. The ritornello may return in different keys in the course of the movement, but its first and last appearance must be in the home key.
Bach became fascinated by Vivaldi's concer?tos soon after a first set, L'estro armonico (Har-
monic Inspiration), was printed in Amsterdam in 1711. At the time, the young Bach was court organist in Weimar. A member of the ducal fam?ily there. Prince Johann Ernst, who was a highly trained musician, brought back the new scores from a trip to the Low Countries. Before long, Bach was making keyboard transcriptions of concertos by Vivaldi and other Italian masters. In 1717, he moved to Kothen, where his employer, Prince Leopold, loved instrumental music. It was during the Kothen years that he wrote his violin concertos, in which he took Vivaldi's ideas quite a few steps further. (There is reason to believe that he wrote more than the three works heard at this concert, which are the only ones to have come down to us.)
One of the most remarkable features of the opening movement of the Violin Concerto No. 1 in a minor is how the two-note opening gesture is immediately imitated in the bass, introducing a polyphonic element that will be amply exploited in the course of the movement. The second move?ment combines two very different types of mate?rial: a rhythmically driven bass melody repeated over and over again, and a freely flowing, orna?mented melodic line. Sometimes the two appear in succession and sometimes simultaneously; it is a movement of rare dramatic power, reinforced by the dynamic markings forte and piano, which Bach used only on relatively rare occasions. The concerto closes with a spirited, dance-like move?ment in 98 time (one-two-three, one-two-three, one-two-three).
At first sight, the Double Concerto for Two Violins in d minor, too, seems to follow the Viv-aldian model. But Bach applied his incomparable contrapuntal art to that model. The ritornello
theme, first stated by the second violin, is imi?tated by the first violin a fifth higher, and shortly afterwards by the bass an octave lower. All this is somewhat reminiscent of what would happen in a fugue. What was a simple ritornello idea in Vivaldi here becomes a complex contrapuntal statement, made even more exciting by the numerous chro?matic notes.
The slow movement is a single uninterrupted melody of surpassing beauty, spun out by the two solo violins. Each time a cadence, or resting point, is reached, the melody immediately starts out in a new direction, so that the phrase never really ends before the whole movement is over.
The third movement is a rhythmically intri?cate "Allegro", where the two solo violins are often hot on each other's heels, repeating the same melodic line just a beat apart. The ritornello theme is somewhat related to the main episode, so that the whole movement seems to grow from a single seed--developed, however, with the help of a whole array of fascinating subsidiary ideas.
Another innovative move, one we may observe in the Violin Concerto No. 2 in E Major, is how
Bach intertwines the tutti and solo sections; the orchestra plays during the latter, and the solo violin adds little extra phrases of his own during the ritornellos. Fragments of the ritornello even appear during the solo episodes. By splitting off and varying the first three notes of his ritornello theme and by combining it with solo materials, Bach was in fact doing motivic development of the sort that would later become one of the main features of Classical sonata form. In the first solo entrance, the soloist takes over the first measure of the orchestral ritornello, and the orchestra, si?multaneously, plays the second measure of the same! Another memorable moment occurs near the end of the movement, where the solo violin plays two measures of the "Adagio" in a foreign key, followed by an abrupt jump back to E Major for the final return of the ritornello. It is a remark?able effect found in several of Bach's concertos.
The "Adagio" is one of the most "roman?tic" movements Bach ever composed. Like the slow movement of the a-minor concerto, there is a bass theme, repeated several times without any changes, underneath a freely flowing violin melody, yet the mood is more lyrical and shortly before the end, there is a very special moment of breathtaking beauty.
The light-footed ritornello theme of the third-movement "Allegro assai" is always neatly separated from the solo episodes. Each of the solo passages adds something special to the move?ment such as minor mode or double-stops. The last solo winds up in the same foreign key visited in the first movement, and repeats the jump we heard there. From this, and the undeniable simi?larity between the ritornello themes of the first and third movements, we may see Bach's con?cerns with establishing large-scale motivic unity within the concerto. Bach is sometimes described as a conservative, but he was really nothing of the sort. His concertos are particularly rich in impli?cations whose consequences were only drawn by the generations of composers coming after him.
Violin Sonata in g minor. Op. 1, No. 4 "The Devil's Trill" (1713)
Giuseppe Tartini
Bom April 8, 1692 in Pirano, Italy
(now Piran, Istrian peninsula, Slovenia) Died February 26, 1770 in Padua
Snapshot of History...
1692: Henry Purcell writes The Fairy Queen
1701: Fort Pontchartrain (the later Detroit) is
founded
1715-1774: Louis XV reigns in France 1730s: Giovanni Antonio Canal ("Canaletto,"
1697-1768) creates his famous paintings
of Venice
1763: Seven Years' War ends in Europe 1770: Ludwig van Beethoven is born
The "Devil's Trill" sonata is one of the best-known violin works from the rich Italian Baroque reper?toire. The author, a celebrated virtuoso, was for many years the concertmaster at St. Anthony's ba?silica in Padua (known for its famous Giotto paint?ings). He leftover 100 violin concertos and dozens of sonatas, in addition to sacred vocal works and theoretical writings, but nothing captured the imagination of posterity more than the "Devil's Trill" and the dream story in which it supposedly originated. His colorful life was the subject of a fictionalized biography by the celebrated Ameri?can violinist Albert Spalding, entitled A Fiddle, a Sword and a Lady (1953), which speaks of Tartini's
artistry on the violin, his prowess as a fencer, and his secret romance with the woman he married in 1710 at the age of 18.
It is not known exactly when Tartini wrote the "Devil's Trill" sonata. The traditionally ac?cepted date (1713) is now thought to be several decades too early for stylistic reasons. In any event, Tartini was in the habit of returning to his old compositions time and again, making changes and corrections over a period of many years. The sonata first appeared in print in 1763.
In the present work, as in his numerous vio?lin sonatas in general, the composer adopted the four-movement church-sonata format (slow-fast-slow-fast) as established by Corelli, but introduced some interesting innovations. The opening move?ment follows the rhythmic pattern of the sc7ano; the subsequent fast movement begins with a typi?cal Baroque concerto idea but is actually worked out in something more closely resembling Classi?cal sonata form. The third and fourth movements are--surprisingly--interlocked, so that portions of the "Andante Allegro" alternate with the "Allegro assai" episodes that contain the famous "devil's trills."
The present arrangement for violin and string orchestra is by Riccardo Zandonai (1883-1944), the eminent opera composer best known for his Francesca da Rimini.
Tartini's dream, as recounted to his friend, the French astronomer Joseph de Lalande:
I dreamed one night that I made a pact with the devil. In return for my soul, the devil promised to be at my side whenever 1 needed him, anticipating my every wish. On a whim, I handed him my violin, to see what kind of musician he might be. To my astonishment, the music he made was exquisite--a sonata of such unearthly skill and beauty that I stood transfixed as he played. My pulse stopped, breath failed me--and I awoke. Snatching up a fiddle, I tried to recapture the sounds I'd heard. Feverishly, before I should forget, I noted down the music of the sonata. But though it is the best I ever composed, how poor, how far inferior it is to the music the devil played in my tantalizing dream!
Program notes by Peter Laki.
For three decades Anne-Sophie Mutter has been one of the greatest violin virtuosos of our time. Born in Rheinfelden in the state of Baden, the violinist launched her international ca?reer at the Lucerne Festival in 1979. A year later she performed as a soloist at the Salzburg Whit-sun Concerts under the direction of Herbert von Karajan. Since then, Ms. Mutter has performed concerts in all the major music centers of Europe, the US, and Asia. In addition to performing ma?jor traditional works, she has continually treated her audiences to new and innovative repertoires: chamber music and orchestral works presented on equal terms. She also uses her popularity for charity projects and supports the development of young, exceptionally talented musicians.
In 2008, Ms. Mutter will perform concerts in Asia, Europe, and North America. In memory of Herbert von Karajan she will play Beethoven's Violin Concerto with the Berlin Philharmonic un?der the direction of Seiji Ozawa during a European tour. She will also perform Brahms' Violin Sona?tas together with pianist Lambert Orkis in the US and Germany. Ms. Mutter was in charge of the musical direction of her Asian tour, during which she played Antonio Vivaldi's The Four Seasons to?gether with the Trondheim Soloists as well Bach's Violin Concerto No. 2. Ms. Mutter's chamber mu?sic works include performances of Beethoven's String Trios with Yury Bashmet and Lynn Harrell in Baden-Baden, Madrid, and Stuttgart.
In 2008 Ms. Mutter will be performing works which premiered in 2007. In Paris she will play Sofia Gubaidulina's Violin Concerto together with the Orchestre National de France under the direction of Kurt Masur. The Violin Concerto was created at the behest of Paul Sacher.
In London, Andre Previn's Concerto for Vio?lin, Contrabass, and Orchestra will celebrate its European premiere with the London Symphony Orchestra under the direction of the composer and with Ms. Mutter and contrabassist Roman Patkol6 performing. The work was created at the behest of the Anne-Sophie Mutter Circle of Friends Foundation.
In addition to her major tours, Ms. Mutter's 2008 agenda includes violin concertos by Brahms and Mendelssohn as well as Brahms' Double Con?certo, Beethoven's Romances, and Henri Dutil-leux's Sur le meme accord.
Anne-Sophie Mutter
The honors afforded Ms. Mutter for her many recordings include the German Record Prize, the Record Academy Prize, the Grand Prix du Disque, the International Record Prize, and several Grammy Awards. On the occasion of Wolfgang Amadeus Mozart's 250th birthday, Ms. Mutter recorded all of Mozart's major compositions for violin on the Deutsche Grammophon label. These are available on both CD and DVD. She was awarded the Le Monde de la Musique and Record Geijutsu, both in 2006, for her Mozart Project.
Ms. Mutter takes special pride in performing contemporary compositions for violin. Sebastian Currier, Henri Dutilleux, Sofia Gubaidulina, Witold Lutoslawski, Norbert Moret, Krzysztof Penderecki, Sir Andre Previn, and Wolfgang Rihm have all ded?icated works to her. Further premiere performanc?es of the chamber orchestra works of Penderecki and Rihm are currently being planned.
Ms. Mutter's recording of Gubaidulina's vio?lin concerto In tempus prasens together with the London Symphony Orchestra under the direction of Valery Gergiev and her recording of Bach's Violin Concertos in a minor and E Major performed with the Trondheim Soloists under the direction of Ms. Mutter herself will be released in the summer of 2008 on the Deutsche Grammophone label.
This year marks the establishment of the Anne-Sophie Mutter Foundation. The foundation's objective is to further increase worldwide support for promising young string players--a task that the violinist took on when she founded the Anne-So?phie Mutter Circle of Friends Foundation in 1997.
Ms. Mutter also takes a special interest in the medical and social problems of our time, regularly lending her support to these causes through char?itable concerts. In 2008 she will perform benefit concerts for the Berlin Philharmonic's Orchestra Academy and for the Beethoven House in Bonn.
Ms. Mutter is this year's recipient of the In?ternational Ernst von Siemens Music Prize. She is a bearer of many awards including the Order of Merit of the German Federal Republic, First Class, the Bavarian Order of Merit, the Austrian Order of Merit for Service to the Republic of Austria, and the Ordre des Arts et des Lettres.
Hitting the right note is paramount for any speaker--for musicians it is existential. The art, the challenge, and the essence are to be found beyond interpreting what is in the score.
This is where the reality of music begins. It was this guiding principle which the legendary violinist Siindor Vegh gave to Camerata Salzburg, origi?nally founded in 1952 by Bernhard Paumgartner, and which shaped the Camerata's stylistic iden?tity from 1978 until Vegh's death in 1997. In the 0708 season, Leonidas Kavakos became Artist Director of the Camerata, following former Chief Conductor Sir Roger Norrington, who is now the Camerata's Conductor Laureate.
Over 50 years of orchestra history have ma?tured the Camerata into a tradition-filled chamber orchestra, yet it consists of young, motivated mu?sicians who, according to the Swiss Neue Zurcher Zeitung, "play with a commitment and a joy in music-making which is infectious." The Camerata Salzburg is exceptional--musically, socially, and organizationally--a mirror image of the interna?tional world through which it travels. Its over 20 nationalities reflect their various cultures, but all are united by the universal language of music. This is underscored by a considerable achievement: the over 80 concerts they play each year are nearly all privately financed--a rarity in Europe.
True to its motto ("In Search of Excellence"), the orchestra offers top-quality concerts with ei?ther outstanding conductors and soloists or with their First Concertmaster. These are characterized by the "Camerata sound," the product of a spe?cial musical spirit, whereby each retains their indi?viduality within the ensemble.
It is not surprising that a host of well-known international artists appear with the Camerata. The 0708 season's guests included Louis Langree, Jonathan Biss, Elisabeth Leonskaja, Stefan Vladar, Anne-Sophie Mutter, Victoria Mulova, Hilary Hahn, Jian-Wang, Matthias Goerne, Emmanuel Pahud, and Hakan Hardenberger. Guest appearances took them to Aix-en-Provence, Slovenia, the Nether?lands, Italy, Germany, Greece, and Asia.
The 0809 season includes a two-week resi?dency at the Maribor Festival in Slovenia. In addi?tion to several concerts in Austria, the orchestra will give concert tours in Germany, Italy, Spain, China, and Greece. Guests in the new season will include Francois Leleux, Gerd Albrecht, Louis Langree, Lisa Larsson, Christian Gerhaher, Miah Persson, Sol Gabetta, Heinz Holliger, Martin Frost, and Heinrich Schiff. The orchestra is currently on a two-week tour with Anne-Sophie Mutter that in?cludes concerts in Chicago, Washington DC, and New York's Carnegie Hall.
Regular invitations to the Carinthian Sum?mer as well as to Salzburg's Mozartwoche are complemented by the Camerata's own three-day Begegnung Festival in their hometown. Further es?tablished fixtures are the Salzburger Festspiele and the orchestra's own subscription concert series in Salzburg, as well as at the Konzerthaus in Vienna.
Camerata Salzburg
Violin I
Yukiko Tezuka, Concertmaster Gyorgy Acs Jane Piper Alexandra Kaufl Hayley Wolfe
Violin II
Gabor Papp, Principal Izso Bajusz
Elisabeth Bogensberger Gloria Eluwa Kirsten Ohst
Viola
Jennifer Anschel, Principal Marie-Therese Nawara Daniel Sweaney
Cello
Giovanni Gnocchi, Principal Shane Woodborne
Double Bass
Josef Radauer, Principal
Harpsichord
Johannes Strobl
Born in Norway, Vilde Frang studied from 1993-2002 at the Barratt-Due Music Insti?tute in Oslo. Since 2003, she has studied with Kolja Blacher and currently participates in further Master Studies at Kronberg Academy as a student of Ana Chumachenco. At 10 years old, Ms. Frang gave her debut as a soloist with the Norwegian Radio Orchestra, and at age 12, Ma-riss Jansons engaged her to debut with the Oslo Philharmonic Orchestra. She has been soloist with
Vilde Frang
orchestras in Scandinavia, England, Germany, Switzerland, and the Baltic countries, and ap?peared in renowned festivals including the Ver-bier Festival, the Schleswig-Holstein Music Festi?val, Festival Mecklenburg-Vorpommern, and with Gidon Kremer and Yuri Bashmet at the Chamber Music Connects the World Festival.
This November 2007, Ms. Frang made her debut with the London Philharmonic Orchestra and was immediately invited back for a concert at the Royal Festival Hall for the 0809 season. In Spring 2008 she made her Munich debut, fol?lowed by concerts with the Singapore Symphony Orchestra and a tour of Germany, Austria, and Croatia with Deutsche Staatsphilharmonie. This season, she will also perform at the Ludwigsburg-er SchloSfestspiele, Braunschweig Classix, and Bad Kissingen festivals and will play with Martha Argerich and Renaud and Gautier Capucon at the Bel-Air Festival in Chambery.
This October Ms. Frang tours in the US with Anne-Sophie Mutter and Camerata Salzburg and will perform under the baton of Maxim Vengerov with the Bergen Philharmonic Orchestra in No?vember. The upcoming seasons take her on tours with the Oslo Philharmonic, Copenhagen Phil?harmonic, and BBC Philharmonic Orchestras. Her
first recording in EMI Classics Debut series with the West-Deutsche Rundfunk Orchestra will be released in 2009.
At 21 years old, Ms. Frang is the recipient of several prizes including the Danish Leonie Son-ning Music Fund, Grand Prize of the Vera and Oscar Ritter Foundation Hamburg, and a 2007 Fellowship from the Borletti-Buitoni Trust. Since 2003, Ms. Frang has been a scholarship holder from the pres?tigious Anne-Sophie Mutter Foundation.
Columbia Artists Management LLC Tour Direction:
R. Douglas Sheldon, Senior Vice President
Karen Kloster, Tour Coordinator
Lisa LaFleur, Managerial Assistant
Ann Woodruff, Tour Manager
Renee O'Banks, Backstage Manager
Maestro! Travel & Touring, Hotels
Sintec-Tur, Air and Cargo
UMS ARCHIVES
This evening's performance by Anne-Sophie Mutter marks her fifth UMS appearance following her debut at Hill Auditorium in April 1989 with Kurt Masur and the Leipzig Gewandhaus Orchestra. Ms. Mutter last appeared under UMS auspices in March 2005 as soloist with the Oslo Philharmonic under the direction of Sir Andre Previn.
Tonight marks the third appear?ance of Camerata Salzburg under UMS auspices. They first appeared at Hill Auditorium in January 1978 with Maestro Antonio Janigro.
Tonight marks violinist Vilde Frang's UMS debut.
and Natalie Matovinovic present Andras Schiff Piano
Program Friday Evening, October 24, 2008 at 8:00 Rackham Auditorium Ann Arbor Beethoven Piano ?onatas Concert V Sonata No. 16 in G Major, Op. 311 Allegro vivace Adagio grazioso Rondo: Allegretto Sonata No. 17 in d minor. Op. 312 ("The Tempest") Largo Allegro Adagio Allegretto Sonata No. 18 in E-flat Major, Op. 313 ("The Hunt") Allegro Scherzo: Allegretto vivace Menuetto: Moderato e grazioso Presto con fuoco INTERMISSION Sonata No. 21 in C Major, Op. 53 ("Waldstein") Allegro con brio Introduzione: Adagio molto Rondo: Allegretto moderato
16th Performance of the 130th Annual Season Piano Series The photographing or sound and video recording of this recital or posses?sion of any device for such recording is prohibited. Tonight's performance is sponsored by Natalie Matovinovid Special thanks to Steven Whiting, Associate Dean for Graduate Studies and Associate Professor of Musicology, U-M School of Music, Theatre & Dance, for participating in tonight's Prelude Dinner. Media partnership provided by WRCJ 90.9 FM. Special thanks to U-M School of Music, Theatre & Dance, Steven Whiting, Logan Skelton, and John Ellis for their participation in this residency. The Steinway piano used in this evening's performance is made possible by the Steinway Piano Gallery of Detroit. Special thanks to Tom Thompson of Tom Thompson Flowers, Ann Arbor, for his generous contribution of floral art for this evening's performance. Mr. Schiff appears by exclusive arrangement with Kirshbaum Demler & Associates, Inc., New York, NY. Mr. Schiff's recordings are available on the DeccaLondon, TeldecWarner, and ECM labels. Large print programs are available upon request.

Not Only Evidence of the Heroic Style
B
eethoven's Sonatas Opp. 31 and 53: Andras Schiff in conversation with Martin Meyer
Martin Meyer: As far as the piano sonatas are concerned, Beethoven's so-called middle period, which has so readily been identified in his output as a whole with his "heroic" style, begins with the triptych of Op. 31. Yet within this group of works there is scarcely any evidence of the heroic monu?mental style.
Andras Schiff: No, that's true. Even the very new worlds of expression opened up in the famous "Tempest" Sonata Op. 31, No. 2 have absolutely nothing to do with the usual definition of heroism, which proves that labels of this kind, or attempts to lump things together, are for the most part misleading--which is probably true with most great artists. Of course, Symphony No. 3, with its title of "Eroica," embodies to a certain extent a "heroic" pathos, and the related "Eroica" Varia?tions for Piano Op. 35 are similar in mood. Then we could mention other works that are powerfully extrovert in character, or even show evidence of a monumentalized style, if you like--in the first place of course the Symphony No. 5 or the "Em?peror" Concerto. But if we think of other middle-period works, it immediately becomes clear that there are also strongly opposing characters, espe?cially in the realm of chamber music. And as we have already mentioned, the three Piano Sonatas Op. 31 resist any kind of simplification--as any?one, whether performer or listener, who has stud?ied them closely will know.
Carl Czerny recorded a remark the composer made to the Bohemian violinist Wenzel Krumpholz, to the effect that he was dissatisfied with what he had accomplished up to that time, and wanted to follow a new path--and that was precisely in con?nection with the three sonatas of Op. 31.
We need to take that with a pinch of salt. Czerny's treasure chest of anecdotes contains some jewels, but on further consideration a good few of them turn out to be purely speculative or hopelessly wide of the mark. We have only to think of the "story" of the event that gave rise to the finale of the "Tempest" Sonata: Beethoven is supposed
to have been standing by the window one night, when suddenly a rider passed by in a wild gallop. But this third movement isn't a gallop at all: in its "rocking" allegretto motion it is much closer to a perpetuum mobile that is both lyrical and dra?matic. For the rest, Beethoven is a composer of the new par excellence, but that holds true right from the start--as far as the piano sonatas are concerned, ever since the f-minor Sonata Op. 2, No. 1 onwards, and then with virtually every sin?gle step forwards.
Even so, it's possible to perceive demarcations, some of them stronger than others. For instance, the A-flat Sonata Op. 26 marks a new way of thinking and writing for Beethoven, and much the same could be said of the two "Fantasy" Sonatas Op. 27.
Certainly. And here, around the time of Opp. 26 and 27, we find the beginnings of the middle pe?riod, which of course also manifests itself as a further development of what has gone before-there is no break. In any case, in composing the triptych of Op. 31 Beethoven collected together three works under a single opus number for the last time in his piano sonatas. After that the dia?lectic of individualization moved in the direction of single works each time, whereas here it still manages to make itself felt in a collective form. Unfortunately the autographs of all three sonatas have been lost, which presents additional prob?lems, especially for performers, because the first editions, issued by the Zurich publisher Georg Nageli between April 1803 and the early summer of 1804, contain several misprints.
How could we distinguish the overall characteris?tics of these three works which are so very differ?ent in mood and form
As was already the case with Op. 2 or Op. 10, we really do hear and notice an enormous diversity. Quite apart from the fact that with the exception of the "Hammerklavier" Sonata Op. 106, the third sonata is Beethoven's last to be cast in four move?ments, the following would roughly hold good: the first sonata, in G Major, is an extremely witty work, and perhaps Beethoven's wittiest sonata al?together. It is also virtuosic and extrovert, and full of surprising inspirations. The second sonata, in d minor, carries the not inappropriate nickname of "The Tempest." It is altogether dark in tone and
its effect is highly dramatic, with a "literary" mood throughout. And the third sonata, in E-flat Major, is probably the hardest to paraphrase in words: on the one hand it seems tender, entreating, and pleading, with a lyrical basic mood strongly in evi?dence; and on the other hand, in the scherzo and finale it maintains a high-spirited and urgent sense of motion. Any pianist who programs all three works together--as, for instance, in a performance of the complete cycle--has to be particularly care?ful to bring these differences out.
The G-Major Sonata is, then, driven by humor and irony. Even so, it would surely be wrong to present it purely as an example of unbridled light-heartedness.
On the contrary, we have to bring out the nuances of its textures with the greatest accuracy. In the first place, that concerns dynamics. In my opinion it would be quite wrong to play the beginning of the first movement as a forte right off. The whole piece, with its chords and descending scales, be?gins piano--almost gropingly, and in view of the rhythmic displacements and the tension between left and right hands, a touch hesitantly. We im?mediately find ourselves on the tonic, without any circuitous introductory bars. After that, the pro?cedure is repeated, as though it had to be "scru?tinized" again, a whole-tone lower, in F Major, which of course helps to make the thematic pro?cedure clearer. In this connection I should point out that Beethoven later uses the same kind of repetition shifted up or down at the beginning of a sonata, in both the "Waldstein" and the "Ap-passionata" Op. 57.
But whereas earlier sonatas such as Op. 22 or Op. 28 show an increasingly compact design, time is now stretched out--and it's additionally broad?ened through virtuoso repetition--before the second subject is finally allowed to appear.
Yes, Beethoven deliberately foils our expectations here. That is part of music's inner psychology, so to speak, as we already know from Haydn. At the same time, this second theme, which is both dance-like and lyrical, is given a good deal of space, both for polyphonic growth and for ten?sion-filled changes of mood between major and minor. In this, it almost anticipates Schubert, who was very familiar with this G-Major Sonata.
A repeat of the exposition is indicated: does it have to be observed in every single performance
Absolutely. In the first place, it allows the weight of the material in relation to the individual sections of the movement to be represented correctly; and secondly, it gives the performer the opportunity of introducing additional colors to what has already been expounded. On top of that, the wonderful second subject gains in presence--because you have to take note of the fact that it doesn't appear at all in the development section. Here, Beethoven concentrates exclusively on the main subject, pre?senting it in continually new modulations, and--as far as the unison cascades of scales are concerned-with powerful "inner" waves, which should be per?ceived more from the large-scale harmonic point of view, than as individual notes. The recapitulation finally bursts in decso, you could say, and this time fortissimo--as though the main subject had gained in self-confidence. It is also worth mentioning the extensive coda, where pauses, syncopations, and split chords bring wit to the fore once again, until the two hands at last find each other, and come together in two staccato piano chords.
Beethoven marks the slow movement of Op. 31, No. 1 as an "Adagio grazioso," which is almost a contradiction in terms.
Here we find wit and parody: the Italian 6e canto operatic style and declamatory rhetoric with many ascending and descending scale-like passages are continually present, although they alternate with other material. The grazioso, together with the 98 rhythm lends the piece a hint of narrative style. What's important here is the imagery of the sonorities. At the beginning we can imagine the plucked sound of a mandolin accompaniment, above which the melody hovers with its expres?sive trills. The whole thing sounds very richly deco?rated, iridescent, and playful. By way of contrast the middle section, with its chromaticism and minor-mode inflections, introduces a certain dra?matic intensification, though I would see it more as a "storm in a teacup" than any significant dark?ening of the mood. After it, the opening section retums in a still richer form. What's new about it is that the concept of musical time is presented quite differently--in lavish profusion, as though Beethoven never wanted the movement to end. That becomes still more striking in the coda, with its wonderfully song-like duet interjections.
T7ie "Rondo" finale, on the other hand, sets off quite confidently, even though it again has much cantabile intimacy. Schubert "avant la lettre" once more
Certainly. We can call to mind the finale of Schu?bert's great A-Major Sonata, which has the same contrapuntal inflections, excursions into minor keys, changes in voices and registers, and in addi?tion the alia breve tempo. But of course Beethoven is more concise, and the heart-rending lyricism is lacking. The passages in imitation of a kind that has to be played in a decisive manner evoke Bach, and the rhythmic alternations between crotchets, quavers, and triplets lend the movement a focused energy--although the coda, with its many tempo changes, breaks the material down as though into fragments, until finally the whole work progress?es towards its final chord by way of an outburst of trills and quaver figuration cascading up and down, which in their turn recall the opening of the first movement, and so the music comes full-circle in a very humorous way.
With the Sonata in d minor we enter altogether different territory: darkness and sudden out?bursts, dream-like recitatives, and in the finale an almost continual twisting and turning of the theme. Beethoven's allusion to Shakespeare's The Tempest is authenticated, but what light can it shed on the music for us
We shouldn't draw too much out of this refer?ence, and Beethoven himself went no further than a mysterious allusion. To put it another way, we shouldn't imagine anything specific, even if passages in monologue and dialogue, which might perhaps bring Prospero to mind, come to the fore with increased rhetoric. I must limit myself to a few essential points, though the so?nata would of course invite extensive analysis. In the first place, what's revolutionary is that Beethoven allows the piece to begin not on the tonic, but with a rising chord of A Major, which immediately sows the seeds of uncertainty over what is to come. But beware: this beginning al?ready forms part of the main subject, and is not an introduction--as is quite clearly indicated by the "answer" in the bass from bar 21 onwards, which presents the same rising figure in an accel?erated form. Moreover, huge psychological forces are seething away, for instance in the relentlessly
propelled dialogue between contrasting registers which is continually striving for wider intervals; or in the second theme, which doesn't take us into different worlds or moods, but instead drives the despair still further.
Altogether, this movement encompasses an enor?mous amount, both as far as its content and its form are concerned, and yet the whole thing seems extremely concise.
The exposition presents a powerful and violent concentration of statements, and yet it is over in a flash. And Beethoven is just as economical with his argument in the development, until the hurri?cane's rage has abated and it comes to rest in the bass register--a penseroso moment that seems to anticipate Liszt and his b-minor Sonata. But exact?ly at the point where the recapitulation could ac?tually be joined on in classical fashion, Beethoven once more does something new. He inserts two recitatives--the first of them restrained, simple, and noble in tone; and the second with bolder intervals, mysterious, pale, and whose tonal prop?erties are veiled. And in the recapitulation the composer compresses his material once more, and as a result the effect of the blurred ending deep in the bass seems all the more remote: not a resolution, but a shadowy vanishing after terrify?ing eruptions.
The slow movement arises out of the final ferma-ta--an almost solemn, or at least chorale-like, "Adagio" in B-flat Major.
Everything is calm to begin with, and only the short bass figures in demisemiquavers, which should sound like timpani, allow the impression of a storm in the far distance to arise. The sus?tained chords of the chorale have the character of a sarabande, but gradually events multiply, and more and more questions are put--and that's why it's important for the performer to be able to distinguish between "sung" and "spoken" sections. The second theme appears to continue the calm, and to lighten the solemn tread a little. But soon the drum rolls intervene again, and this time they pave the way for the cascades of de?misemiquavers that are to follow later, and that are contrapuntally written to cover all registers of the instrument. The declamatory and cadenza-like elements of the large-scale coda in three sec-
tions immediately provide us with the breadth of a "heaven and earth" feeling. Incidentally, the last bar has to be played strictly in tempo, without any ritardando.
After that comes the detailed "Allegretto" in 38 time--a finale that has often tempted pianists nto excessive haste, and cold-blooded mechani-:al virtuosity.
Which completely misses the point! The piece is written in sonata form, with an exposition, development, and recapitulation, and it needs to occupy a special position within the work as a whole--perhaps even, as is the case with the "Moonlight" Sonata, the main weight. That makes it all the more essential correctly to realize the proportions, the sonorities, and the rhythmic energies that bind the whole thing together, as well as that half-melancholy, half-dramatic tone that runs through it. You really have to hear every?thing, and that wouldn't be possible with too fast a tempo. In this connection I would point to the long development section, whose contrapuntal passages are reminiscent of Bach's d-minor two-part Invention. No less significant is the coda, in whose latter half the theme finally retums in full orchestral garb, before--following a chromatic fortissimo scream--the piece collapses like the first movement without a ritardando or fermata, with a d-minor arpeggio played piano, and de?scending to the bottom of the keyboard. In short, a highly dramatic work!
On the other hand, the last sonata of the Op. 31 triptych, also composed between 1801 and 1802, is in an E-flat Major that is at once bright and soft. Brilliance and lyrical assurance are found together in a very relaxed way.
Yes, it's no use looking for the "heroic" gloom, if I can put it that way, of the "Tempest" Sonata. Great tenderness--as for instance in the pleading phrase of the first bar, at the very beginning-is mingled with humor, as we can see in a very fruitful form in the development section of the "Scherzo." And the finale provides really spec?tacular bravura, demanding great pianistic en?ergy. But this sonata, too, should not be played too quickly or hurriedly. In the opening movement the irregular runs in semiquavers and demisemi-
quavers give the tempo, and in addition there are many ritardandos forming transitions that have to be precisely shaped. The charming, song-like sec?ond subject above a simple Alberti bass accompa?niment lends support to the questioning introduc?tory phrase, which you could actually characterize as "Liebst Du mich"
The floating lightness of the piece also arises out of the fact that the home key of E-flat Major is only established at bar 17, and that everything that comes before seems somewhat improvised and questioning.
Absolutely, although the material of the third and fourth bars already carries a lot of weight. This motif in repeated chords runs through the whole movement like a basic pattern or binding force-in fact, it is found again, appropriately modified, in the following movements. In the development section of the opening movement things become somewhat stormier, the lyrical mood broadens into comedy, the energy level is raised by the skip?ping intervals whose tension owes a good deal to the crossed-hands motion; and on top of that there are strong dynamic contrasts, and textures that expand the purely pianistic writing into trio or quartet-like associations.
For his scherzo Beethoven has in mind an "Alle?gretto vivace." More allegretto, or more vivace
Both. The "Allegretto" is less of a tempo indica?tion than a mood: what's required is dance-like lightness. On the other hand, we should also be conscious of a certain energy, which makes itself felt at the latest with the outbursts of fortissimo chords. The design of the whole piece is a sonata-scherzo--by which I mean that we have an expo?sition that absolutely has to be repeated, a devel?opment on a notably large scale, and a reprise. A good deal of it breathes the air of opera buffa. The beginning is amusing, and even downright comi?cal, with the right hand establishing a chorale-like melody, and the left plucking out a staccato bass. Finally, the performer has to vary the tempo like a good director--joining the fermatas and ritardan?dos to the "a tempo" in a meaningful way. And if, for instance, we really bring out the battle that rages in bars 90 onwards, we encounter a truly furious extrovert character.
Instead of following this with a genuine slow movement, Beethoven is satisfied with a short minuet.
That's certainly very unusual, and so is its char?acter: "Moderate e grazioso" suggests a degree of contrast within itself. Nevertheless, it shows Beethoven, in opposition to every cliche, as a won?derful melodist. On the other hand, the trio--on which Saint-Saens based a set of variations for two pianos, and which seems to anticipate one of the episodes in Schumann's Faschingsschwank aus Wien, is in a pure chordal style. Only the coda, with its eerily chromatic tinges, evokes a hint of melancholy or darkness.
And so to the finale: a "Presto con fuoco" of an indisputably pianistic nature. Here at last we meet with the gallop that Czerny wrongly ascribed to the finale of the "Tempest" Sonata.
A gallop, yes, and also the atmosphere of the hunt with prominent horn-like accents. The mu?sic's powerful energy and rhythm have led the French to give it the nickname of "La Chasse." Once more, the 68 rhythm has something of a perpetuum mobile about it, but in contrast to the "Allegretto" of the "Tempest" Sonata or the fina?le of Schubert's great c-minor Sonata, the mood here is one of unclouded, high-spirited joy. The long development requires additional virtuoso en?ergy; the changes in register and the dialogue-like passages at the start of the large-scale coda bring into play an expansive, almost landscape-like spa?ciousness; and following a protracted ritardando the blunt closing bars, like a "chucker-out," pro?vide a suitable concert-ending.
Only a short time later Beethoven produces the C-Major Sonata Op. 53, dedicated to his patron and friend Count Waldstein. But the expressive worlds it encompasses leave everything that came before far behind.
The "Waldstein" Sonata is certainly an overwhelm?ing work that was not only of great significance to the composer, but also occupies a special place in the history of piano music. Its spatial dimensions alone are enormous, and were only exceeded lat?er by those of the "Hammerklavier" Sonata. And then Beethoven takes a giant stride forwards in respect of newfound pianistic sonorities, at the same time creating a huge "tone-poem."
It would have been even larger if Beethoven had used the slow movement he originally composed for it, instead of replacing it with a short introduc?tion to the rondo finale.
According to Beethoven's pupil Ferdinand Ries, one of the composer's friends objected that the sonata in its original form was too long--which at first enraged Beethoven, though he later found that there was indeed a much better solution. The fact that he removed the slow movement and issued it independently as an "Andante favori" works strongly to the advantage of the sonata as a whole. As things stand now, the proportions are right, and the "Rondo" can emerge out of the extraordinarily mysterious mood of expecta?tion generated in the introduction's final bars. We already find transitions of this kind in the Sonata Op. 27, No. 7.
At the same time for some music-lovers the "Waldstein" Sonata bears the banner for extreme extroversion and somewhat superficial brilliance.
Quite unjustly. It begins--as for that matter does the clear majority of all the sonatas-quietly, and indeed pianissimo. And then, the second subject in E Major leads us into an intimately lyrical world: it doesn't need to be played with a slackening of the tempo--the larger note values it is written in are quite enough. Finally, Beethoven shades the entire work with a large variety of effects in which the pedal plays a significant role. To put it in a nutshell you could say that it's only by chance that the sonata was written for piano... But needless to say it exploits every expressive possibility, and seems to take into account future developments of the instrument beyond Beethoven's own life?time in an inspired way.
The first movement begins with its well-known repeated-note motif: we feel rhythm and we hear something almost like noise, with nothing melodic actually appearing.
The orchestral writing already begins here, and the tremolando that follows heralds a new kind of technique. The position of the registers is very important: the motion is drawn upwards, from darkness into the sun--a process that's repeated over and over again, and becomes particularly meaningful in the "Rondo"--which is why the
French call the sonata "L'Aurore" (Dawn). As al?ready mentioned, the second subject has chorale-like dignity and tender beauty, but it's gradually expanded with extrovert and brilliant decorations. The first fortissimo outburst, in bar 62, again en?genders a sort of percussive sonority, and soon after it we find the first long trills--written-out trills, not in the sense of decoration, but of height?ened expressiveness. The "Rondo" raises the trill to the level of a foreground element, and places them firmly in a developmental line that leads to Op. 109 and the "Arietta" of Op. 111.
In the development the material appears in con?centrated form, as though in fragments, not only pointing forwards to the "economical" Beethoven, but also investing the music with a newfound ur?gency.
There of course, in the conflict-driven, energetic passages that pass through wide tonal regions, the heroic style, if you like, finds expression. A special moment is reached at the point where the arrival of the recapitulation is imminent: we seem to hear timpani and double-basses in the rumbling semiquavers in contrary motion--they convey something like a natural phenomenon, though of course in a positive sense. Then there are the short phrases that rise progressively higher, in which the bass-line moving from 'C to 'C-sharp' to 'D' really has to make itself felt--moments like this, and the quaver chords of the recapitulation have a really tremendous effect that still makes itself felt today. Altogether, the entire movement, with the brilliant cadenza in its coda, offers a limitless panorama of ideas and transformations.
The "Introduzione," by way of contrast, encom?passes a mere 28 bars, and although lyrical ideas surface from time to time, prose predominates.
A kind of "speech-song" should unfold only from bar nine onwards; before that, the music gropes its way in comparatively abstract gestures from the bass into the middle register. This transition?al piece should probably not be thought of as a movement at all--rather it rises up like an island between two landscapes, or almost like no-man's land. But that's really a question of its function, and when the individual lines and voices later branch out as though in a string quartet, and fi?nally ascend into the descant with increasing fer-
vor, their goal is never self-contained: when the flute hovers alone on a fermata on the top 'G,' it becomes apparent that everything has been calculated with the beginning of the "Rondo" in view.
As an "Allegretto moderato" the finale in no way leads one to suspect that its tenderly lyrical theme soon gives way to passages in an orchestral vir?tuoso style.
Yet it is a sonata-rondo with contrasting episodes, and for that very reason the "stories" that unfold in them have to be correspondingly weighty. I should stress that the rondo theme--rather like a mountain-dweller's song--already begins on the bottom 'C quaver: the later reprises and varia?tions make that absolutely clear. So we have to find colors and shadings that will differentiate the "rustic" or demonically wild passages of the two episodes from the shoots that grow out of the rondo theme in all its lyrical gentleness. Occasion?ally, one has the impression, both as performer and listener, that the piano is almost too restricted for the type of music that is striven for and found here. I'm thinking, for instance, of the rushing semiquaver triplets in the reprise of the first epi?sode, or some of the moments in the coda.
How should the notorious octave giissandos be played
Exactly as Beethoven notated them--and in the case of Op. 53 his manuscript has survived. It's true that it isn't easy, and was a little more com?fortable on the fortepiano of Beethoven's day, but the required effect can only be obtained in that way. And for the coda's apotheosis in trills you naturally need to produce as magical and shim?mering a sonority as possible. In short, I absolutely agree with Gyorgy Ligeti: the "Waldstein" Sonata is a milestone in musical history, and one that opened up new imaginative sound-worlds.
Translation by Misha Donat.
Please refer to page 36 in your program book for a biography of Mr. Schiff.
and Natalie Matovinovic present Andras Schiff Piano
Program Sunday Afternoon, October 26, 2008 at 4:00 Rackham Auditorium Ann Arbor Beethoven Piano ?onatas Concert VI Sonata No. 22 in F Major, Op. 54 In tempo d'un menuetto Allegretto Sonata No. 23 in f minor. Op. 57 ("Appassionata") Allegro assai Andante con moto Allegro non troppo INTERMISSION Sonata No. 24 in F-sharp Major, Op. 78 Adagio cantabile: Allegro ma non troppo Allegro vivace Sonata No. 25 in G Major, Op. 79 Presto alia tedesca Andante Vivace Sonata No. 26 in E-flat Major, Op. 81a ("Les Adieux") Adagio: Allegro (Les Adieux) Andante espressivo (L'absence) Vivacissimamente (Le Retour)
17th Performance of the 130th Annual Season 46th Annual Chamber Arts Series The photographing or sound and video recording of this recital or posses?sion of any device for such recording is prohibited. This afternoon's performance is sponsored by Natalie Matovinovid Media partnership provided by WGTE 91.3 FM, Observer & Eccentric Newspa?pers, and WRCJ 90.9 FM. Special thanks to U-M School of Music, Theatre & Dance, Steven Whiting, Logan Skelton, and John Ellis for their participation in this residency. The Steinway piano used in this afternoon's performance is made possible by the Steinway Piano Gallery of Detroit. Special thanks to Tom Thompson of Tom Thompson Flowers, Ann Arbor, for his generous contribution of floral art for this afternoon's performance. Special thanks to Steven Ball for coordinating the pre-concert music on the Charles Baird Carillon. Mr. Schiff appears by exclusive arrangement with Kirshbaum Dernier & Associates, Inc., New York, NY. Mr. Schiff's recordings are available on the DeccaLondon, TeldecWarner, and ECM labels. Large print programs are available upon request.

Music for Connoisseurs, Music for the World at Large
B
eethoven's Sonatas Opp. 54, 57, 78, 79, and 81a: Andras Schiff in conversation with Martin Meyer
Martin Meyer: Anyone who studies Beethoven's piano sonatas has to take into consideration not only the ideas and the challenges presented by individual works, but at the same time must see them in the context of what comes before and after them. What can the performer learn from this
Andras Schiff: On the one hand, the performer obviously has to produce as logical a rendition as possible of a specific sonata. But on the other hand it is important for the unity of the collective 32 sonatas to "hear" the past and the future at the same time. That doesn't mean, for instance, that you have to play the long trill in the finale of the "Waldstein" Sonata as though you were already in the world of the "Arietta" of Op. 111. But a good many of the new ideas Beethoven in?troduces during his work on the sonatas have the potential for further development--a develop?ment that stretches, incidentally, far beyond his own output, and into romanticism and even late romanticism. So for the performer to be aware of, and to understand, such lines of development, in?tensifies the intellectual and spiritual nature of his interpretation.
In contrast to Mozart in many of his works, and rather more like Haydn, Beethoven's output clear?ly lays emphasis on a kind of progressive devel?opment. Is that what makes their interpretation particularly challenging
We always have to have the horizon of chronolog?ical events before our eyes, and--more particular?ly--our ears. That applies not only to an individual work but also to the larger compass of an individ?ual genre. To be specific, I play the early f-minor Sonata Op. 2, No. 1, of 1795, differently--that's to say more dramatically and energetically--when I'm conscious of the fact that 10 years later the famous "Appassionata" takes up the same key again, and intensifies the passionate nature of the
early piece into grandiose despair. And in its turn, the interpretation of the "Appassionata" could be helped by looking forward to the String Quartet Op. 95, also in f minor.
The piano sonatas of Beethoven's middle period encompass, after Opp. 31 and 53, five more works. The "Les Adieux" Sonata Op. 81a marks the end of this phase, before we reach the last group. Once more, the variety of forms they con?tain is astonishing.
It provides evidence of a progressive journey which comes to a temporary halt with the com?pletion of the "Appassionata" in 1805, before continuing again some four years later with the F-sharp-Major Sonata Op. 78. But Beethoven varies the design of these five sonatas in a wholly adventurous way. The "Appassionata" is preced?ed by the two-movement F-Major Sonata Op. 54, whose mood is partly song-like, and partly heavily accented. The Op. 78 Sonata takes us into a very lyrical as well as capriciously playful world. On the other hand, the next sonata, Op. 79, whose first movement is headed alia tedesca, is generally incisive and extrovert; and finally the "Les Adieux" Sonata presents us with a wonderful portrayal of a spiritual state between farewell, absence, and joyful reunion.
Many pianists play the "Appassionata" as a cli?mactic ending to their recital. However, your cy?clic performance places it within the context you have just outlined, and the program begins with the fairly unknown and somewhat disconcerting work in F Major, Op. 54.
That allows the tension to increase all the more, and to be resolved again with the F-sharp-Major Sonata. But the advantage of a chronologically-arranged cycle lies in the direct juxtaposition of contrasting characters of this kind. Also, in this way the F-Major Sonata comes into its own, be?cause unfortunately it's still a neglected stepchild of the piano repertoire. That's probably because the first movement--and especially in its unruly and quick-tempered episodes--has a slightly aloof, or at least "abstract" effect. And then the finale gives rise to some technical difficulties: it's not a piece you can simply take in your stride.
The work is condensed into two movements, of which the first is headed "In tempo d'un Menu-etto." But it certainly doesn't sound particularly ingratiating or agreeably dance-like.
No. Once more we find ourselves confronted with a sort of Janus-faced piece: on the one hand the first theme rises up from the bass in a song-like and tender way, and is extended in more poly?phonic textures; and on the other hand the force?ful second theme, with its relentlessly driven oc?taves and sixths, shatters the calm. So you could say that the "female" and "male"--an opposition familiar from some of Beethoven's other works-are intertwined here in a very original manner: "Beauty and the Beast" once again. And while the threefold appearances of the first theme are rather painterly, the second theme, which is heard twice, strides forth with sculptural hardness and in canonic imitation. With its many sforzati and its staccato this very energetic second theme is unyielding, and almost stubborn.
The sonority is altogether very hard to grasp-we hear something that is neither unambiguously pianistic, nor does it seem to have an aura of the string quartet about it.
The sound, as I said, is a little abstract in effect, and in that respect it already looks forward to the late works. Mind you, the main theme also carries a great deal of lyrical warmth, and when in the coda it finally achieves a hymn-like solemnity-almost like the ending of the slow movement of the Symphony No. 5--we feel that in the conflict between Beauty and the Beast, it is Beauty who has prevailed. The kinship between this gentle opening theme and the well-known "Andante favori" which Beethoven had originally planned as the slow movement of the "Waldstein" Sonata becomes very evident. And finally, the pauses play a significant role in the overall parlando effect, particularly in the transition to the first reprise of the main theme.
The second movement--the finale--is rather like a very virtuosic toccata: continual rapid semiqua?vers without a moment's relaxation, and without any built-in "dialectical" opposition.
But it should in no way be mistaken for a study, above all in the style of Czerny! The tempo is "Al?legretto," and the flowing, but not too quick, mo?tion is reminiscent of the last movement from the Sonata Op. 26. Moreover, as early as the third bar, with its syncopated descending semiquaverdot?ted quaver major third in the left hand, we find a multitude of "barbs," or rhythmic contradic?tions which momentarily hold the motor-rhythm in check. Whereas the first section is only 20 bars long, the second section broadens out into a huge sonata-form development, complete with recapit?ulation, coda, and a very brilliant send-off in piu allegro tempo. Here Beethoven once again dem?onstrates his art of modulation, but also throws in extremely agitated horn or trumpet calls which amplify the musical argument in a very spacious way. In passing, I should say that a sensitive use of the pedal, particularly for the broad legato phras?es, is particularly important. It also helps prevent the performance from being superficially virtuo-sic, or sounding like an inexpressive play-through.
Beethoven's most famous piano sonata, the so-called "Appassionata," falls in the same period. Can it still sound new and fresh after so many layers of tradition and such a history of interpretation
I'm inclined to quote Mahler: what's so willingly called "tradition" is often pure sloppiness. Be?cause what's new and fresh, contrary to many performances of mindless "unruliness," is always there in the musical text if we read it properly. Of course the work is unprecedentedly impas?sioned: in that respect the title--not Beethoven's own--goes right to the heart. But that doesn't mean that creative freedom should degenerate into a tempo-less interpretation, or rather one that disintegrates into numerous different tempi. Among the fundamental insights into the way the opening movement should be treated is its 128 meter--by which I mean that we should not hear any triplets at the beginning, but a sharply dotted rhythm which allows the "inner" beat to pulsate, so to speak. For my part, I prepare myself for a performance in the concert-hall beforehand in such a way that I feel the 128 bar within myself just before I play the piece. That way, I achieve the tension which brings large-scale coherence to the movement as a whole.
The "Allegro assai" opens in bare octaves. There are other sonata beginnings that are written in a similar way: the Sonata Op. 10, No. 3, for in?stance, Op. 2, No. 2, or the first solo entry in the Piano Concerto No. 3.
Only in the case of the "Appassionata" the unison creates an atmosphere of absolute danger. The distance of two octaves between the two hands allows the bass-line to sound dark, and even eerie. When the theme is repeated a semitone higher, the key of G-flat Major, which should be perceived as a "Neapolitan," exudes an aura of mystery. All of this forms the first theme, and not in any sense an introduction. The "knocking" motif that ap?pears from bar 10 onwards is related to the one at the beginning of the Symphony No. 5, even if it's notated in a different rhythm: something fate?ful is heralded. If all this development, right up to the screaming diminished-seventh semiquavers that come cascading down, is to be comprehen?sible, the tempo should not be too quick, or the contours will be blurred. But often the beginning is conceived in a way that's focused above all on the thundering chains of syncopated chords that come immediately after the first page.
The famous second subject in A-flat Major inverts the main theme, and yet with extraordinary econ?omy of means the atmosphere has been com?pletely transformed.
It introduces an intimate lyricism, as well as a sense of yearning. But it remains unfulfilled: it lasts for no more than six bars, before a series of chords in the minor, followed by highly dramatic, expres?sive trills climbing progressively upwards allow the mood to change. Now we feel fear and trembling, as we do in the chromatically tinged transition that follows. Here, by the way, I'm reminded of Goethe's phrase "in durren Blattern sauselt der Wind" (the wind is murmuring in the dry leaves) from the ballad "Erlkonig," later set by Schubert.
For the first time in the opening movement of a piano sonata Beethoven doesn't indicate a repeat: the exposition flows straight into the develop?ment. Economy of means again
Absolutely. At the same time, the exposition dies away with a sense of immense spaciousness: the 'A-flat' in the bass is separated from the 'A-flat' in
the treble by a distance of five octaves. This point of extreme "alienation" is a key moment. After it, the development increases the tension again-first of all with contrapuntally-worked modula?tions, and later with a technique of foreshorten?ing which treats the individual motifs more as fragments or remnants. When we finally reach the huge coda at the end of the piece it forms a further development, at the end of which the first and second themes become intertwined--but once again only in dark and austere fragments.
The first movement ends with a long, heavily-weighted fermata. The "Andante con moto" slow movement enters in the third-related key of D-flat Major: quiet, very calm, and yet with the hint of a march.
In a way, that fermata provides a strong clue as to how the interpretation should proceed, be?cause after so much agitation a sense of calm has to be established in the concert hall. Here, at last, we can breathe a sigh of relief. Yes, it's true that there's something march-like about it, but it couldn't be more different from the "march of the tin soldiers" that characterizes the middle move?ment of the Sonata Op. 14, No. 2. The solemn, chorale-like gestures that arise out of the chords leave much more of a mark on the piece. And while Beethoven follows the theme with no more than three variations in a very cantabile style, with the melodic line clearly discernible throughout, we can notice two tendencies: on the one hand the music's register moves from low to high, or from darkness into light; and on the other hand, the long note-values become progressively short?er, in a sort of "spreading out" of events. The tone-colors should become brighter, but at the same time the ominous events to come gradually begin to lurk in the background of the swirl of de-misemiquavers. The first diminished-seventh fer?mata, played pianissimo, serves as an "overture" to the tragedy; but the second, in which the right hand is not arpeggiated, but played secco (dryly) as indicated, functions as a fortissimo fanfare in?troducing the wild storm of the finale.
Many performers opt for a fast tempo here. I re?member Sviatoslav Richter's debut in the Carnegie Hall in October 1960: utmost speed was the order of the day.
And yet the prescribed tempo is "Allegro ma non troppo!" Anyone who begins it too quickly first of all will not do justice to the many subliminal levels of this perpetuum mobile; and secondly will not have sufficient in reserve for the presto conclusion. To me it's very important to bring out all the motiv-ic and rhythmic elements clearly--from the contra?puntal layers of the "sighs," to the unison passages that are driven forwards so tortuously. The pianis?simo in the theme that begins in semiquavers from bar 20 onwards must already be clearly perceptible, because it immediately calls forth a rich number of metamorphoses and foreshortenings.
The exposition is not repeated, despite the fact that Beethoven marks its end with a double bar-line. On the other hand, the composer specifically asks for a repeat of the development--an abso?lute requirement, then
Without fail. The huge scope of the combined development and recapitulation, which is almost unique in Beethoven's output of sonatas, must ab?solutely be respected. In that way, the elementary force of the relatively brief presto coda has greater effect. Incidentally, for the lower in each pair of "rocking" quavers in the bass in bar 352, I don't play the bottom 'F' that appears in the first edition of the work, but the 'A-flat' that's confirmed in Beethoven's autograph score, because it increases the tension of the arpeggiated f-minor chord that follows--its bottom note is the more effective if it hasn't been heard in the previous bar. And finally, the atmosphere of the last crotchet--which is a rest!--of the prescribed fermata must be audible: silence as composed music.
The F-sharp Major Sonata, composed four years later, seems to have left the conflicts of its prede?cessor far behind. The first movement is imbued with lyrical tenderness, while the second is char?acterized by its playfulness.
The sonata's key is already unusual, and not only for Beethoven. And when you consider that in those days performers played from the music, the piece as it appears on the printed page seems twice as difficult. Certainly, it wasn't written with amateurs in mind, but for real connoisseurs-among whom we should probably include the dedicatee, Therese von Brunswick. The fact that Beethoven valued this work highly, and placed it
above the "Moonlight" Sonata, is documented. After the short "Adagio cantabile" introduction, which never retums, an intimately flowing melody unfolds, almost in the manner of a declaration of love. Schubert begins his three-movement A-Major Sonata D. 664--a piece that has a compa?rable feeling of intimacy--in a very similar way. Following the transitional swirl of semiquavers (16th-notes) we arrive at the equally relaxed sec?ond subject that brings with it a slight slowing-down of the rhythmic flow. The development, which starts off in an f-sharp minor tinged with melancholy, features rapid alternations in register, as well as thematic foreshortenings, and it too should be repeated.
The concluding "Allegro vivace" has the character of a rondo. Its soaring rapidity seems to anticipate Weber or Mendelssohn.
It behaves in a virtuoso manner, without any empty brilliance, and is extremely hard to play. The fact that in certain thematic details it is nev?ertheless related to the first movement is shown for instance by its first two bars, which recall a phrase from the opening "Allegro" (bars 32-33). This opening idea occurs three times, in the form of a question which is answered each time by fleeting semiquaver figuration. The rapid-fire re?peated pairs of notes in chromatic formation re-introduce a technique that we have already met in the first movement of the "Tempest" Sonata Op. 31, No. 2. This is unambiguous toccata-like keyboard music, whereas the last reprise of the main rondo theme, just before the coda, has the spaciousness of a string quartet--and its lyrical, poetic gesture makes it very different from the be?ginning of the piece. Just before the end, there's an almost dream-like moment in the manner of a miniature cadenza, before an abrupt but defini?tive conclusion.
The G-Major Sonata Op. 79, also composed in the year 1809, is considerably more down-to-earth. A new feature is that Beethoven specifically labels it a "Sonatina." A work for younger people, perhaps
Not necessarily. It's true that to a certain extent Beethoven is intent on showing his hand, so to speak, and writing a lively, extrovert piece--as can be seen from the tempo marking of the opening movement: "Presto alia tedesca." On the other
hand, this quick waltz in the style of a German dance isn't so simple. Above all, the widely modu?lating development section, which transforms the rising third of the opening bar into "cuckoo calls" involving the rapid crossing of one hand over the other, isn't by any means technically undemanding. This is the virtuoso side of Beethoven, and even the mock-dramatic plunge into c minor bears witness to his enjoyment as a performer. The effect of the coda which brings the piece to a close is very beau?tiful, as the dance fades away with subtle wit.
The second movement, an "Andante," is notated in 98 time. Does its key of g minor suggest any sense of suffering
That would be going too far. What we have here is a gondola-song or barcarolle, of the kind we find again in the "Venetian Gondola Songs" from Mendelssohn's Songs Without Words. To me, the 98 bar has a similar "rowing" motion, and it should also convey a hint of melancholy. It sounds altogether very Italianate, but certainly in a very different way from the middle movement of the G-Major Sonata Op. 31, No. 7: the element of par?ody is altogether missing. Again, the "feminine" ending is wonderful: a quiet and tender farewell.
Whereas the rondo finale, with its "vivace" tem?po, retums to the liveliness of the opening move?ment, and its two episodes throw the spotlight on pianistic brilliance again.
But we shouldn't forget that it begins with the marking of piano dolce. In this respect Beethoven starts by creating a sort of transition from the dream world of the "Andante." On top of that, the opening theme is almost an anticipation of the beginning of the E-Major Sonata Op. 109, which also begins in a mood of lyrical tenderness. It's im?portant for the listener to be aware of the many in?tervals of the third, though without bringing them out exaggeratedly. The first, very short, episode in e minor again displays a sort of mock agitation; the second, in C Major, is more rustic and varied in its rapid upward motion. And what we were able to observe at the end of the first movement happens again in the last bar of the finale: the music fades away almost nonchalantly, with no ritardando and with a gentle crescendo followed by a last-moment piano for the final two chords.
The last of the middle-period sonatas is one of Beethoven's most famous piano works. Beethoven himself headed it "Les Adieux," and it's a pro?grammatic piece--that's to say it refers to an ac?tual event.
The E-flat Sonata Op. 81a, whose first movement survives in Beethoven's manuscript, arises out of its dedication to his friend Archduke Rudolph of Austria, inasmuch as it takes an episode out of his biography as its central theme--though of course very feely, and as "absolute" music throughout. At the time of the Napoleonic occupation of Vi?enna, Rudolph found himself having to leave the capital for a while. Beethoven's title for the piece, however, was "Das Lebewohl," and he wrote the words, "Vienna, 4 May 1809. On the departure of His Imperial Highness the esteemed Archduke Ru?dolph" in his own hand. "Lebewohl" is certainly more intimate and personal than "Adieu," which was intended for the French edition. All the same, the three movements carry the titles of "Das Leb?ewohl" (The Farewell), "Abwesenheit" (Absence) and "Das Wiedersehen" (The Reunion), and to that degree the music relates to an actual story. But what's much more important is for us to be aware of how the themes and leitmotifs of the three movements differ, and yet at the same time are related to each other.
The "psychological" contribution to the musical argument is considerable, but we surely shouldn't think of it as "program music."
Absolutely not. The same goes for this sonata as for the "Pastoral" Symphony No. 6, which is more feeling than tone-painting. All the same, over the first three crotchets of the introduction, which move so wonderfully downwards from E-flat Ma?jor to impart a false sense of c minor, Beethoven wrote the three syllables of the word "Le-be-wohl," which give rise to a genuine leitmotif. And as such it threads its way through the entire open?ing movement, sometimes quite clearly, at others more veiled--as a means of setting the mood, but at the same time as material for thematic trans?formation. In addition, this first theme is strongly reminiscent of a horn call, which also takes into consideration the notion of time as related to leave-taking and departure. As early as the up?beat to bar 3 we find a second fragmentary motif:
while the right hand ascends in a sort of "sighing" manner, the lower line of the left-hand part curves downwards in chromatic steps as though pained, and in a manner that almost accords with the "lamento" basses that Bach habitually introduced at suitable moments. So we could track down a good many references to "literary" themes in "Les Adieux," which is a work that presents great com?positional subtlety.
The 16-bar introduction is followed by an "Alle?gro" whose basic style is not calculated to convey great sadness.
On the contrary, this "Allegro" in alia breve nota?tion at first presents an affirmation of life. It also exploits a keyboard compass of almost orches?tral breadth. But in the very short development section the juices thicken, and a great deal of it sounds chilly and dissonant: the gateway towards the composer's late style already seems within reach. In addition, the chromaticism of the tran?sitional theme (bar 35 ff), which is clearly derived from the opening bars, acquires more of a sense of pain--you could transcribe its three-note mo?tif into speech, as "please do stay!" for instance, or "do not go!" There are passages that dilute or alleviate the "Allegro" momentum, and Wil-helm Kempff was quite right to point out to a pupil of his that she shouldn't play the piece too fast. The coda, which is on a large scale, varies the horn call once more into something nostalgic, and the many long notes seem to have absorbed the "flowing" music, until the quavers return, as though wanting to carry the friend's coach off, and make it disappear from sight.
The second movement, "Absence," is another in?terlude in the manner of the "Introduzione" of the "Waldstein" Sonata--a transition to the finale, even if in this case it is done with gestures full of pathos.
Without the "Waldstein" as a model it would hardly have been imaginable. When Beethoven adds "At walking-pace, but with much expres?sion," the pace is certainly laden with worry. The minor-mode atmosphere, the anguished sforzato phrases, the staccato passages in the left hand, the chromatic interjections, the slow-moving har?mony before we at last arrive at an unambiguous
c minor--all this makes the extremely rhetorical character of this widely wandering transition clear. And if we wanted to look for a literary equivalent for the opening theme, we could formulate it as "Where are you" In other words, what we have here is poetical music of a quite particular den?sity, and the performer has to articulate it with corresponding precision. Any generalized account fails to do justice to the immense richness of the ideas--but of course that goes without saying for Beethoven's late works in general.
The finale--the "reunion," or "return"--has a tempo marking of "Vivacissimamente," and Beethoven even adds the German direction "Im lebhaftesten Zeitmasse" (In the liveliest tempo). How does one avoid mere virtuoso brilliance
Brilliance is important, and in many ways it's writ?ten into this movement: from the 10-bar introduc?tion based on the chord of the dominant seventh, through the broken-octave lines to the seething fortissimo passages which may remind us of the finale of the Piano Concerto No. 5. On the other hand, these things should be shaped not only by the fingers, but first of all by the head--which means for instance that the dynamic progressions must be shaded with corresponding subtlety. And just as in the first movement, the development section brings with it darker sounds and con?trapuntal elaborations that open up the piano's sonority into the realm of chamber music. And when the coda takes up the familiar post-horn theme again in a very poetical way, and the music becomes tender, before the last bars form a ju?bilant conclusion, the sonata has come full-circle back to its beginning, while the intervening time seems as though it belongs to the past.
Translation by Misha Donat.
Andras Schiff was born in Budapest, Hun?gary in 1953. He began piano lessons at the age of five with Elisabeth Vadasz and continued his musical studies at the Ferenc Liszt Academy with Professor Pal Kadosa, Gybrgy Kurtag, and Ferenc Rados. He also worked with George Malcolm in London. Recitals and special projects include cycles of the major keyboard works of J.S. Bach, Haydn, Mozart, Beethoven, Schubert, Chopin, Schumann, and Bart6k. In 2004, he began a series of performances in Eu?rope exploring the 32 Beethoven piano sonatas in chronological order--a project recorded live for ECM New Series, to be released in eight volumes through 2008.
The Beethoven Sonata Project in its entirety continues this season at New York's Carnegie Hall, Los Angeles's Disney Hall, San Francisco's Symphony Hall, and Ann Arbor's Hill Auditorium. Individual recitals are also slated for Chicago, North Carolina, Ottawa, Philadelphia, Princeton, and Washington DC.
In 1999, Mr. Schiff created his own chamber orchestra, the Cappella Andrea Barca, for a seven-year series of the complete Mozart piano concerti, taking place at the Mozartwoche of the Inter?nationale Stiftung Mozarteum in Salzburg. The group, consisting of international soloists, cham?ber musicians, and close friends, toured North America during the 0506 and 0607 seasons in a series of concerts at Carnegie Hall and Alice Tully Hall to commemorate the 250th anniversary of Mozart's birth. The six concerts included 12 of the Mozart piano concerti, chamber music, and symphonies.
Mr. Schiff has annual engagements with the Philharmonia Orchestra of London and the Chamber Orchestra of Europe as conductor and soloist. He is a regular visitor as conductor and soloist with the Philadelphia Orchestra, Los Ange?les Philharmonic, National Symphony Orchestra, Staatskapelle Dresden, Budapest Festival Orches?tra, and City of Birmingham Symphony Orchestra. He has conducted Bach's Mass in b minor and Haydn's Creation with the London Philharmonia and was conductor and soloist with the Chamber Orchestra of Europe on a critically-acclaimed tour of New York, Chicago, and San Francisco.
Since childhood, Mr. Schiff has enjoyed play?ing chamber music and was Artistic Director of Musiktage Mondsee, an internationally-praised annual chamber music festival near Salzburg from
1989 until 1998. In 1995, together with Heinz Hol-liger, he founded the "Ittinger Pfingstkonzerte" in Kartause Ittingen, Switzerland. He is presently joint Artistic Director of Ittinger Pfingstkonzerte, a chamber music festival he founded in Switzerland with Heinz Holliger in 1995. In 1998, Mr. Schiff started a similar series entitled Ommaggio a Palla-dio at the Teatro Olimpico in Vicenza. In the 0708 season, he was Pianist-in-Residence of the Berlin Philharmonic.
Mr. Schiff has established a prolific discogra-phy, including recordings for Teldec (1994-1997), LondonDecca (1981-1994) and, since 1997, ECM New Series. Recordings for ECM include the com?plete solo piano music of Beethoven and Janacek, a solo disc of Schumann piano pieces, and his sec?ond recording of the Bach Goldberg Variations. He has received several international recording awards, including two Grammy Awards for "Best Classical Instrumental Soloist (Without Orches?tra)" for the Bach English Suites, and "Best Vocal Recording" for Schubert's Schwanengesang with tenor Peter Schreier, For the 49th annual Grammy Awards, Mr. Schiff was nominated for "Best Clas?sical Album (Without Orchestra)" for the second volume of his Complete Beethoven Sonata record?ings for ECM. In 2009, Mr. Schiff will release an all-Schumann disc on the EMI label.
Among other honors, Mr. Schiff was award?ed the Bartbk Prize in 1991 and the Claudio Ar-rau Memorial medal from the Robert Schumann Society in Dusseldorf in 1994. In March 1996, Mr. Schiff received the highest Hungarian distinction, the Kossuth Prize, and in May 1997 he received the Leonie Sonnings Music Prize in Copenha?gen. He was awarded the Palladio d'Oro by the city of Vicenza, and the Musikfest-Preis Bremen for "outstanding international artistic work" in 2003. Recently, Mr. Schiff received two awards in recognition of his Beethoven performances: in June 2006, he became an Honorary Member of the Beethoven House in Bonn, and in May 2007 he was presented with the renowned Italian Prize, the Premio della critica musicale Franco Abbiati in recognition of his Beethoven Piano Sonata Cycle. In October 2007, Mr. Schiff was honored by the Royal Academy of Music with the institution's prestigious Bach Prize, awarded each year to an individual who has made an outstanding contri?bution to the performance andor scholarly study of the music of J.S. Bach.
In 2006, Mr. Schiff and music publisher G. Henle began a unique partnership to produce spe?cial joint editions of Mozart and Bach. Mr. Schiff is currently editing the complete Mozart Piano Concerti to include his specific fingerings and ca?denzas where the original cadenzas are missing. In 2007, both volumes of Bach's Well Tempered Klavier were edited in the Henle original text with fingerings by Mr Schiff.
Mr. Schiff is an Honorary Professor of Mu?sic Schools in Budapest, Detmold, and Munich. In 2001, Mr. Schiff became a British citizen; he re?sides in Florence and London and is married to the violinist Yuuko Shiokawa.
UMS ARCHIVES
These fifth and sixth concerts of Andras Schiff's complete Beethoven piano sonata cycle mark his seventh and eighth appear?ances under UMS auspices. Mr. Schiff made his UMS debut as soloist in Bartbk's Piano Concerto No. 2 with the Budapest Festival Orchestra in 1998 at Hill Auditorium.
Andras Schiff
presents
Michigan Chamber Players
Faculty Artists of the University of Michigan School of Music, Theatre & Dance
Rebecca Albers, Viola Gabriel Bolkosky, Violin William Campbell, Trumpet Alicia Doudna, Violin Diana Gannett, Bass Joseph Gramley, Percussion Robert Hartwell, Speaker David Jackson, Trombone Sandra Jackson, Clarinet
Andrew Jennings, Violin Jeffrey Lyman, Bassoon Andrew Parker, Oboe Daniel Pesca, Piano Mary Ann Ramos, Cello Stephen Shipps, Violin George Shirley, Speaker Stephen West, Baritone Steven Whiting, Narrator
"Member of The Phoenix Quartet (SMTD Quartet-in-Residence)
'rogram
'harles Ives
res
rands Poulenc
Monday Evening, October 27, 2008 at 8:00 Stamps Auditorium, Walgreen Drama Center
Ann Arbor
A Season to Create: Creating Drama
Hallowe'en
Mr. Bolkosky, Ms. Doudna, Ms. Albers, Ms. Ramos, Mr. Pesca, Mr. Gramley
The Celestial Country (excerpt) Intermezzo for String Quartet
Mr. Bolkosky, Ms. Doudna, Ms. Albers, Ms. Ramos
Le bal masque (The Masked Ball)
Preambule et Air de bravoure
Intermede
Malvina
Bagatelle
La dame aveugle
Finale
Mr. West, Mr. Parker, Ms. Jackson, Mr. Lyman, Mr. Campbell, Mr. Pesca, Mr. Jennings, Ms. Ramos, Mr. Gramley
INTERMISSION
Igor Stravinsky Histoire du soldat (The Soldier's Tale)
PARTI
The Soldier's March
Music for Scene I: Airs by a Stream
Music for Scene II: Pastorale
Music for Scene III: Airs by a Stream (Reprise)
PART II
The Soldier's March (Reprise)
The Royal March
The Little Concert
Three Dances: Tango, Waltz, Ragtime
The Devil's Dance
Little Chorale
The Devil's Song
Grand Chorale
Triumphal March of the Devil
Mr. Shipps, Ms. Gannett, Ms. Jackson, Mr. Lyman,
Mr. Campbell, Mr. Jackson, Mr. Gramley, Mr. Whiting,
Mr. Shirley, Mr. Hartwell
18th Performance of the Special thanks to Amy Porter for her leadership and coordination of this
130th Annual Season evening's concert.
The photographing or Large print programs are available upon request.
sound and video recording
of this concert or posses-
sion of any device for such
recording is prohibited.

Hallowe'en (1906 or 1907)
Intermezzo from The Celestial Country
(1899) Charles Ives
Born October 20, 1874 in Danbury, Connecticut Died May 79, 1954 in New York
The title of this piece may be Hallowe'en, but it was written--perhaps not coincidentally--on April 1, Fool's Day, in either 1906 or 1907 (the manuscript does not give the year). It was obvi?ously intended as a joke, though there is certainly a serious core to every joke. When he made the strings play the same rapid scales in four differ?ent keys at the same time, Ives must have thought of his late, beloved father who often played such games with his family; he constructed an academ?ically rigorous canon based on this playful prem?ise. The piece has been described as "organized confusion"--a characterization where both words are equally important.
Even Herbert Hoover could get it, and the average listener always gets it....I played this about 30 years ago with a little or?chestra from a theater just off the Bowery, in New York--and it was one of the few.... pieces that I remember sounded the first time exactly as I wanted it to sound....In this piece, I wanted to get, in a way, the sense and sound of a bonfire, outdoors in the night, growing bigger and bigger, and boys and children running around, danc?ing, throwing on wood--and the general spirit of Halloween night.... --Charles Ives, Memos
The early cantata The Celestial Country shows a completely different side of Ives--his seri?ous and traditional side. There is no experimenta?tion of any kind in this sacred cantata (except for a series of eight-note chords serving as interludes that Ives, a church organist at the time, played at the concert); in fact, it was largely modeled on a similar work, Hora novissima, by Ives's teacher at Yale, the conservative Horatio Parker. As musi?cologist Nicholas E. Tawa has noted, the cantata "made little impression" at the time, and its "lack of success signaled the end of Ives's attempts at reaching a wide American public." He set out on a different path instead, one that eventually led to the Concord Sonata and Symphony No. 4.
The cantata contains an "Intermezzo" for string quartet, whose gently undulating melody momentarily yields to a more angular, and in?tensely chromatic, scherzo-like middle section, followed by a return of the initial melody.
Le bal masque (The Masked Ball) (1932)
Francis Poulenc
Born January 7, 1899 in Paris
Died January 30, 1963 in Paris
The young Francis Poulenc was a darling of the Pa?risian aristocratic salons, where refined elegance existed side by side with outrageous humor. He was close friends with Marie-Laure de Noailles, an enthusiastic patron of Salvador Dali, Man Ray, and many other avant-garde artists. Together with her husband Charles, she commissioned Poulenc to write a work for a special gathering to be held at their property in the South of France. The com?poser collaborated with another colorful figure of the Parisian artistic scene, the surrealist poet Max Jacob (1876-1944), who provided the lyrics for this hilarious "profane cantata."
Circus music peppered with some very con?temporary harmonies, Le bal masque is one big joke with some rather menacing undertones. Death is a recurrent motif in the poems, and al?though it is constantly mocked by both the poet and the composer, the comedy can turn into tragedy at any moment. Poulenc's instructions to the singer bear translating: "The vocal part must be interpreted with a mixture of violence {Air de bravoure--Finale) and charm (Malvina and part of La dame aveugle). Never should the singer em?phasize the ironic intentions of the poet. Take the markings 'tenderly,' 'with love,' etc. literally."
Program notes by Peter Laki.
Preambule et Air de bravoure
(Prelude and Bravura Aria)
Madame la Dauphine, fine, fine, fine,
ne vena pas le beau film
qu'on y a fait tirer les vers du nez,
car on I'a amenee
en terre
avec son premier ne
en terre et a Nanterre
ou elle est entente.
Quand un paysan de Chine
veut avoir des primeurs,
il va chez I'imprimeur
ou bien chez sa voisine.
Tous les paysans de la Chine
les avaient epies
pour leur mettre des bottines, tines,
il leur coupent les pieds.
Monsieur le Comte d'Artois
est monte sur le toit
fairs un compte d'ardoises, toi, toi, toi,
et voir par la lunette, nette, nette,
pour voir si la lune est plus grosse que le doigt.
Un vapeur et sa cargaison, son, son, son, ont echoue contre la maison. Chipons de la graisse d'oie, doye, doye, doye, pour en faire des canons.
Her Ladyship the Dauphine
will never see the beautiful film
they pulled out of her nose,
for the lady,
with her baby,
was taken to the ground,
near the sound,
where she's buried under a mound.
When a peasant in China wants to get fresh produce, he goes to the production office or to his next-door neighbor. All the Chinese peasants watch them in the heat, to put on their little boots, they cut off their feet.
The Count of Artois
counted his toys,
and his alloys,
and put on his glasses
to see if the grasses have grown in the noise.
A steamer and its freight sank and met a sad fate, let's filch some goose fat, son, use it to make a gun.
Translation by Peter Laki.
Malvina
Voila quij'espere vous effraie: Mademoiselle Malvina ne quitte plus son eventail depuis qu'elle est morte. Son gant gris perle est etoile d'or... Elle se tire-bouchonne comme une valse tzigane, elle vient mourir d'amour a ta porte pres du gres ou I'on met les Cannes... Disons qu'elle est morte du diabete, morte du gros parfum qui lui penchait le cou, Oh! I'honnete animal si chaste et si peu fou, Moins gourmet que gourmande, elle etait de sang lourd, agregee les lettres et chargee de cours,
Here's something I hope will scare you. Miss Malvina hasn't let go of her fan since she died.
Her gray pearl glove is studded with gold stars... She twirls around like a Gypsy waltz, She comes to die of love at your doorstep, Next to the sandstone where they put the canes... Let's say she died of diabetes, of the strong perfume that tilted her neck. Oh, the honest animal, so chaste and so sober, no gourmet, though she loved food, her blood was heavy,
she had a teacher's diploma in lit and an adjunct position,
Cetait en chapeau haut qu'on lui faisait la cour. Or, on ne I'aurait eue qu'a la methode
hussardel... Malvina, oh Fantdme, que Dieu te garde!
and you had to wear a top hat to court her, otherwise you could only have her in a rough-and-ready way... Malvina, oh Phantom, may God keep you!
Translation by Peter Laki.
La dame aveugle (The Blind Lady)
La dame aveugle dont les yeux saignent choisit
ses mots. Elle ne parle a personne de ses maux.
Elle a des cheveux pareils a la mousse,
Elle porte des bijoux et des pierreries musses.
La dame grasse et aveugle dont les yeux saignent, ecrit des lettres polies avec marges et interlignes.
Elle prend garde aux plis de sa robe de peluche, et s'efforce de fake quelque chose de plus.
Et si je ne mentionne pas son beau-frere,
c'est qu'ici cejeune homme n'est pas en honneur,
car il s'enivre et fait s'enivrer I'aveugle qui rit alors et beugle.
The blind lady with bloodshot eyes chooses her
expressions. Her infirmities are not the theme of her confessions.
Her hair curls over her like moss
She wears gold brooches that great jewels emboss.
The fat blind lady with the bloodshot eyes Writes scrawly notes with letters double size.
She is careful of the folds of her cotton dress And as for the other things she does her best.
And if I don't mention her brother-in-law here It's because the young fellow's not in favor, I fear,
For he gets her drunk, the drunken fellow So she'll laugh and she'll laugh and then she'll bellow.
Translation by Joseph T. Shipley.
Caprice
Reparateur perdus de vieux automobiles. I'anachorete, helas, a regagne
son nid.
Par ma barbe, je suis trop vieillard pour Pahs, ''angle de tes maisons m'entre dans les chevilles. Mon gilet quadrille a, dit-on, I'air etrusque ?f mon chapeau marron va mal avec mes
frusques.
Avis, c'est un placard qu'on a mis sur ma porte, Dans ce logis tout sent la peau de chevre morte.
Repairman crippled with old automobiles, The hermit, unfortunately, has made it back to
his nest.
By my beard, I am too old for Paris; The corners of your houses get into my ankles. My checkered vest looks, one may say, almost
Etruscan,
And my chestnut hat goes poorly with my outfit. Notice, someone has placed a notice on my door: Everything in this dwelling smells of a dead goat's
skin.
Translation by Shawn Thuris.
Histoire du soldat (The Soldier's Tale) (1918) Igor Stravinsky
Born June 17, 1882 in St. Petersburg, Russia Died April 6, 1971 in New York
After soaring to international fame in 1910 with The Firebird, Igor Stravinsky became a citizen of the world, living in Switzerland during the au?tumn and winter months, returning to Russia for the summers, and descending on Paris to oversee the productions of Petrushka, The Rite of Spring, and Le Rossignol. With the outbreak of the First World War in 1914, however, his travel was re?stricted, and he settled full-time in Switzerland, near Lausanne, where he remained until mov?ing to France in 1920. Among his closest friends during the War was Ernest Ansermet, then con?ductor of the symphony concerts in Geneva and founder (in 1918) of the Orchestre de la Suisse Romande in that city, who introduced him to the Swiss novelist and poet Charles Ferdinand Ramuz late in 1915. Stravinsky invited Ramuz to help prepare French versions of the Russian texts for Reynard and Les Noces, and the collabora?tion went so well that they agreed to undertake a new joint project in 1917. Given the difficulty of theater production during the War, they re?alized that only a very small company could be assembled, perhaps one which could play in almost any hall and easily tour Switzerland. Ra?muz, not being a dramatist, suggested that he write a story that could be presented on stage as a kind of acted narration, something "to be read, played, and danced." It was agreed that Stravin?sky's music would be an accompaniment to the action, arranged so that it could be performed either on stage or independently in concert. For a subject, they settled on a story from a collec?tion of Russian tales compiled by Alexander Afa-nasiev which concerned, according to Stravinsky, "a Soldier who tricks the Devil into drinking too much vodka. He then gives the Devil a handful of shot to eat, assuring him it is caviar, and the Devil greedily swallows it and dies." Stravinsky and Ramuz incorporated other episodes from Afanasiev's stories into their scenario, notably one which featured a "Soldier who deserts and the wily Devil who infallibly comes to claim his soul." A Narrator would tell the following Sol?dier's Tale while performers portraying the char?acters danced and mimed to Stravinsky's music:
A Soldier, granted 10 days leave, marches home to his family's village. He rests along the way, takes out his fiddle, and plays. The Devil, disguised as an old man with a butterfly net, persuades the Soldier to trade his fiddle for a magic book. He invites the Soldier to spend two days of his leave with him, when he will show him how to earn immense wealth from the book. Arriving at his village after their encounter, the Soldier discovers that not two days but 20 years have passed. He tries to console himself with the wealth obtained through the book, but can find no peace, and wan?ders into another kingdom. The Princess of the land is ill, and the King has prom?ised her hand in marriage to anyone who can cure her. The Soldier determines to try. The Devil appears, playing the Sol?dier's violin. The Soldier challenges him to a game of cards. The Soldier loses his wealth to the Devil, whose power over him is thus ended. When the Devil col?lapses, the Soldier reclaims his violin, and plays the Princess back to health. She dances a tango, a waltz, and a ragtime. The Devil reappears, the Soldier fiddles him into contortions, and the Soldier and the Princess drag his body into the wings. The Devil swears vengeance. Some years after his marriage, the Soldier wants to visit his village. The Narrator counsels him not to seek the old, lost happiness of his youth now that he has found married happiness in a new home with the Prin?cess. Refusing the advice, the Soldier sets out. When he crosses the frontier, how?ever, he again falls under the mastery of the Devil, who takes his violin and leads him away, powerless to resist.
The Soldier's Tale signaled an important change in Stravinsky's musical style, away from the orchestral opulence of the early ballets to?ward a more economical, neo-Classical, interna?tional manner of expression. He later explained:
My choice of instruments was influ?enced by a very important event in my life at that time, the discovery of American jazz.... The Histoire ensemble resembles
the jazz band in that each instrumental category--strings, woodwinds, brass, percussion--is represented by both bass and treble components. The instruments themselves are jazz legitimates, too, ex?cept the bassoon, which is my substitu?tion for the saxophone.... The percus?sion part must also be considered as a manifestation of my enthusiasm for jazz. I purchased the instruments from a music shop in Lausanne, learning to play them myself as I composed. To bang a gong, bash a cymbal, clout a woodblock (or a critic) has always given me the keen?est satisfaction.... My knowledge of jazz was derived exclusively from copies of sheet music (brought back from Amer?ica by the conductor Ernest Ansermet). As I had never actually heard any of the music performed, I borrowed its rhyth?mic style not as played, but as written. I could imagine jazz sound, however, or so I liked to think. Jazz meant, in any case, a wholly new sound in my music, and His-toire marks my final break with the Rus?sian orchestral school in which I had been fostered.
The most obvious evidence of the influence of jazz and modern dance styles on the work is the "Tango" and "Ragtime" danced by the Prin?cess. (Stravinsky so liked the rag idiom that he wrote an independent Ragtime for Eleven Instru?ments as soon as he had finished the score for Histoire.) Concerning the dramatic use of his in?strumental ensemble, Stravinsky noted, "If every good piece of music is marked by its own char?acteristic sound, then the characteristic sounds of Histoire are the scrape of the violin and the punctuation of the drums. The violin is the Sol?dier's soul and the drums are the diablerie."
Program note by Dr. Richard E. Rodda.
Rebecca Albers (Viola) has performed across North America, Western Europe, and Asia. Her performances have been seen on national televi?sion in the US and China and heard on National Public Radio and French National Radio. Ms. Albers currently resides in Ann Arbor as the violist of the Phoenix Quartet and a recent addition to U-M's
viola faculty. She also tours extensively with the Al-bers Trio, a string trio formed with her sisters Laura and Julie Albers, and with fiddler Mark O'Connor's Appalachia Waltz Trio. Ms. Albers received her Bachelor and Master of Music degrees from the Juilliard School where she studied with and served as a teaching assistant to Heidi Castleman and Hsin-Yun Huang. This evening's performance marks Ms. Albers1 UMS debut.
Gabriel Bolkosky {Violin) is Executive Director of The Phoenix Ensemble, an Ann Arbor-based non-profit arts organization dedicated to helping artists and the educational community. His debut solo album This and That was released in 2005 to critical acclaim and features both jazz and classi?cal music. Other recordings include explorations of klezmer with Into the Freylakh (The Shape of Klez to Come), of the nuevo tango music of As-tor Piazzolla (The Oblivion Project Live), children's folk music with the children's music group Gemini (The Orchestra Is Here to Play), and contemporary music of composers such as Xenakis and Boulez with his former group Non Sequitur. In May 2008, Mr. Bolkosky made his debut at Carnegie Hall with Opus 21. In 0809, as a member of the Phoe?nix String Quartet, he is guest artist-in-residence at U-M. This evening's performance marks Mr. Bolkosky's UMS debut.
William Campbell (Trumpet), Associate Profes?sor of Trumpet at U-M, has also served on the faculties at The Ohio State University and Univer?sity of Kansas. At The Ohio State University, Mr. Campbell was awarded the Outstanding Profes?sor Award by the SphinxMortar Board. He per?formed for seven years as principal trumpet with I'Orchestra Maggio Musicale Fiorentino in Flor?ence, Italy, conducted by Zubin Mehta. He has performed as principal trumpet with the Chicago Symphony Orchestra, the St. Louis Symphony Or?chestra, the Columbus Symphony Orchestra, and the Rochester Philharmonic Orchestra. In a recent tour in China, Mr. Campbell, a Bach Artist, was appointed visiting guest professor of trumpet at the Shenyang Conservatory of Music. This eve?ning's performance marks Mr. Campbell's third UMS appearance.
Alicia Doudna (Violin) has performed and taught throughout the US and abroad. She has performed with Itzhak Perlman, Paul Katz, Ron-
aid Copes, and members of the Cavani Quartet. She has appeared at various festivals as a chamber musician, and has performed with several cham?ber orchestras and ensembles, including The East Coast Chamber Orchestra, The Suedama Ensem?ble, Radius Ensemble, and The Phoenix Ensemble. She is a member of the Phoenix Quartet, the visit?ing artists-in-residence at U-M. As a teacher, Ms. Doudna was the director of the Peninsula Strings in Blue Hill, Maine and a chamber music coach at the Perlman Music Program in New York. She has a private studio in Ann Arbor of over 20 students. She holds a BM from the Cleveland Institute of Music and a MM from The New England Con?servatory. This evening's performance marks Ms. Doudna's UMS debut.
Diana Gannett (Bass) has spent most of her professional life on the east coast as teacher and performer. As a chamber musician, she has per?formed with the artists of the Guarneri, Emerson, Laurentian, and Stanford Quartets. As a soloist, her programs have included over 20 contempo?rary premieres and several solo improvisations as well as traditional repertoire. For many years she held the position of principal double bass at Eastern Music Festival in Greensboro, North Caro?lina. Ms. Gannett is Past President of the Inter?national Society of Bassists and hosted the 1999 convention at the University of Iowa. Her studies with Eldon Obrecht, Stuart Sankey, and Gary Karr culminated with being the first Yale doctorate awarded in double bass. She has worked as an instrument builder with luthier Carleen Hutchins of the Catgut Acoustical Society. This evening's performance marks Ms. Gannett's second UMS appearance, director of the U-M's Center for European Studies and Associate Director of its International Institute, Mr. Whiting now serves as Associate Dean for Graduate Studies of the School of Music, Theatre & Dance. This evening's performance marks Ms. Gannett's second UMS appearance.
Joseph Gramley's {Percussion) dynamic and ex?citing performances as a soloist have garnered critical acclaim and enthusiasm from emerging composers, percussion aficionados, and first-time concert-goers alike. He is committed to bringing fresh and inventive compositions to a broad pub?lic, and each year he commissions and premieres a number of new works. An invitation from Yo-
Yo Ma in 2000 led Mr. Gramley to join Mr. Ma's Silk Road Ensemble. In addition to participating in the group's extended residencies in American and European cities, Mr. Gramley has toured with Mr. Ma and the Ensemble throughout North America, Europe and Asia. He has performed with numerous orchestras, festivals, dance companies, Broadway productions, and classical and popular musicians. A 1988 graduate of the Interlochen Arts Academy, Mr. Gramley did his undergradu?ate work at U-M and his graduate studies at The Juilliard School. This evening's performance marks Mr. Gramley's UMS debut.
Robert Hartwell (Speaker) is a senior in the Mu?sical Theate department studying voice under the tutelage of Professor Emeritus George Shirley. Mr. Hartwell is a high school graduate of the North Carolina School of the Arts School of Drama, and trained at the Houston Ballet Academy and the Hungarian National Ballet Academy in Budapest, Hungary, both on full scholarship. Mr. Hartwell has worked at the St. Louis MUNY, the Sacra?mento Music Circus, and the Music Theatre of Wichita where he played Seaweed J. Stubbs in last season's Hairspray. He was last seen on the U-M stage as Angel in Rent. This winter, Mr. Hartwell will direct and choreograph The Voice of Black American Musical Theatre: Why We Tell the Story. This evening's performance marks Mr. Hartwell's UMS debut.
David Jackson (Trombone) was featured solo?ist at several recent engagements including per?formances at the Midwest Band and Orchestra Clinic in Chicago, Music at Gretna in Mt. Gretna, Pennsylvania, and with the Ann Arbor Concert Band. Other recent solo performances include appearances with the Interlochen World Youth Wind Symphony and the Idyllwild Festival Wind Ensemble at Disney Hall in Los Angeles. An advo?cate of new music, Mr. Jackson has commissioned and performed the world premieres of numerous works for the trombone. He also has performed with the Detroit Symphony, the Dallas Symphony, the Chicago Symphony, the Michigan Opera The?ater, the Fort Worth Symphony, the New World Symphony, the Cabrillo Music Festival Orchestra, and the Spoleto, Italy Festival Orchestra. Professor Jackson is currently Associate Professor of Trom?bone at U-M. This evening's performance marks Mr. Jackson's second UMS appearance.
Sandra Jackson (Clarinet) is the former princi?pal clarinet of the Orquesta Sinfonica del Estado de Mexico (Symphony Orchestra of the State of Mexico) in Toluca, Mexico. Other orchestral ex?perience includes performances with the Chicago Symphony Orchestra, Grand Rapids Symphony, Michigan Opera Theatre, Kalamazoo Symphony, Flint Symphony, Toledo Symphony, and the Ann Arbor Symphony. She was recently a featured soloist at the Lexington (Michigan) Bach Festival and has been a featured performer at the Interna?tional Festival "Week of the Clarinet" in Mexico City, Mexico. Ms. Jackson has been on the faculty of the University of Toledo and served as Interim Clarinet faculty at U-M, Eastern Michigan Univer?sity, and Western Illinois University. During the summer she teaches at Interlochen Center for the Arts. This evening's performance marks Ms. Jack?son's UMS debut.
Andrew Jennings' {Violin) principal teachers were Ivan Galamian, Alexander Schneider, Pamela Gearhart, and Raphael Druian. He was a found?ing member of the Concord String Quartet, an ensemble that quickly gained international recog?nition by winning the Naumberg Chamber Music Award in 1972 and which performed more than 1,200 concerts throughout the US, Canada, and Europe. Specializing in the performance of new works (with an emphasis on American compos?ers), the Quartet gave more than 50 premieres and commissions and made numerous record?ings, three of which were nominated for Grammy Awards. Mr. Jennings' teaching career began at Dartmouth College where members of the Con?cord Quartet were engaged as artists-in-residence from 1974 to 1987. He currently devotes his sum?mers to chamber music instruction at the Tangle-wood Music Center in Massachusetts where he holds the Beatrice Proctor Master Teacher Chair and to the Musicorda School for Strings Holyoke Massachusetts. This evening's performance marks Mr. Jennings' 19th UMS appearance.
Jeffrey Lyman {Bassoon) has established himself as one of the premier performers, teachers, and historians of the bassoon in the US. He has been Associate Professor of Bassoon at U-M since 2006, and, prior to that, held positions at Arizona State University and Bowling Green State University. His principal teachers include Bernard Garfield of the Philadelphia Orchestra and Richard Beene and
Hugh Cooper of U-M. He holds an undergraduate degree from Temple University and his MM and DMA from U-M. He has been a member of nu?merous orchestras across the country and has per?formed with ensembles including the Philadelphia Orchestra, the Metropolitan Opera Orchestra, the Opera Company of Philadelphia, the Savannah Symphony, the ProMusica Chamber Orchestra of Columbus, the Grand Rapids Symphony, and the Michigan Opera Theatre. This evening's perfor?mance marks Mr. Lyman's UMS debut.
Andrew Parker (Oboe) is currently a doctoral candidate at the U-M School of Music, Theatre & Dance. In addition to his experience as a teacher and chamber music coach, he has performed with many orchestras in the US, including the Florida Orchestra, the Fort Wayne Philharmonic, the Flint Symphony, the New Mexico Symphony, the Santa Fe Symphony, the Great Falls Symphony, and is currently principal oboe of the Plymouth Sympho?ny. Mr. Parker has also has taught at various in?ternational music festivals including the FEMUSC festival in Brazil, Hartwick in New York, and the Kinhaven Music School in Vermont. Mr. Parker received his Bachelor's degree at the Eastman School of Music and his Master's degree at Yale University. This evening's performance marks Mr. Parker's UMS debut.
Daniel Pesca (Piano) completed his Master's de?gree in both composition and piano performance at U-M in 2007. He received his Bachelor of Music with highest distinction in both areas at the East?man School of Music. He has received much rec?ognition for his work, including Eastman's Louis Lane Prize, a commission by cellist David Ying, a commission from The Commission Project of Rochester, NY, and the Elizabeth C. Rogers com?mission. He has had works premiered by U-M Symphony Orchestra, Musica Nova, the Roches?ter Philharmonic Orchestra, and the Huntsville Symphony Orchestra. Mr. Pesca has performed in many venues across the country including the Ken?nedy Center and the Aspen Music Festival where he was an orchestral piano fellow. Mr. Pesca has participated in the Bowdoin International Music Festival, the American Conservatory in Fontaineb-leau, France, and the TCUCliburn Piano Institute. This evening's performance marks Mr. Pesca's UMS debut.
Mary Ann Ramos (Cello) is the cellist of the Phoenix Quartet, which began coaching cham?ber music at the U-M School of Music, Theatre & Dance in Fall 2008. Ms. Ramos has appeared as soloist with several orchestras, including the Gate?way Festival Orchestra, the University City Sym?phony, the Alton Symphony, and the Kirkwood Symphony. She holds prizes in various competi?tions, among them the Mexican National Cello Competition and the Music Teachers National As?sociation competition. She has performed at festi?vals nationally and internationally and has taught at festivals as a chamber music coach. Ms. Ramos completed her Bachelor's degree at New England Conservatory as a student of Laurence Lesser, and her Master's degree at the Cleveland Institute of Music as a student of Richard Aaron. Ms. Ramos is currently completing a Doctorate at U-M as a student of Anthony Elliott. This evening's perfor?mance marks Ms. Ramos' UMS debut.
Stephen Shipps (Violin) studied with Josef Gin-gold at Indiana University. He also studied with Ivan Galamian and Sally Thomas at the Meadowmount School and with Franco Gulli at the Academia Chi-giana in Siena, Italy. He is a former member of the Meadowmount Trio and the Amadeus Trio and has appeared as soloist with the symphony orchestras of Indianapolis, Dallas, Omaha, Seattle, and Ann Arbor. He has been a member of the Cleveland Orchestra, Associate Concertmaster of the Dallas Symphony, Concertmaster of the Dallas Opera, Concertmaster and Associate Conductor of the Omaha Symphony and the Nebraska Sinfonia, and guest Concertmaster for the Seattle and Toledo symphony orchestras. This evening's performance marks Mr. Shipps' 15th UMS appearance.
George Shirley (Speaker) is in demand nation?ally and internationally as performer, teacher, and lecturer. He has won international acclaim for his performances in the world's great opera houses, and has recorded for numerous labels and re?ceived a Grammy Award in 1968 for his role as Ferrando in the RCA recording of Mozart's Cosi fan tutte. In addition to oratorio and concert lit?erature, Mr. Shirley has, in a career that spans 49 years, performed more than 80 operatic roles with many of the world's most renowned conduc?tors. He was the first African-American to be ap?pointed to a high school teaching post in music
in Detroit, the first African-American member of the US Army Chorus in Washington DC, and the first African-American tenor and second African-American male to sing leading roles with the Met?ropolitan Opera, where he remained for 11 years. The evening's performance marks Mr. Shirley's UMS debut.
In a long and distinguished career, Stephen West (Baritone) has appeared with many of the finest opera companies in the world, collaborated with many world-famous conductors, and has per?formed with leading symphony orchestras in ven?ues such as Carnegie Hall, Tanglewood, and the Hollywood Bowl. In 0809, Mr. West celebrates his second year as Professor of Music in Voice with the U-M School of Music, Theater & Dance. Fu?ture engagements include the role of Pagapeno in The Magic Flute with the Ann Arbor Symphony and a return to the Opera National de Lyon as Dr. Schon in Berg's Lulu. He was featured as soloist in Mahler's Symphony No. 8 in the 75th Anniversary Gala Concerts at the Hollywood Bowl. Mr. West has studied extensively with world-renowned basses Hans Hotter and Jerome Hines and with Maitland Peters at the Manhattan School of Mu?sic. This evening's performance marks Mr. West's UMS debut.
Steven Whiting (Narrator) teaches courses in 18thand 19th-century music and the history of American musical theater. Following his under?graduate education, he studied at Christian-AI-brechts Universitat in Kiel, Germany on a Fulbright study grant. Mr. Whiting has published a dozen articles about Beethoven, Satie, French cabaret music, and E.T.A. Hoffmann, and has co-edited A.L. Ringer's Musik als Geschichte. His book Satie the Bohemian: From Cabaret to Concert Hall (Ox?ford University Press, 1999) was recognized as an outstanding academic book by Choice. A former director of the U-M's Center for European Studies and Associate Director of its International Insti?tute, Mr. Whiting now serves as Associate Dean for Graduate Studies of the School of Music, The?atre & Dance. This evening's performance marks Mr. Whiting's UMS debut.
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 INGAGEMENT
'lease call 734.647.6712 or email
? nsed@umich.edu for more information.
lie 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
UlVlI
UMS is grateful to the University of Michigan for its support of many educational activities
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. vhen 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 jpportunities and discount programs for schools. It is one of the easiest and most rewarding .vays to raise money for schools. For informa-' on contact umsgroupsales@umich.edu or '34.763.3100.
Teacher Advisory Committee
This group of regional educators, school idministrators, and K-12 arts education advo?cates advises and assists UMS in determining C--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.
JMS 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
Parents can introduce their children to world-unowned 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
(dj&j&ftto Ford Motor Company Fund ?H'" antj 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 LLP 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 UM5 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
Sponsored by UMSftBSS
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
orogramming, and production. If you are a University of Michigan student who receives work-study financial aid and are interested in .vorking 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.
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
JMS 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 Marta A. Manildi Connie D'Amato Julia Donovan Darlow and John Corbett O'Meara Susan Turtle Darrow Charles W. and Kathleen P. Davenport Hal and Ann Davis Andrzej and Cynthia Dlugosz Robert J. and Kathleen Dolan Dallas C. Don
Ivo Drury and Sun Hwa Kim Jack and Betty Edman Emil and Joan Engel Irene Fast
ede and Oscar Feldman Yi-Tsi M. and Albert
Feuerwerker ;lare M. Fingerle jusan 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
Velvyn 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 iudythe 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.S. Berlin
Jack Billi 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 HD. 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. Cnchton
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 Eliwood and Michele Derr Unda Dintenfass and Ken Wisinski Steve and Judy Dobson Cynthia M. Dodd Bill and Marg Dunifon Eva and Wolf Duvernoy Dr. Alan S. Eiser Stefan and Ruth Fajans Harvey and Elly Falit Margaret and John Faulkner Carol Finerman David Fink and Marina 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. Garavagha 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 Mary Johnson Paul and Olga Johnson Mark and Madolyn Kaminski Christopher Kendall and
Susan Schilperoort Elie R. and Farideh Khoury Rhea Kish
Hermine Roby Klmgler Anne Kloack
Charles and Linda Koopmann Rebecca and Adam Kozma Donald Jand 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 Juhe M. Loftin
E. Daniel and Kay Long
Frances Lyman
Brigitte and Paul Maassen
Pamela Macintosh
Martin and Jane Maehr
Manpower, Inc. of Southeastern
Michigan Carole J. Mayer 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 Mial James M. Miller and
Rebecca H. Lehto Myrna and Newell Miller Bert and Kathy Moberg Lewis and Kara Morgenstern Kay and Gayl 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 i. 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. Sktenar 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 Geraldine Topliss Fr. Lewis W. Towier Claire and Jerry Turcotte Doug and Andrea Van Houweling Steven and Christina Vantrease Drs. Bill Lee and Wendy Want 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 Wiernik
Rev. Francis E. Williams
Robert J. and Anne Marie Willis
I.W. and Beth Winsten
Dr. Lawrence and Mary Wise
Frances A. Wright
Jeanne and Paul Yhouse
ASSOCIATES
$250-$499
Judith Abrams
Chris and Tena Achen
Dorit 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 I. Baird
Bruce Baker and Genie Wolf son Daniel and Barbara Balbach John and Ginny Bareham Cheryl Barget and Tom Darnton Frank and Gail Beaver Gary M. Beckman and Karla Taylor Harry and Kathryn Benford Erling and Merete Blondal Bengtsson Linda Bennett and Bob Bagramian Dr. Rosemary R. Berardi Marc Bernstein and Jennifer Lewis Beverty 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 Chester 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 Chff and Kathy Cox Lloyd and Lois Crabtree Clifford and Laura Craig Merle and Mary Ann Crawford Jean C. Crump Sunil and Merial Das Arthur and Lyn Powrie Davidge Ed and Ellie Davidson Alice and Ken Davis Dale and Gretchen Davis Dawda, Mann. Mulcahy &
Sadler, PIC
Elena and Nicholas Delbanco
Sophie and Marylene Delphis
Judith and Kenneth DeWoskm
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 Adhenne Fink
C. Peter and Beverty A. Fischer
Dr. Lydia Fischer
Jessica Fogel and Lawrence Werner
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 Lisa Murray
Beth Genne and Allan Gibbard
Ronald Gibala and Janice Gnchor
Elmer G. Gilbert and
Lois M. Verbrugge J. Martin Gillespie and
Tara Gillespie Beverty 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 William 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 Marlys Hamill Tom Hammond Walt and Chariene 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, L.L.C. 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 Manlynn 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. Bemadette Lintz Gail Solway Little Bill and Lois Lovejoy Charles and Judy Lucas Claire and Richard Malvin 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. McConville 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 Mozola 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
Rosalyn 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 Betina 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 Jari 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 Tehan Mark and Patricia Tessler Mary H. Thieme Edwin J. Thomas Nigel and Jane Thompson Louise Townley Dr. Hazel M. and
Victor C. Turner, Jr. Atvan 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.
S100.000 or more
Doris Duke Charitable
Foundation The Power Foundation
$50,000-599,999
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
S 10,000-519,999
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
S5,000-S9,999
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 Matovinovid 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
S100-S999
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 L). 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
(Catherine 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 Marnie 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
77ie 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 Func Herbert S. and Carol Amster
Fund Catherine S. Arcure
Endowment Fund Carl and Isabelle Brauer
Endowment Fund Frances Mauney Lohr Chora
Union Endowment Fund Hal and Ann Davis
Endowment Fund
loris 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 CarlH. Wilmofl9 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 & 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 Sally 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 Gilelman 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 Kerntown 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 Mangrove 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 Marnie Reid Huda Rosen Steve Rosoff Ellen Rowe Russell S. Bashaw Faux Finish
Studio, LLC Afa Sadykhly Sam's Clothing Store Agnes and David Sams 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
Foundation 18
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 Brothers 18 Honigman Miller Schwartz and
CohnLLP-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 WGTE-16 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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