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UMS Concert Program, Friday Nov. 07 To Dec. 07: University Musical Society: Fall 2008 - Friday Nov. 07 To Dec. 07 --

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Day
7
Month
November
Year
2008
Download PDF
Rights Held By
University Musical Society
OCR Text

Season: FALL 2008
University Of Michigan, Ann Arbor

ums
university musical society
Fall 08 University of Michigan Ann Arbor
P2 Letters from the Presidents
p 5 Letter from the Chair
UMSLeadership 6 UMS Corporate and Foundation Leaders
14 UMS Board of DirectorsNational Council
SenateAdvisory Committee
P 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
P 41 Annual Fund Support
P 45 Endowment Fund Support
P 48 UMS AdvertisersMember Organizations
Cover (R -L) Andras 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 Deoole 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
Wee President, Corporate and Government Affairs,
DTE Energy
"The DTE Energy Foundation is pleased to support exemplary
organizations like UMS that inspire the soul, instruct the
mind, and enrich the community."
Edward Surovell
President, Edward Surovell Realtors
"Edward Surovell Realtors and its 300 employees and sales asso?ciates are proud of our 20-year relationship with the University Musical Society. We honor its tradition of bringing the world's leading performers to the people of Michigan and setting a standard of artistic leadership recognized internationally."
Leo Legatski
President, Elastizell Corporation of America "Elastizell is pleased to be involved with UMS. UMS's strengths are its programming--innovative, experimental, and pioneering--and its education and outreach programs in the schools and the community."
Kingsley P. Wootton
Plant Manager, GM Powertrain Ypsilanti Site "Congratulations on your 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, Honiaman Miller Schwartz and Cohn LLP
"Honigman is proud to support non-profit organizations in the communities where our partners and employees live and work. We are thrilled to support the University Musical Society and commend UMS for its extraordinary programming, com?missioning of new work, and educational outreach programs."
Mark A. Davis
President and CEO, Howard S 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
Vice President, Corporate Affairs and Chair, Masco Corporation Foundation Masco recognizes and appreciates the value the performing arts bring to the region and to our young people. We applaud the efforts of the University Musical Society for its diverse learning opportunities and the impact its programs have on our communities and the cultural leaders of tomorrow."
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
S10,000-S19,999
Bustan al-Funun Foundation for Arab Arts Community Foundation for Southeast Michigan Eugene and Emily Grant Family Foundation Martin Family Foundation Performing Arts Fund
$1,000-$4,999
THE MOSAIC FOUNDATION (of R. & P. Heydon) Sarns Ann Arbor Fund
UNIVERSITY MUSICAL SOCIETY 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 Eiiber
Eugene Grant Charles Hamlen David Heleniak
Toni Hoover Judith Istock Zarin Mehta
Herbert Ruben Russell Willis Taylor
UMS SENATE (former members of the UMS Board of Directors)
Robert G. Aldrich Herbert S. Amster Gail Davis Barnes Richard S. Berger Maurice S. Binkow Lee C. Bollinger Janice Stevens Botsford Paul C. Boylan Carl A. Brauer William M. Broucek Barbara Everitt Bryant Letitia J. Byrd Kathleen G. Charla Leon S. Cohan Jill A. Corr Peter B. Corr Ronald M. Cresswell
Hal Davis
Sally Stegeman DiCarlo Robert F. DiRomualdo Cynthia Dodd James J. Duderstadt David Featherman Robben W. Fleming David J. Flowers George V. Fornero Beverley B. Geltner William S. Hann Randy J. Harris Walter L. Harrison Deborah S. Herbert Norman G. Herbert Peter N. Heydon Toni Hoover Kay Hunt
Alice Davis Irani Stuart A. Isaac Thomas E. Kauper David B. Kennedy Gloria James Kerry Thomas C. Kinnear Marvin Krislov F. Bruce Kulp Leo A. Legatski Earl Lewis Patrick B. Long Helen B. Love Judythe H. Maugh Paul W. McCracken Rebecca McGowan Barbara Meadows Alberto Nacif Shirley C. Neuman
Jan Barney Newman Len Niehoff Gilbert S. Omenn Joe E. O'Neal John D. Paul Randall Pittman Philip H. Power John Psarouthakis Rossi Ray-Taylor John W. Reed Richard H. Rogel Prudence L. Rosenthal Judy Dow Rumelhart Maya Savarino Ann Schriber Erik H. Serr Harold T. Shapiro George I. Shirley
John 0. Simpson Herbert Sloan Timothy P. Slottow Carol Shalita Smokier Jorge A. Solis Peter Sparling Lois U. Stegeman Edward D. Surovell James L. Telfer Susan B. Ullrich Eileen Lappin Weiser B. Joseph White Marina v.N. Whitman Clayton E. Wilhite Iva M. Wilson Karen Wolff
ADVISORY COMMITTEE
Phyllis Herzig, Chair Janet Callaway, Wee Chair Elizabeth Palms, Secretary Sarah Nicoli, Treasurer
Ricky Agranoff MariAnn Apley Lorie Arbour Barbara Bach Rula Kort Bawardi Francine Bomar Luciana Borbely Mary Breakey Mary Brown Betty Byrne
Healher 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 Ft. Fisher Kathy Goldberg Walter Graves
Joe Gnmley Susan Gross Susan Gutow Lynn Hamilton Charlene Hancock Alice Hart Rafe Juarez Jen Kelch
Meg Kennedy Shaw Pam Krogness Mary LeDuc Joan Levitsky Eleanor Lord Jane Maehr Jennifer J Maisch
Joanna McNamara Liz Messiter Robin Miesel Natalie Mobley Kay Ness Thomas Ogar Allison Poggi Lisa Psarouthakis Swanna Saltiel Agnes Moy Sarns Jamie Savitte Penny Schreiber Bev Seiford Aliza Shevnn Alida Silver man
Loretta Skewes Andrea Smith Becki Spangler Nancy Stanley Carlin C. Stockson Karen Slut Eileen Thacker Janet Torno Louise Townley Amanda Uhle Dody Viola Enid Wasserman Ellen Woodman Mary Kate Zelenock
UMS STAFF
AdministrationFinance
Kenneth C. Fischer, President Luciana Borbely,
Assistant to the President John B. Kennard, Jr.,
Director of Administration Beth Gilliland,
Gift ProcessorIT Assistant Patricia Hayes, Senior Accountant John Peckham,
Information Systems Manager
Choral Union
Jerry Blackstone,
Conductor and Music Director Jason Harris, Assistant Conductor Kathleen Operhall, Chorus Manager Nancy K. Paul, Librarian Jean Schneider, Accompanist Scott VanOrnum, Accompanist Donald Bryant, Conductor Emeritus
Development
Susan McClanahan, Director Susan Bozell, Manager of
Corporate Support Rachelle Lesko,
Development Assistant Lisa Michiko Murray,
Manager of Foundation and
Government Grants M. Joanne Navarre, Manager of
Annual Giving Marnie Reid, Manager of
Individual Support
Lisa Rozek, Assistant to the Director of Development
Cynthia Straub, Advisory Committee and Events Coordinator
EducationAudience Development
Claire C. Rice, Interim Director Bree Juarez, Education and
Audience Development Managei 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 Joey Barker Alana Barter Judy Barthwell Rob Bauman Bnta 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 Filipiak 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 Pengo 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 barrier-free entrances. Wheelchair locations vary by venue; visit www.ums.orgtickets or call 734.764.2538 for details. Ushers are available for assistance.
Listening Systems
For hearing-impaired persons, Hill Auditorium, Power Center, and Rackham Auditorium are equipped with assistive listening devices. Earphones may be obtained upon arrival. Please ask an usher for assistance.
Lost and Found
For items lost at Hill Auditorium, Lydia Mendelssohn Theatre, Power Center, or Rackham Auditorium please call University Productions at 734.763.5213. For the Michigan Theater, call 734.668.8397. For St. Francis of Assisi, call 734.821.2111.
Parking
Please allow plenty of time for parking as the campus area may be congested. Parking is available in the Church Street, Maynard Street, Thayer Street, Fletcher Street, and Fourth Avenue structures for a minimal fee. Limited street parking is also available. Please allow enough time to park before the performance begins. UMS donors at the Patron level and above ($1,000) receive 10 complimentary park?ing passes for use at the Thayer Street or Fletcher Street structures in Ann Arbor.
UMS offers valet parking service for Hill Auditorium performances in the 0809 Choral Union series. Cars may be dropped off in front of Hill Auditorium beginning one hour before
each performance. There is a $20 fee for this service. UMS members at the Concertmaster level and above are invited to use this service at no charge.
Other recommended parking that may not be as crowded as on-campus structures: Liberty Square structure (formerly Tally Hall), entrance off of Washington Street between Division and State; about a two-block walk from most per?formance venues, $2 after 3 pm weekdays and all day SaturdaySunday. Maynard Street struc?ture, entrances off Maynard and Thompson between Willliam and Liberty, $.80hr, free on Sunday.
For up-to-date parking information, please visit www.ums.orgparking.
Refreshments
Refreshments are available in the lobby during intermissions at events in the Power Center, in the lower lobby of Hill Auditorium (beginning 75 minutes prior to concerts--enter through the west lobby doors), and in the Michigan Theater. Refreshments are not allowed in the seating areas.
Smoking Areas
University of Michigan policy forbids smoking in any public area, including the lobbies and restrooms.
Start Time
UMS makes every effort to begin concerts at the published time. Most of our events take place in the heart of central campus, which does have limited parking and may have several events occurring simultaneously in different theaters. Please allow plenty of extra time to park and find your seats.
Latecomers
Latecomers will be asked to wait in the lobby until seated by ushers. Most lobbies have been outfitted with monitors andor speakers so that atecomers will not miss the performance.
The late-seating break is determined by the artist and will generally occur during a suitable repertory break in the program (e.g., after the first entire piece, not after individual movements of classical works). There may be occasions where latecomers are not seated until intermis?sion, as determined by the artist. UMS makes every effort to alert patrons in advance when we know that there will be no late seating.
UMS tries to work with the artists to allow a flexible late-seating policy for family perform?ances.
UMS TICKETS
Group Tickets
Treat 10 or more friends, co-workers, and family members to an unforgettable performance of live music, dance, or theater. Whether you have a group of students, a business gathering, a college reunion, or just you and a group of friends, the UMS Group Sales Office can help you plan the perfect outing. You can make it formal or casual, a special celebration, or just friends enjoying each other's company. The many advantages to booking as a group include:
Reserving tickets before tickets go on sale to the general public
Discounts of 15-25 for most performances
Accessibility accommodations
No-risk reservations that are fully refundable up to 14 days before the performance
1-3 complimentary tickets for the group organizer (depending on size of group). Complimentary tickets are not offered for performances with no group discount.
For more information, please contact 734.763.3100 or e-mail umsgroupsalesO umich.edu.
Classical Kids Club
Parents can introduce their children to world-renowned classical music artists through the Classical Kids Club. For more information please see page P33.
NETWORK Tickets
Members of the UMS African American Arts Advocacy Committee receive discounted tickets to certain performances. For more information please see page P29.
Student Tickets
Discounted tickets are available for University students and teenagers. Information on all UMS University Student Ticketing programs can be found on page P34. Teen Ticket infor?mation can be found on page P31.
Gift Certificates
Available in any amount and redeemable for any of more than 60 events throughout our season, delivered with your personal message, the UMS Gift Certificate is ideal for weddings, birthdays, Christmas, Hanukkah, Mother's and Father's Days, or even as a housewarming pres?ent when new friends move to town.
UMS Gift Certificates are valid for 12 months from the date of purchase. For more information, please visit www.ums.org.
Retums
If you are unable to attend a concert for which you have purchased tickets, you may turn in your tickets up to 15 minutes before curtain time by calling the Ticket Office. Refunds are not available; however, you will be given a receipt for an income tax deduction.
Ticket Exchanges
Subscribers may exchange tickets free of charge. Non-subscribers may exchange tickets for a $6 per ticket exchange fee. Exchanged tickets must be received by the Ticket Office (by mail or in person) at least 48 hours prior to the performance. The value of the tickets
Info
may be applied to another performance or will be held as UMS Credit until the end of the season. You may also fax a copy of your torn tickets to 734.647.1171. Lost or misplaced tickets cannot be exchanged. UMS Credit for this season must be redeemed by April 26, 2009
UMSAnnals
UMS HISTORY
Through a commitment to presentation, education, and the creation of new work, the University Musical Society (UMS) serves Michigan audiences by bringing to our community an ongo-ng 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 .arts presenters. Today, the UMS seasonal program is a reflection of a thoughtful respect for this rich and varied history, balanced by a commit?ment to dynamic and creative visions of where "he performing arts will take us in this new millennium. Every day UMS seeks to cultivate, nurture, and stimulate public interest and oarticipation 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 Drofessor 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 Vlusical 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 barrier-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, together with their son Philip, wished to make a major gift to the University, and amidst a list of University priorities "a new theater" was
mentioned. The Powers were immediately inter?ested, realizing that state and federal govern?ments were unlikely to provide financial support for the construction of a new theater.
Opening in 1971 with the world premiere of The Grass Harp (based on the novel by ""ruman Capote), the Power Center achieved ;he seemingly contradictory combination of oroviding a soaring interior space with a jnique level of intimacy. Architectural features include two large spiral staircases leading from ihe orchestra level to the balcony and the well-known mirrored glass panels on the exterior, "he 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 omplimentary water to UMS artists backstage at the i'ower Center throughout the 0809 season.
iackham Auditorium Sixty years ago, chamber music concerts in Ann Arbor were a relative rarity, presented in ?in assortment of venues including University Hall (the precursor to Hill Auditorium), Hill Auditorium, and Newberry Hall, the current home of the Kelsey Museum. When Horace H. Rackham, a Detroit lawyer who believed r.trongly 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 "louses Rackham Auditorium, but also to estab-ish a $4 million endowment to further the development of graduate studies. Even more remarkable than the size of the gift is the fact hat neither he nor his wife ever attended the University of Michigan.
Designed by architect William Kapp and architectural sculptor Corrado Parducci, Rackham Auditorium was quickly recognized
as the ideal venue for chamber music. In 1941, UMS presented its first chamber music festival with the Musical Art Quartet of New York per?forming three concerts in as many days, and the current Chamber Arts Series was born in 1963. Chamber music audiences and artists alike appreciate the intimacy, beauty, and fine acoustics of the 1,129-seat auditorium, which has been the location for hundreds of chamber music concerts throughout the years.
St. Francis of Assisi Catholic Church
Dedicated in 1969, St. Francis of Assisi Catholic Church has grown from 248 families when it first started to more than 2,800 today. The present church seats 1,000 people and has ample free parking. In 1994, St. Francis pur?chased a splendid three manual "mechanical action" organ with 34 stops and 45 ranks, built and installed by Orgues Letourneau from Saint Hyacinthe, Quebec. Through dedication, a commitment to superb liturgical music, and a vision to the future, the parish improved the acoustics of the church building, and the reverberant sanctuary has made the church a gathering place for the enjoyment and con?templation of sacred a cappella choral music and early music ensembles.
Burton Memorial Tower
Seen from miles away, Burton Memorial Tower is one of the most well-known University of Michigan and Ann Arbor landmarks. Designed by Albert Kahn in 1935 as a memorial to U-M President Marion Leroy Burton, the 10-story tower is built of Indiana limestone with a height of 212 feet. The carillon, one of only 23 in the world, is the world's fourth heaviest containing 55 bells and weighing a total of 43 tons. UMS has occupied administrative offices in this building since its opening, with a brief pause in the year 2000 for significant renovations.
A
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, November 7 through Sunday, December 7, 2008
Joe Lovano "Us Five" Quintet and 5
Jason Moran
Friday, November 7, 8:00 pm Michigan Theater
Emanuel Ax and Yefim Bronfman 9
Saturday, November 8, 8:00 pm Hill Auditorium
Estonian Philharmonic Chamber Choir 17
Tallin Chamber Orchestra
Thursday, November 13, 8:00 pm St. Francis of Assisi Catholic Church
Jerusalem Symphony Orchestra 23
Sunday, November 16, 4:00 pm Hill Auditorium
Handel's Messiah 33
Saturday, December 6, 8:00 pm Sunday, December 7, 2:00 pm Hill Auditorium
II
September
10-14 Wed-Sun Complicite: A Disappearing Number
19-20 Fri-Sat Mark Morris Dance Group
27 SatWayne Shorter Quartet and the Imani Winds
October
4 SatThe 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 WedCompagnie Heddy Maalem: The Rite of Spring
17 Fri Soweto Gospel Choir
18 Sat Milton Nascimento and the Jobim Trio
19 Sun Camerata Salzburg with
Anne-Sophie Mutter, violin 24 FriAndras Schiff: Beethoven Concert 5
26 Sun Andras Schiff: Beethoven Concert 6
27 Mod Michigan Chamber Players
November
7 FriJoe Lovano "Us Five" Quintet and Jason Moran
8 Sat Emanuel Ax and Yefim Bronfman, pianos
13 ThuEstonian Philharmonic Chamber Choir
16 Sun Jerusalem Symphony Orchestra with Robert
McDuffie, violin
December
6-7 Sat-Sun Handel's Messiah
January
9-11 Fri-Sun Rubberbandance Group 11 Sun Guarneri String Quartet 16 FriTord Gustavsen Trio
23-24 Fri-SatGilgamesh: 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 13Fr-Kodo 14-15 Sat-Sun Batsheva Dance Company
March
7-8 Sat-Sun New York Philharmonic
10 Tue-Wynton Marsalis and Jazz at Lincoln Center
Orchestra
11 WedBrentano String Quartet with Peter Serkin,
piano and Richard Lalli, baritone
12 Thu Aswat: Celebrating the Golden Age of Arab
Music with Simon Shaheen and the Golden Age
Orchestra 13-14 fri-Sat-The 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 fri-Takacs Quartet with Marc-Andre Hamelin, piano 18-19 Sat-Sun Mohammed Bennis and the Hmadcha
Ensemble (from the Fez Festival of Sufi Culture)
23 Tnu-UMS Choral Union
24 FriJulia Fischer, violin with Milana Chernyavska, piano 25-26 Sat-Sun Compagnie Marie Chouinard
UMS Educational Events
through Sunday, December 7, 2008
All UMS educational activities are free, open to the public, and take place in Ann Arbor unless otherwise noted. For complete details and updates, please visit www.ums.org or contact the UMS education department at 734.647.6712 or umsed@umich.edu.
Jerusalem Symphony Orchestra
Symposium: "Judaism and Music"
Monday, November 17, 9:00 am-1:00 pm
Rackham Amphitheatre, 915 E. Washington, 4th Floor
"Judaism and Music" is an opportunity to illuminate and demonstrate new methods for studying the intersection of Judaism and music. Join Leon Botstein, Bard College; Kay Kaufman Shelemay, Havard University; and Michael P. Steinberg, Brown University, for a series of lectures followed by a closing panel discussion.
A collaboration with the Jean & Samuel Frankel Center for Judaic Studies at the University of Michigan, U-M Institute for the Humanities.
presents
Joe Lovano "Us Five" Quintet
Joe Lovano, Saxophones Esperanza Spalding, Bass James Weidman, Piano Francisco Mela, Drums Otis Brown III, Drums
and
Jason Moran
Piano
Program
Friday Evening, November 7, 2008 at 8:00 Michigan Theater Ann Arbor
Photo by: John Abbott
Tonight's program will be performed with one intermission following Mr. Moran's set and will be announced from the stage by the artists.
19th Performance of the 130th Annual Season
15th Annual Jazz Series
The photographing or sound and video recording of this concert or posses?sion of any device for such recording is prohibited.
Funded in part by the National Endowment for the Arts as part of American Masterpieces: Three Centuries of Artistic Genius.
Media partnership provided by WEMU 89.1 FM, Metro Times, and Michigan ChronicleFront Page.
The Steinway piano used in this evening's performance is made possible by the Steinway Piano Gallery of Detroit.
Joe Lovano "Us Five" Quintet and Jason Moran appear by arrangement with International Music Network, Gloucester, MA.
Large print programs are available upon request.
Jason Moran was born in January 1975 in Houston, Texas. He began studying the piano at age 6, but longed to quit the instrument until he first experienced the sounds of jazz legend Thelonious Monk, an experience that renewed his interest in music and established an early role model in his creative development.
Mr. Moran attended Houston's High School for the Performing and Visual Arts (HSPVA) where he became an active member of the jazz program. His aspirations and talents eventually led him to New York City where he continued his education at the Manhattan School of Music, a school to which he was drawn by the prospect of study?ing with the pianist Jaki Byard, a jazz leftist who became Mr. Moran's teacher and a lifelong role model.
In 1997, while Jason Moran was still a senior in college, drummer Eric Harland, a high school classmate of Mr. Moran's, recommended him to professional saxophonist Greg Osby who was in the process of assembling a band for a European tour. Mr. Osby hired Jason Moran based solely on the description of his playing; the match proved to be auspicious. Blue Note executives soon signed the pianist to his own record deal shortly there?after. The association with Blue Note is fitting, placing Mr. Moran in the lineage of innovative pianistcomposers whose career beginnings were nurtured by veteran jazz label musicians such as Monk, Herbie Hancock, and Herbie Nichols.
Mr. Moran's debut recording as a leader, Soundtrack to Human Motion, was released in 1999 to critical acclaim (Ben Ratliff of the New York Times named it "Album of the Year"). The following year's Facing Left found Mr. Moran stripping down to a trio with bassist Tarus Mateen and drummer Nasheet Waits, and prompted Jazz-
Times magazine to declare the album "an instant classic." Jason Moran has performed as a sideman with such artists as Cas?sandra Wilson, Joe Lovano, Don Byron, Steve Coleman, Lee Konitz, Ravi Col-trane, and Stefon Harris. He was the youngest honoree
of the New Work Commission by the SFJAZZ Festival and was awarded a grant from Chamber Music America's New Works: Creation and Pre?sentation program, which is funded by the Doris Duke Charitable Foundation. For these two grants Mr. Moran used sampled conversations as vocal triggers. These compositions would be the foun?dation for many of his new compositions.
In 1994, Mr. Moran's family created the HSVPA Moran Scholarship Award, awarded to an outstanding junior and senior in jazz studies. Mr. Moran assumed complete responsibility of the scholarship program in 2001.
Jason Moran has been an artist-in-residence at the Walker Art Center in Minneapolis, where he created Milestone, a commissioned work based on artist Adrian Piper's "Mythic Being; IYouHer."
In 2007, Smithsonian Magazine featured Jason Moran a part of "37 Under 36: America's Young Innovators in the Arts and Sciences." He was also named a United States Artist Fellow-a fellowship sponsored by the Prudential Foun?dation. This October, Mr. Moran premiered the results of his first classical commission--for the wind quintet Imani Winds--at Philadelphia's Kim-mel Center. Most recently, the Philadelphia Mu?seum of Art commissioned a piece in response to the traveling exhibit "Gee's Bend Quilts." The work will have its premiere in Philadelphia this De?cember.
2007 also saw the premiere of Mr. Moran's latest major commission, In My Mind: Monk at Town Hall 1959. In My Mind is multi-media per?formance co-commissioned by Duke University, San Francisco Jazz Festival, Chicago Symphony Center, and the Washington Performing Arts So?ciety.
Jason Moran joined the faculty at his alma mater, the Manhattan School of Music, in 2007, assuming the position his former teacher Jaki Byard occupied.
Mr. Moran performs on a travel-ready piano chair by architectdesigner Susanne Fossgreen.
One might think by glancing over the ac?complishments garnered by saxophon?istcomposer Joe Lovano, that this renowned musician has found a tried-and-true formula for success. In truth, the secret to Mr. Lo-vano's success is his fearless ability to constantly challenge and push the conceptual and thematic
Jason Moran
Photo by Clay Patrick McBnde
choices he makes in a quest for new modes of ar?tistic expression and new interpretations of what defines the jazz idiom.
Joe Lovano was born in Cleveland, Ohio in 1952, and began playing alto saxophone as a child. His father, tenor saxophonist Tony "Big T" Lovano, schooled him not only in musical basics but in the dynamics and interpretation of jazz, regularly exposing him to artists traveling through Cleveland such as Sonny Stitt, James Moody, and Dizzy Gillespie.
Upon graduation from high school, Mr. Lo?vano attended the Berklee College of Music in Boston where he met and began performing with such future collaborators as John Scofield, Bill Fri-sell, and Kenny Werner.
Mr. Lovano soon settled in New York City where he continues to reside. His early years there were filled with jam sessions and rent gigs, but eventually he joined the Mel Lewis Orchestra and its regular (and ongoing) Monday-night concert at the historic Village Vanguard, performing with the Orchestra from 1980 to 1992 and record?ing six albums. He joined the Paul Motian Band in 1981 and began working with artists includ?ing John Scofield, Herbie Hancock, Elvin Jones, Charlie Haden, Carla Bley, Bobby Hutcherson, Billy Higgins, Dave Holland, Ed Blackwell, Lee Konitz, Abbey Lincoln, McCoy Tyner, and Jim Hall.
Beginning in 1990, Joe Lovano recorded and toured with guitarist John Scofield's critically and commercially successful Quartet for three years.
Mr. Lovano gained further exposure--particularly in Europe--through his work with the trailblaz-ing Paul Motian Trio, which also features former Berklee classmate, guitarist Bill Frisell.
In 1991, Mr. Lovano signed with Blue Note Records. Since then, he has been leading his own ensembles and has produced 25 albums--eight of which were recognized with Grammy nomina?tions. He has long experimented with ensembles of various sizes and formats, including his Wind Ensemble, Street Band, Nonet, and the SFJAZZ Collective, all reflecting his searching and dynamic personality.
Earlier this decade, Mr. Lovano accepted a new position as Artistic Director of the Caramoor Jazz Festival in New York. Additionally, he self-released the instructional DVD Jazz Standards: Solo Interpretations & Expressions and recently released an instructional DVD through Berklee Press, Berklee Workshop: Jazz Improvisation--A Personal Approach with Joe Lovano.
In 2007, Mr. Lovano replaced Joshua Redman in the tenor saxophone chair of the touring and studio SFJAZZ Collective. He joined Miguel Zenon, Renee Rosnes, Matt Penman, and Eric Harland in this ongoing ensemble of some of today's most exciting improvisers.
In 1994, Mr. Lovano was the recipient of the prestigious "Distinguished Alumni Award" from Berklee College and was awarded an honorary doctorate in 1998. Berklee also awarded Mr. Lo?vano the first "Gary Burton Chair for Jazz Perfor?mance" in 2001.
UMS ARCHIVES
Tonight's concert marks Joe Lovano's second appearance under UMS auspices. Mr. Lovano made his UMS debut in March 2008 as a member of the SFJAZZ Collective's tribute to saxophonist and composer Wayne Shorter.
Tonight's concert marks Jason Moran's UMS debut.
UMS welcomes the remaining members of the Joe Lovano "Us Five" Quintet who make their UMS debuts tonight.
Joe Lovano
Photo by limmy KaU
with
Robert and
Marina Whitman
and
Clayton and
AnnWilhite
present
Emanuel Ax
Piano
Yefim Bronfman
Piano
Program Saturday Evening, November 8, 2008 at 8:00
Hill Auditorium Ann Arbor
Johannes Brahms Variations on a Theme by Haydn for Two Pianos, Op. 56b
Thema Chorale St. Antoni
Variation 1 Andante con moto
Variation II Vivace
Variation III Con moto
Variation IV Andante
Variation V Poco presto
Variation VI Vivace
Variation VII Grazioso
Variation VIII Poco presto
Finale Andante
William Bolcom Recuerdos for Two Pianos
Choro
Paseo
Valse Venezolano
Wolfgang Amadeus Mozart Sonata for Two Pianos in D Major, K. 448
Allegro con spirito
Andante
Allegro molto
INTERMISSION
Sergei Rachmaninoff Symphonic Dances for Two Pianos, Op. 45
Allegro ("Noon")
Andante con moto ("Twilight")
Lento assai ("Midnight")

20th 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 Robert and Marina Whitman and Clayton and Ann Wilhite.
Special thanks to Logan Skelton, Associate Professor of Piano, U-M School of Music, Theatre & Dance for participating in tonight's Prelude Dinner.
Media partnership provided by WGTE 91.3, Observer & Eccentric Newspapers, WRCJ 90.9 FM, and Detroit Jewish News.
The Steinway pianos used in this evening's performance are made possible by William and Mary Palmer and 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 concert.
Special thanks to Steven Ball for coordinating the pre-concert music on the Charles Baird Carillon.
Mr. Ax records exclusively for Sony Classical.
Mr. Ax and Mr. Bronfman appear by arrangement with Opus 3 Artists, New York, NY.
Large print programs are available upon request.
Variations on a Theme by Haydn for Two Pianos, Op. 56b (1873)
Johannes Brahms
Born May 7, 1833 in Hamburg, Germany
Died April 3, 1897 in Vienna
Snapshot of History...
1873: The Vienna Stock Exchange collapses and
the "Long Depression" is felt worldwide Central Park is completed in New York Sergei Rachmaninoff is born in Oneg, Russia The modern capital of Hungary, Budapest, is
formed through the merger of three smaller
cities
Levi Strauss patents the first jeans Heinrich Schliemann discovers the treasures of
ancient Troy Dostoyevsky's novel The Demons is published
The theme of Haydn Variations is really not by Haydn at all, although Brahms thought all his life that it was. For this reason, it seems utterly pedan?tic to rename the work Variations on the St. An?thony Chorale, as has occasionally been done. The composition was based on an old song in honor of St. Anthony of Padua, found in a wind octet whose manuscript Brahms's musicologist friend, Carl Ferdinand Pohl and author of the first schol?arly biography of Haydn, had discovered. Modern research attributes this wind octet to Haydn's stu?dent Ignaz Pleyel, but this has no bearing either on the original chorale--which in any case is nei?ther Haydn nor Pleyel's--or on what Brahms did with the melody in his brilliant set of variations. This work is most frequently heard in the orches?tral version, but the two-piano form is equally authentic, written with the mastery that Brahms held over the piano.
Brahms was a supreme master of the variation form, which he used both in movements from lon?ger works and in self-contained compositions. The possibilities available in a Brahms variation set go well beyond ornamentation or changes in tempo, meter, or key. The chorale can become a passion?ate song, a light-hearted game, or a graceful pas?torale. As the original theme gives rise to a series of new melodies that share their underlying structure with the original theme, each new melody portrays independence and a soul of its own.
Brahms ended his variations with a passa-caglia, or a set of variations within a variation. Here, the theme is transformed into a bass line
that is repeated numerous times without change, providing a stable "ground" against which ever-changing counter-melodies are played. These mini-variations are arranged in a continuous movement whose progression is completely seam?less. The work closes with the triumphant return of the original form of the St. Anthony chorale in a full fortissimo.
Recuerdos (Memories) for Two Pianos (1991)
William Bolcom
Bom May 26, 1938 in Seattle, Washington
Snapshot of History...
In 1991:
The Soviet Union dissolves The first Iraq war: Operation Desert Storm The film The Silence of the Lambs wins four
Academy Awards
The World Wide Web becomes operational Kristi Yamaguchi wins her first world champion?ship in figure skating
Recuerdos was inspired by a volume of turn-of-the-century dances given to me by the critic and trans?lator Michael Feingold. While falling in love with these wonderful dance pieces from Ecuador, Brazil, Puerto Rico, Venezuela, and other Latin American countries, I became aware of the fact that the Scott Joplin ragtime tradition was only part of a larger tradition of piano dance-music that flourished through the First World War. The three pieces are evocations of that style-period which, I hope, cap?ture the flavor of that music and time.
The first, "Choro," is in the style of Brazilian composer Ernesto Nazareth (1863-1934), who invented the form, and is written in memory of the great French popular musician Jean Wiener, a friend of my teacher, Darius Milhaud. The second, "Paseo," is in honor of Louis Moreau Gottschalk (1829-1869) and partakes of his untrammeled romanticism.
The composer I most want to evoke in "Valse Venezolano," Ramon Delgado Palacios (1863-1902), is not well-known but is considered to be one of the seminal composers of the Venezuelan musical tradition. Palacios' pieces are full of sur?prising leaps, modulations, and phrase lengths, and quite often are in 58 time.
--William Bolcom
This work by Mr. Bolcom, Ross Lee Finney Dis?tinguished University Professor of Music at the University of Michigan, was written for the Third Murray Dranoff International Two-Piano Competi?tion (1991) held in Miami, Florida. It was dedicat?ed to Loretta Dranoff who, with her late husband, had formed one of the most successful two-piano teams in the US.
Sonata for Two Pianos in D major,
K. 448(1781)
Wolfgang Amadeus Mozart Born January 27, 1756 in Salzburg, Austria Died December 5, 1791 in Vienna
Snapshot of History... In 1781:
General Cornwallis surrenders at Yorktown El Pueblo de Nuestra Senora la Reina de Los Angeles, later known as LA, is founded William Herschel discovers Uranus Kant publishes Critique of Pure Reason Friedrich Schiller writes The Robbers; Jean-Jacques Rousseau, his Confessions
After his move from Salzburg to Vienna in 1781, Mozart lost no time in establishing himself as a piano teacher. One of his first pupils was Josepha Auernhammer, who was two years his junior and the daughter of a court official. Mozart had some rather unkind things to say about her to his father: "The young lady is a monster! But she plays en-chantingly...." Although Mozart didn't appreciate Miss Auernhammer's looks--he went on and on about how fat she was--he thought enough of her talents to compose a sonata for two pianos-the only one he ever wrote--for the two of them to perform together. This they did at her father's residence on November 23, 1781, with several im?portant personalities present; it was "a great suc?cess" as Mozart hastened to inform his father.
We also know from the correspondence that Josepha played the first piano part and Mozart the second--although it hardly matters because the two instruments are almost always equal in brilliance and virtuosity. The first piano, however, has a high 'F-sharp' in the last movement, a note not every piano had in those days; Miss Auern?hammer must have played on the latest model, of which there was only one in the Court Council-
lor's house. In the words of Robert Levin, one of the leading Mozartians of our time: "Beyond the undeniable exhilaration the work affords to per?formers and listeners alike, it displays a rhetorical suavity and a perfect equilibrium of content and form that the 25-year-old Mozart had long since made his hallmark."
The sonata is in the usual three movements: an "Allegro con spirito" that fully lives up to its tempo marking; an "Andante" which is like an amorous conversation between the two players (though Mozart went to extraordinary lengths to deny any kind of romantic involvement with his pupil); and a final Rondo with a cheerful main theme and a string of episodes each in turn lyri?cal, pensive, and march-like.
Symphonic Dances for Two Pianos,
Op. 45(1940) Sergei Rachmaninoff Born April 1, 1873 in Semyonovo, Russia Died March 28, 1943 in Beverly Hills, California
Snapshot of History...
In 1940:
The Germans invade France, Belgium, Holland, Luxemburg, Denmark, Norway and Roma?nia in World War II
The first electron microscope is developed at RCA Laboratories
Prehistoric drawings discovered at Lascaux, France
Ernest Hemingway publishes For Whom the Bell Tolls; Carson McCullers, The Heart is a Lonely Hunter
The Philadelphia Story with Katherine Hepburn and Cary Grant is released
During the quarter-century between his emigra?tion from Russia and his death, Sergei Rachmani?noff completed only six new works despite his insistence that "composing is as essential a part of my being as breathing or eating; it is one of the necessary functions of living." It seems that the exhausting schedule of a concert pianist took too great a toll on his creative energies. Even more im?portantly, Rachmaninoff was too deeply attached to his native land to ever overcome the emotional trauma of emigration and homesickness. He con?tinued to live in a Russian world, surrounded by Russian friends, eating Russian food; speaking, thinking, dreaming in Russian. Musically, too, he
remained steeped in the milieu in which he had grown up: the tradition he had absorbed at the Moscow Conservatory in the 1890s, when Tchaik?ovsky, his early mentor, was still alive. That milieu seemed infinitely remote in time and space in the America of the 1940s, and Rachmaninoff, as he himself put it in 1939, felt "like a ghost wandering in a world grown alien. I cannot cast out the old way of writing, and I cannot acquire the new."
In 1940, the 67-year-old Rachmaninoff gath?ered up his strength to write what would remain his swan song. Originally, he planned to give the three movements the titles "Noon," "Evening," and "Midnight," probably thinking of reflecting different phases of life rather than simply times of day. He also wanted to call the work Fantastic Dances, before settling for the definitive title. In a newspaper interview, he said "It should have been called just Dances, but I was afraid people would think I had written dance music for jazz or?chestras."
Indeed, that was certainly the last thing Ra?chmaninoff ever wanted to do. To write music for the great Russian ballet master Mikhail Fokine was a different proposition altogether. In 1939, Fokine had produced a ballet about Paganini using the score of Rachmaninoff's Paganini Rhapsody. After this successful collaboration, Rachmaninoff was hoping that Symphonic Dances could be turned into another Fokine ballet, but these plans came to nothing, due to the choreographer's death in 1942. In the meantime, he prepared a version for two pianos, dated August 10, 1940, which he and Vladimir Horowitz were also planning to perform in public, as with the Suite No. 2.
It is impossible to know whether Rachmani?noff knew he was writing his swan song. Yet the suspicion that this might have been the case is not so easily dismissed. The numerous references to Rachmaninoff's earlier works suggest that the composer was looking back on his life. In the coda of the first movement, he quoted the main theme from his ill-fated First Symphony of 1897. At its premiere, conducted by an apparently intoxicated Alexander Glazunov, the symphony failed badly, thrusting the young composer into such a state of depression that for three entire years he was unable to write any music whatsoever. He only recovered his ability to work through the interven?tion of a psychiatrist who used hypnosis to restore his self-confidence. Rachmaninoff could be certain that no one would recognize this reference to a symphony not performed in 43 years; yet to him the quote must have had a secret symbolic mean-
ing--a nostalgic recollection of the ambitions and adversities of his youth. A little earlier in the piece, scholars have detected an echo of one of Rachmaninoff's solo piano works (Etude-Tableau, Op. 33, No. 7 [1911]). Even more intriguingly, Kasyan Goleyzovsky, a choreographer from the Bolshoi Theater in Moscow, has claimed that "a significant part" of Symphonic Dances originated in an aborted ballet project, The Scythians, on which Rachmaninoff appears to have worked around 1915. No music for this project survives, but a handwritten note from Goleyzovsky from the time mentions "sketches...for the final symphonic dance"--an interesting coincidence if nothing else, given the title of the 1940 composition.
It was almost to be expected that the Dies irae melody, which had been haunting Rachmani?noff since the fateful First Symphony, would be included once again. Here the composer placed it in a new context by juxtaposing it with another liturgical quote, the "Alleluia" from the All-Night Vigil (1915). The evocation of the Last Judgement was thus complemented by a reference to Resur?rection, apparently symbolizing a defeat of Death by the power of Redemption. It would indeed make sense to imagine Rachmaninoff consciously bidding farewell to his composing days with this gesture.
Yet in spite of all this serious symbolism, Sym?phonic Dances is anything but a heavy dramatic composition. The work may be a three-movement symphony in all but name, yet the dance character is always present. Eventually, the work did reach the ballet stage, even if it didn't happen until al?most 50 years after the composer's death. The first choreography was done at the North Caro?lina Dance Theater in 1991, followed by a New York City Ballet production in 1994.
The first movement bears the unusual tempo marking Aon allegro, which Rachmaninoff occa?sionally used to avoid overly fast tempos, although according to one story, at a rehearsal with Dimitri Mitropoulos and the Minneapolis Symphony, Ra?chmaninoff started snapping his fingers to accel?erate the tempo. The main part of the movement obviously cannot be too slow or the contrasting middle section, marked Lento, will become defi?nitely snail-paced.
Beginning with an ominous motto, the sec?ond movement is a valse triste with a melancholy string theme wandering from key to key. At the end, the tempo and the rhythm become more ani?mated and the movement, surprisingly, ends like a Mendelssohn scherzo.
The third movement, like the first, is in A-B-A form, with a central slow section flanked by faster music. But the contrasts are much sharper: the Non allegro (not fast) is replaced by Allegro vivace (fast and lively) and the Lento (slow) by Lento assal (very slow). The fast section--preceded by a gloomy slow introduction--has its share of lively rhythms and syncopations but is overcast with an air of seriousness. The mournful middle section adds to the gravity of the atmosphere, preparing the entrance of the Dies irae theme after the return of the fast tempo. Only gradually, and within certain limits, does the music lighten up for the final "Alliluya" (to use Rachmaninoff's spelling). But it happens in the end, and although the "sad" minor tonality doesn't go away, the rhythmic momentum of the final measures expresses faith, strength, and reassurance.
Program notes by Peter Laki.
Born in Lvov, Poland, Emanuel Ax moved to Winnipeg, Canada, with his family when he was a young boy. His studies at The Juil-liard School were supported by the sponsorship of the Epstein Scholarship Program of the Boys Clubs of America, and he subsequently won the Young Concert Artists Award. Additionally, he attended Columbia University, where he majored in French. Mr. Ax captured public attention in 1974 when he won the first Arthur Rubinstein International Piano Competition in Tel Aviv. In 1975 he won the Mi?chaels Award of Young Concert Artists followed four years later by the coveted Avery Fisher Prize.
In the current season, Mr. Ax retums to several orchestras with which he has had rela?tionships for many years including the Cleveland Orchestra, New York Philharmonic, Los Angeles Philharmonic, San Francisco Symphony, St. Louis Symphony, Toronto Symphony, and Kansas City
Symphony where he will perform the world premiere of Stephen Hartke's Piano Con?certo. Special projects include the current duo recital tour with Yefim Bronfman including per?formances at Chicago's Orchestra Hall, Ann Ar?bor's Hill Auditorium,
Emanuel Ax
Photo by: Henry Fair
Los Angeles's Disney Concert Hall, and Carnegie Hall; a performance with Itzhak Perlman and Yo-Yo Ma at Carnegie Hall; and a solo recital tour in both North America and Europe. Other European engagements include a tour of the Far East with the Dresden Staatskapelle and Fabio Luisi, with whom he will record the Strauss Burleske for Sony BMG.
For the opening Gala of the New York Philhar?monic in September 2006, Mr. Ax appeared with Mr. Bronfman in Mozart's Concerto for Two Pia?nos conducted by Lorin Maazel with live national television coverage. With his wife, pianist Yoko No-zaki, a project with the Mark Morris Dance Group originally conceived for New York's Mostly Mozart Festival in the summer of 2006 was repeated in Vi?enna and London. Tours included duos with bassist Edgar Meyer and concerts in Japan with his long?standing colleague and partner Yo-Yo Ma.
In the 0506 season, Mr. Ax served as Pianist-in-Residence with the Berlin Philharmonic, per?forming with the orchestra and Sir Simon Rattle in Berlin and New York. Other recent performance highlights have included separate recital tours with two longstanding colleagues, cellist Yo-Yo Ma and pianist Yefim Bronfman.
Mr. Ax has been an exclusive Sony Classical recording artist since 1987. Recent releases in?clude Strauss's Enoch Arden narrated by Patrick Stewart; discs of two-piano music by Brahms and Rachmaninoff with Yefim Bronfman; and period-instrument performances of Chopin's complete works for piano and orchestra. Mr. Ax has re?ceived Grammy Awards for the second and third volumes of his cycle of Haydn's piano sonatas. He has also made a series of Grammy Award-winning recordings with cellist Yo-Yo Ma of the Beethoven and Brahms sonatas for cello and piano. His oth?er recordings include the concertos of Liszt and Schoenberg, three solo Brahms albums, an album of tangos by Astor Piazzolla, and the premiere re?cording of John Adams's Century Rolls with the Cleveland Orchestra for Nonesuch. Mr. Ax also contributed to a BBC documentary commemo?rating the Holocaust that aired on the 60th anni?versary of the liberation of Auschwitz, and which was awarded a 2005 International Emmy.
In recent years, Mr. Ax has turned his atten?tion toward the music of 20th-century compos?ers, premiering works by John Adams, Christo?pher Rouse, Krzysztof Penderecki, Bright Sheng, and Melinda Wagner. Mr. Ax is also devoted to chamber music, and he has worked regularly with
such artists as Young Uck Kim, Cho-Liang Lin, Mr. Ma, Edgar Meyer, Peter Serkin, Jaime Laredo, and the late Isaac Stern.
Mr. Ax resides in New York City with his wife, pianist Yoko Nozaki. They have two chil?dren together, Joseph and Sarah. He is a Fellow of the American Academy of Arts and Sciences and holds honorary doctorates of music from Yale and Columbia Universities. For further in?formation about Mr. Ax's career, please visit www.EmanuelAx.com.
Yefim Bronfman is widely regarded as one of the most talented virtuoso pianists performing today. His commanding tech?nique and exceptional lyrical gifts have won him consistent critical acclaim and enthusiastic audi?ences worldwide, whether for his solo recitals, his prestigious orchestral engagements or his rapidly growing catalogue of recordings.
As an "On Loca?tion" Artist with the Los Angeles Philharmonic for the current season, Mr. Bronfman will ap?pear in subscription and chamber music con?certs as well as a tour of the Far East with that orchestra and conduc?tor Esa-Pekka Salonen. Other highlights of Mr. Bronfman's current
Yefim Bronfman
Photo by: Dare AcU
season include the current duo recital tour with Emanuel Ax including performances at Chicago's Orchestra Hall, Ann Arbor's Hill Auditorium, Los Angeles's Disney Hall, and Carnegie Hall; and a solo recital tour traversing the US and Europe and culminating in performances at London's Wig-more Hall, Amsterdam's Concertgebouw, and in St. Petersburg. North American engagements include opening the current season with the San Francisco Symphony and Michael Tilson Thomas and with the New York Philharmonic and Lorin Maazel, as well as performing with the Pittsburgh Symphony, Baltimore Symphony, Montreal Sym?phony, and Toronto Symphony. In Europe, he ap?pears with the Royal Concertgebouw Orchestra, the Tonhalle Orchestra, Orchestre Nationale de France, the St. Petersburg Philharmonic, the Berlin Philharmonic at the Salzburg Festival, and the Phil-
harmonia Orchestra in London.
Mr. Bronfman has won widespread praise for his solo, chamber, and orchestral recordings. He won a Grammy Award in 1997 for his record?ing of the three Bart6k Piano Concertos with Esa-Pekka Salonen and the Los Angeles Philhar?monic. His most recent releases are Tchaikovsky's Piano Concerto No. 7 with Mariss Jansons and the Symphonieorchester des Bayerischen Rundfunks, a recital disc, Perspectives, which complements Mr. Bronfman's designation as a Carnegie Hall "Perspectives" artist for the 0708 season, and recordings of all the Beethoven piano concerti as well as the Triple Concerto together with violinist Gil Shaham, cellist Truls Mork, and the Tonhalle Orchestra Zurich under David Zinman for the Arte NovaBMG label.
Mr. Bronfman was born in Tashkent, in the Soviet Union, on April 10, 1958 and immigrated to Israel with his family in 1973. In Israel he stud?ied with pianist Arie Vardi, head of the Rubin Academy of Music at Tel Aviv University. In the US, he studied at The Juilliard School, Marlboro, and the Curtis Institute, and with Rudolf Firkusny, Leon Fleisher, and Rudolf Serkin.
Yefim Bronfman became an American citizen in July 1989.
UMS ARCHIVES
Tonight's concert marks Emanuel Ax's fifth appearance under UMS auspices. Mr. Ax made his UMS debut in a Summer Festival recital at Rackham Auditorium in July 1978.
Yefim Bronfman makes his sec?ond appearance under UMS auspices tonight. Mr. Bronfman made his UMS debut as soloist with the Oslo Philhar?monic Orchestra in November 1994.
Interestingly, Sergei Rachmani?noff made eight concert appearances under UMS auspices, making his debut in a piano recital at Hill Auditorium in November 1920 and culminating in a May 1942 performance of his own Piano Concerto, No. 2 with the Philadelphia Orchestra conducted by Maestro Eugene Ormandy.
and
Carl and Charlene Herstein
present
Estonian Philharmonic Chamber Choir
and the
Tallinn Chamber Orchestra
Tonu Kaljuste, Conductor
Program Thursday Evening, November 13, 2008 at 8:00 St. Francis of Assisi Catholic Church Ann Arbor
Erkki-Sven Tuur Action, Passion, Illusion (excerpt) (for String Orchestra) Passion
Tuur Requiem
INTERMISSION
Arvo Part Orient & Occident (for String Orchestra)
Part Te Deum

21st 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.
Tonight's performance is sponsored by Carl and Charlene Herstein. Media partnership provided by WRCJ 90.9 FM.
Special thanks to Jerry Blackstone and the U-M School of Music, Theatre & Dance for their participation in this residency.
Estonian Philharmonic Chamber Orchestra and the Tallinn Chamber Orchestra record for labels including Harmonia Mundi, ECM, Carus, Virgin Classics, Bis, Guild, Vox Est, Melodiya, Caprice, St. Olaf Records, and Globe.
Estonian Philharmonic Chamber Choir and the Tallinn Chamber Orchestra with Tonu Kaljuste appear by arrangement with New World Classics, Kerby Lovallo, Director.
Large print programs are available upon request.
Action, Passion, Illusion (excerpt) (1993) Erkki-Sven Tiiiir
Bom October 16, 1959 in Karelia, Hiiumaa Island, Estonia
In Erkki-Sven Tuur's creation Action, Passion, Illu?sion, each segment is part of a larger construction in which the higher the musical building blocks go, the more they are joined together to form a build?ing. "Passion" is concerned with the slow filling of "time-and-space," starting with double basses and cellos in their lowest register and finishing with the dispersing of an intensive, high-pitched tone clus?ter in the violins. The premiere was performed by the Tallinn Chamber Orchestra and conductor Tonu Kaljuste on October 25, 1993.
Requiem (1994) Tiiur
Erkki-Sven Tiiiir has been called one of the most significant composers of his generation and has been partially credited for keeping Estonia on the international musical landscape. Mr. Tiiur is primarily a composer of instrumental music, but is also known for his vocal compositions for the Choir with which he performed as a singer. He has written orchestral works, chamber music, and choral music as well as solo pieces for the piano, flute, and organ.
Requiem for chamber choir, two soloists, piano, and strings is dedicated to the memory of the composer's friend, conductor Peeter Lilje. Mr. TCiur has shortened the liturgical text of the Catho?lic mass and regards the piece not as a cycle but as an integral whole. This composition became a "Recommended Work" at the Paris ROSTRUM and has thereafter been broadcasted internationally.
Orients Occident (1999)
Arvo Part
Born September 11, 1935 in Paide, Estonia
Dedicated to Saulius Sondeckis and the Lithuanian Chamber Orchestra, Orient & Occident contrasts with his tintinnabuli style in a decidedly dramatic seven minutes of string glissandi and monophonic lines.
TeDeum (1984-19851992) Part
Te Deum is dedicated to Alfred Schlee and was first performed on January 19, 1985 by the Kolner Rundfunk Symphony Orchestra (RSO) and Kolner Rundfunkchor under Dennis Russell Davies. The Estonian Philharmonic Chamber Choir and Tallinn Chamber Orchestra have recorded this production for TV (RM Associates, 1999) as well as CD (ECM, 1993).
Program notes provided by the Estonian Philharmonic Chamber Choir, Anneli Ivaste, Editor.
Estonian conductor Tonu Kaljuste gained international recognition with his exquisite?ly diversified repertoire, which ranges from opera (Mozart, Weber, Britten) to traditional sym?phonic works and contemporary music. Within his intense interaction with the great composers of Northern and Eastern European modernism-such asSchnittke, Kurtg, Penderecki, Rautavaara, or Kancheli--he established himself as a specialist of Estonian composers including Arvo Part, Erkki-Sven Tiiur, Veljo Tormis, and Heino Eller. Mr. Ka?ljuste is the founder of the Estonian Philharmonic Chamber Choir (1981) and the Tallinn Chamber Orchestra (1994).
Tonu Kaljuste was a lecturer at the Tallinn Conservatory and conducted at the Estonian National Opera. Powerful performances led him to conduct well-known orchestras and choirs throughout Europe, Australia, and the US, which established his reputation as an extraordinary in?ternational conductor. As Principal Conductor of the Estonian Philharmonic Chamber Choir and the Chamber Orchestra Tallinn, he held a unique posi?tion within his country. He has held the position of Principal Conductor of the Swedish Radio Choir and the Netherlands Chamber Choir and is cur?rently First Guest Conductor of the Swedish Radio Choir.
In the 0405 season, Mr. Kaljuste was ap?pointed Artistic Director of the Nargen Opera in Estonia. At the Nargen Festival 2007, he con?ducted a new production of Beethoven's Fidelio with the Chamber Orchestra Tallinn and Estonian Philharmonic Chamber Choir. Last season marked his debut at the Hamburg Opera with Lera Auer-
bach's ballet The Little Mermaid. At the Nargen Festival 2008 he conducted Haydn's Mondo Delia Luna with the Tallinn Chamber Orchestra and Es?tonian singers.
Mr. Kaljuste's discography includes Grammy nominees such as Orient and Occident and record?ings that have been recognized with the Diapason d'Or 2000, Cannes Classical Award, Edison Prize, and the 2003 Brit Award.
Recently, Mr. Kaljuste has been appearing with major international orchestras including the Mahler Chamber Orchestra, Berlin Radio Sympho?ny, Munich Radio Symphony, Danish Radio Sym?phony, Copenhagen Philharmonic, Norwegian Radio Orchestra, Norwegian Chamber Orchestra, Budapest Festival Orchestra, and the Estonian Na?tional Symphony.
The current season includes appearances with the Norwegian Radio Orchestra, Osaka Century Orchestra, Ulster Orchestra, Camerata Salzburg, Ensemble ResonanzRIAS Kammerchor, Munchner RundfunkorchesterChor des Bay-erischen Rundfunks, and the Brno Philharmonic Orchestra.
Tonu Kaljuste has been appointed a member of the Royal Music Academy of Sweden and was awarded the Japanese ABC Music Award as well as the Robert Edler Prize.
The Estonian Philharmonic Chamber Choir (EPCC) is the best-known Estonian classical music ensemble and one of the world's best choirs. This September, Daniel Reuss was appointed Chief Conductor and Artistic Di?rector, following the directorship of Paul Hillier.
The EPCC was founded in 1981 by Tonu Ka?ljuste, who acted as Artistic Director and Chief Conductor for 20 years. It was first formed as the amateur Ellerhein Chamber Choir, founded by Tonu Kaljuste's father, Heino Kaljuste, on the 15th anniversary of the Ellerhein Children's Choir. In 1971 Tonu Kaljuste became the conductor of the Ellerhein Chamber Choir, on the basis of which he formed the full-time professional EPCC.
At the 1991 Takarazuka Chamber Choir Competition in Japan, the choir won three gold
medals and was awarded the Grand Prize. EPCC gives 60-70 concerts per season and tours regularly through?out Europe, the US, Canada, and Japan. Their repertoire ranges from Gregorian chant to late-Baroque and 20th-century music. Works by Bach, contemporary composers such as Arvo Part and Veljo Tormis, as well as other Estonian choral music hold great importance in choir's reper?toire.
The EPCC has worked with prominent conductors and orches?tras, including Neeme Jarvi, the Is?rael Philharmonic Orchestra, Prague Chamber Orchestra, and the Esto?nian National Symphony Orchestra.
The Choir's partnership with the Tallinn Chamber Orchestra has been long and fruitful. The two ensembles have recorded several CDs and par?ticipated in several tours together, both in Europe and the US, focus?ing mainly on works by Arvo Part.
The Choir has made numerous recordings for different broadcast?ing and recording companies that have been widely praised by leading
Tonu Kaljuste
international critics. Recordings include Forgotten Peoples, Litany to Thunder, Te Deum, and Casting a Spell. In the summer of 2002, the EPCC began collaborating with Harmonia Mundi USA to ex?plore the breadth and depth of choral music from the countries around the Baltic Sea as part of a three-year project entitled Baltic Voices.
The Estonian Philharmonic Chamber Choir's recording of Arvo Part's Da Pacem (Harmonia Mundi) received the Grammy Award for "Best Choral Performance" at the 2007 Grammy Awards ceremony. The EPCC's recordings have received eight Grammy Award nominations.
The Tallinn Chamber Orchestra (TCO) was founded in 1993 by Tonu Kaljuste as an ex?tension of his work with the widely known Estonian Philharmonic Chamber Choir (EPCC). The members of the orchestra often perform as soloists and are invited to perform with various other orchestras and ensembles.
In 1993, the EPCC and TCO produced Te Deum, a recording of works of Arvo Part for ECM Records. For a year, this recording was on the world's "Top Ten" bestseller list and has gained international acclaim. In 1996, ECM released Chrystallisatio, works by Erkki-Sven Tuur, and Litany, works by Arvo Part (including collabora?tions with The Hilliard Ensemble, Estonian Philhar?monic Chamber Choir, and the Lithuanian Cham?ber Orchestra).
The Tallinn Chamber Orchestra has per?formed together with the EPCC in prestigious music festivals including the Bach Cantatas Festi?val in Milan, Bremen Music Festival, and the Hud-dersfield Festival of Contemporary Music. Concert tours have taken the TCO to Canada, the US, Ja?pan, and throughout Europe.
Tonu Kaljuste served as Artistic Director and Principal Conductor of the TCO in the 199697 and 200001 seasons.
For further information, please visit:
www.newworldclassics.comestonian.htm
www.epcc.ee
www.filharmoonia.ee282
www.tonukaljuste.com
www.newworldclassics.com
UMS ARCHIVES
Tonight's concert marks Tonu Kaljuste's sixth appearance un?der UMS auspices. Mr. Kaljuste made his UMS debut conducting the Estonian Philharmonic Chamber Choir (EPCC) and the Tallinn Cham?ber Orchestra in a November 1995 program which included Arvo Part's Te Deum at St. Francis of Assisi Catholic Church. He last appeared in Ann Arbor in November 2001 conducting the Netherlands Chamber Choir.
Tonight marks the EPCC's fifth UMS appearance since their 1995 de?but. They last appeared in Ann Arbor in February 2000 presenting Part's Kanon Pokajanen (Canon of Repen?tance) at St. Francis of Assisi Catholic Church.
Tonight marks the Tallinn Cham?ber Orchestra's third UMS appearance.
Estonian Philharmonic Chamber Choir
Soprano
Kaia Urb Vilve Hepner Hele-Mai Poobus Karoliina Kriis Tui Hirv Maarja Kukk Kati Jaanimae
Alto
Helis Naeris Marianne Parna Juta Roopalu-Malk Merili Kristal Ave Hannikainen Evelin Ester
Tenor
Tiit Kogerman Toomas Tohert Martin Lume Kaido Janke Raul Mikson Vladislav Horuzhenko
Bass
Aarne Talvik Rainer Vilu Kalev Keeroja Tonu Tormis Mart Krell Ott Indermitte Hideyuki Nishimura
Esper Linnamagi,
Producer for the Estonian Philharmonic Chamber Choir
Tallinn Chamber Orchestra
Violin
Harry Traksmann Olga Voronova Katrin Matveus Kristjan Hallik Marge Uus
Kaido Valja Mai Rosenroth Pille Prans Kadi Vilu Kristel Arund
Viola
Martti Magi Kristiina Olev Arvo Haasma Laur Eensalu
Cello
Leho Karin Kaido Kelder Margus Uus
Bass
Juri Lepp Janel Altroff
Organ
Marrit Gerretz-Traksmann
Kristo Kivimae, Manager of the Tallinn Chamber Orchestra Christopher S. Bogdan, General Tour Manager
and the
UMS National Council
present
Jerusalem Symphony Orchestra, IBA
Leon Botstein, Musical Director and Conductor Robert McDuffie, Violin
Program
Erich Walter Sternberg Leonard Bernstein
Aaron Copland
Sunday Afternoon, November 16, 2008 at 4:00 Hill Auditorium Ann Arbor
Shneim-Asar Shivtei Yisrael
Serenade, after Plato's Symposium
Phaedrus; Pausanias (Lento; Allegro) Aristophanes (Allegretto) Eryximachus, the doctor (Presto) Agathon (Adagio)
Socrates; Alcibiades (Molto tenuto; Allegro molto vivace) Mr. McDuffie
INTERMISSION
Symphony No. 3
Molto moderate
Allegro molto
Andantino quasi allegretto
Molto deliberator--Allegro risoluto
22nd 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.
This afternoon's performance is sponsored by the members of the UMS National Council.
This afternoon's performance is co-sponsored by Gil Omenn and Martha Darling and Jane and Edward Schulak.
Additional support provided by Thomas B. McMullen Company and Beverly Franzblau Baker.
Media partnership provided by WGTE 91.3 FM, Observers Eccentric Newspapers, and Detroit Jewish News.
Special thanks to the Jean & Samuel Frankel Center of Judaic Studies at the University of Michigan and the U-M Institute for the Humanities for their participation in this residency.
The 2008 US tour of the Jerusalem Symphony Orchestra is made possible by Stewart and Lynda Resnick, El Al Airlines, and the Friends of the Jerusalem Symphony Orchestra.
Special thanks to Tom Thompson of Tom Thompson Flowers, Ann Arbor, for his generous contribution of lobby floral art for this afternoon's concert.
Special thanks to Steven Ball for coordinating the pre-concert music on the Charles Baird Carillon.
Jerusalem Symphony Orchestra appears by arrangement with Columbia Artists Management LLC.
Large print programs are available upon request.
Now that you're in your seat...
One may well wonder how the history of music would have been different, had Moishe Gershowitz, Harris Kaplan, and Sam Bernstein emigrated from Russia to Palestine, in?stead of the US. As it was, all three came to the New World where they became the fathers of George Gershwin, Aaron Copland, and Leonard Bernstein, respectively--the three masters who defined much American music in the 20th century, both "light" and "serious" (if that distinction means anything). For each of them, the Jewish tradition meant something differ?ent. Gershwin lived it in a particularly American, Tin Pan Alley sort of way. Copland connected to it in his piano trio Vitebsk and it can be argued that his sensitivity to folk traditions in general, whether they be Western or Hispanic, came from a strong awareness of his own ethnic roots. Of the three, Bernstein--the youngest--explored Judaism the most fully in a series of major works, from Jeremiah to the Kaddish Symphony.
Composers who did live in Palestine, on the other hand, had a very different relationship to their Jewishness. It was an everyday fact of life, whether you arranged Jewish folksongs or not. Erich Walter Sternberg, a German transplanted at age 40, held on to the values of his youth while helping create the new musical culture of his adopted home. The long-forgotten product of his effort to build this particular cultural bridge will stand next to two well-known American works to illustrate the parting of the roads, and Jewish alternatives in 20th-century music.
Shneim-Asar Shivtei Yisrael
(The Twelve Tribes of Israel) (1941) Erich Walter Sternberg Born May 31, 1891 in Berlin, Germany Died December 15, 1974 in Tel Aviv, Israel
Snapshot of History...
In 1941: Germany attacks the Soviet Union (June 22);
Japan attacks the US at Pearl Harbor
(December 7) Olivier Messiaen's Quartet for the End of Time
performed at a Silesian detention camp Aaron Copland goes on a three-month tour
of South America, sponsored by Nelson
Rockefeller's Committee of Inter-American
Affairs Leonard Bernstein graduates from the Curtis
Institute in Philadephia Russian poet Marina Tsvetayeva commits suicide
The successive waves of mass immigration of Jews from the four corners of the world to Palestine created a vibrant new community with strong and sophisticated cultural needs. Among the new ar?rivals were musicians--composers and perform?ers--eager to contribute to this Jewish renais?sance, and naturally, they brought different ideas
and artistic personalities to the endeavor.
Two of the leading members of this gen?eration of pioneers were Erich Walter Sternberg (1891-1974) and Paul Ben-Haim (1897-1984), both German-born. Ben-Haim, who changed his last name from Frankenburger, eventually achieved more prominence in Israeli musical life because he embraced Jewish traditional music and the ancient Yemenite tradition in particular. Sternberg, by contrast, kept both his name and his stylistic outlook, formed in Germany where he had enjoyed considerable success with his early works. In Palestine since 1931, Sternberg assisted Bronislaw Huberman in founding the Palestine Orchestra in 1936; his magnum opus, The Twelve Tribes of Israel, was premiered by that orchestra in 1942.
In his work, Sternberg studiously avoided any reference to Jewish folklore; his set of varia?tions with a concluding fugue comes directly from the German tradition of Brahms and Max Reger. Critic David Rosolio, reviewing the world pre?miere, nevertheless accepted The Twelve Tribes as "one of the very few works in our literature which may be defined as Jewish music," and his colleague Menashe Ravina commended the com?poser for avoiding "the temptation of turning the Finale into a hora dance." Sternberg stressed that
a composer had to "go his own way, to speak his own tongue according to the dictates of his music." Yet his approach ultimately came to be viewed as "old-fashioned" and much of his work fell into neglect, only to be rediscovered in recent years.
Sternberg's musical idiom presents some similarities with that of Hindemith (four years his junior), who, as a member of the Amar Quartet, had performed Sternberg's Second Quartet in 1926. The theme, first announced by the horns and trumpets, has a strong rhythmic character, which is in turn accentuated and softened in the course of the variations, each of which cor?responds to a different tribe, with the final fugue representing the youngest son, Benjamin. This masterful fugue is interrupted, at its climactic mo?ment, by a mysterious timpani solo, after which a second fugal section begins, rising in intensity all the way to the grandiose conclusion.
Serenade, after Plato's Symposium (1954) Leonard Bernstein
Born August 25, 1918 in Lawrence, MA Died October 14, 1990 in New York
Snapshot of History...
In 1954: The Vietnamese Army defeats France at
Dien Bien Phu
First Burger King opens in Miami First kidney transplants performed Aaron Copland writes his opera The Tender Land William Golding's Lord of the Flies published
What is love We may hardly presume to be any closer to an answer than Plato was 2,400 years ago, when he recorded the memorable conversa?tions his teacher Socrates had had with his disci?ples on the subject at a drinking party (the original meaning of the Greek word symposium, the title of Plato's dialogue, is "drinking together"). Plato's ideas about love are by no means restricted to the "Platonic," but encompass the spiritual, the emo?tional, and the sexual, the love between men and women, and (above all) the love between men and boys, of which a modern commentator, John M. Cooper, says: "the focus [was] on the adult male's role as ethical and intellectual educator of
the adolescent...whether accompanied by sex or not."
In his notes on his Serenade, Leonard Bern?stein made some comments on how he felt his music related to Plato's dialogue. However, he pointed out that these parallels should not be tak?en too far and mistaken for a "literal program." The composer's goal was not to express or illus?trate Plato, but rather to offer a musical reaction to a reading. People have been speculating about the attraction Plato's frank description of homo?sexuality may have held for Bernstein (whose own homosexuality has long since ceased to be a se?cret); but such speculations only impose another kind of "literal program" that is really not neces?sary for an appreciation of the work.
Bernstein spent the summer of 1954 on Mar?tha's Vineyard with his wife Felicia Montealegre and their young daughter. Isaac Stern had asked him for a work for violin and orchestra, and the composition was supported by a commission from the Koussevitzky Foundation. Instead of a regu?lar concerto, Bernstein wrote a five-movement, 30-minute work that became, according to many critics, one of his finest compositions for the con?cert hall.
Reading and thinking about all the different forms and manifestations of love inspired Bern?stein to create a composition rich in contrasting characters. There is tender lyricism in the open?ing unaccompanied violin solo and especially in the fourth-movement "Adagio," which is--to paraphrase Bernstein's comments--"perhaps the most moving part of the piece." Wit and humor come to the fore in the "Allegro" section of the first movement and in "Eryximachus." The last movement, the longest of the five, contains an extensive duet between the solo violin and the first cello, playing in different keys but sharing the same melodic materials--perhaps an allusion to the unity of two dissimilar personalities in a love relationship. The entrance of the drunken Alcibi-ades allows for some musical rough-and-tumble and the jazzy licks that many serious critics in the 1950s still believed to be inappropriate in a piece of "classical" music. Yet Bernstein, "an American composer imbued with the spirit of that timeless dinner party," was convinced that only jazz could convey to a contemporary listener the atmosphere of that particular episode--lest we think that An?tiquity is necessarily something as austere as a Doric colonnade on a Greek temple.
Leonard Bernstein on his Serenade:
There is no literal program for this Serenade, despite the fact that it resulted from a re-read?ing of Plato's charming dialogue, The Sympo?sium. The music, like the dialogue, is a series of related statements in praise of love, and generally follows the Platonic form through the succession of speakers at the banquet. The "relatedness" of the movements does not depend on common thematic material, but rather on a system whereby each movement evolves out of elements in the preceding one. For the benefit of those interested in lit?erary allusion, I might suggest the following points as guideposts:
I. "Phaedras; Pausanias (Lento; Allegro)." Phaedrus opens the symposium with a lyrical oration in praise of Eros, the god of love. (Fugato, begun by the solo violin.) Pausanias continues by describing the du?ality of lover and beloved. This is expressed in a classical sonata-allegro, based on the material of the opening fugato.
II. "Aristophanes (Allegretto)." Aristo?phanes does not play the role of clown in this dialogue, but instead that of the bedtime storyteller, invoking the fairy-tale mythology of love.
III. "Eryximachus (Presto)." The physician speaks of bodily harmony as a scientific model for the workings of love-patterns. This is an extremely short fugato scherzo, born of a blend of mystery and humor.
IV. "Agathon (Adagio)." Perhaps the most moving speech of the dialogue, Aga-thon's panegyric embraces all aspects of love's powers, charms, and functions. This movement is a simple three-part song.
V. "Socrates; Alcibiades (Molto tenuto; Allegro molto vivace)." Socrates describes his visit to see Diotima, quoting her speech on the demonology of love. This is a slow introduction of greater weight than any of the preceding movements, and serves as a highly developed reprise of the middle section of the "Agathon movement," thus
suggesting a hidden sonata form. The fa?mous interruption by Alcibiades and his band of drunken revelers ushers in the "Allegro," which is an extended Rondo ranging in spirit from agitation through jig-like dance music to joyful celebration. If there is a hint of jazz in the celebration, I hope it will not be taken as anachronistic Greek party-music, but rather the natural expression of a contemporary American composer imbued with the spirit of that timeless dinner party.
Symphony No. 3 (1944-46)
Aaron Copland
Born November 14, 1900 in Brooklyn, NY
Died December 2, 1990 in North Tarrytown, NY
Snapshot of History...
In 1946:
United Nations founded Benjamin Britten writes The Young Person's
Guide to the Orchestra Irving Berlin's musical Annie Get Your Gun
produced on Broadway Eugene O'Neill's tragedy The Iceman Cometh
produced on Broadway Hudson's Department Store completed in Detroit
(demolished in 1998)
In a radio interview with William Malloch, Copland once said: "I don't compose; I assemble materi?als." What did he mean by this curious statement Here is how Malloch interpreted Copland's words in the February 1988 issue of Opus magazine: "One fine day, everything falls together, makes sense. Then he knows he has a piece. Prokofiev had his tune books, too. But he strung his ideas together with artful patching, inventive, even in?spired, transitions. With Copland, there is abso?lutely no padding. Everything just fits."
That is, at least, the impression we get from listening to most of Copland's works. But while it can be seen immediately how "everything fits" in the popular, folk-song-based ballets Billy the Kid, Rodeo, and Appalachian Spring, it takes some explanation how Copland's self-evident musical personality manifests itself in the more abstract medium of the symphony.
Not many major 20th-century composers remained faithful to the idea of writing tradi?tional four-movement symphonies. Many thought that the genre had outlived its usefulness, oth?ers turned to it only occasionally, and only a few continued to regard it as a viable means of con?temporary self-expression. Two countries proved to provide particularly fertile soil for symphonies: the Soviet Union, where Myaskovsky, Shostak?ovich, and Prokofiev worked, and the US, where Roy Harris, Walter Piston, and William Schuman became leading figures in one of the most vigor?ous "symphonic schools" anywhere in the world.
Coping with the complex demands of sym?phonic form was the ultimate challenge for an American composer in the 1940s. Interest in such works was expressed by several major orchestras and conductors (above all, the Boston Symphony under Serge Koussevitzky). During the war years, many European composers who had come to this country turned to symphonies even if they had written none previously. Stravinsky's Symphony in C and Symphony in three movements were both American commissions. Martinu wrote six sym?phonies during his American years, and Bart6k never came closer to composing one than he did with his Concerto for Orchestra, commissioned by Koussevitzky in 1943.
Under these circumstances, it is understand?able what the musical world expected of Aaron Copland, widely recognized as the foremost American composer of his time. In his ballets and shorter instrumental works, Copland had found a personal style that now had to be harnessed for the symphonic medium. Copland's first two symphonies, the Organ Symphony (1925) and the Short Symphony (1933) were brilliant early works but, while showing remarkable maturity and inno?vation, they were not necessarily the best candi?dates for the Pantheon of American Symphonies, if only because of their avant-garde tendencies. The Symphony No. 3--three was a "magic num?ber" because of the great successes of Harris's and Schuman's Third Symphonies (1939 and 1941, respectively)--simply had to be a great work.
It is a great work, and not merely in terms of size, although it is certainly Copland's most exten?sive orchestral score. The greatness of the Third lies, to a significant degree, in the ease with which Copland adapted his technique of "assembling materials" to symphonic proportions. It is signifi?cant that the interview cited above refers to tran-
sitions as "patching" and "padding." Transitions have, of course, always played a most important part in musical compositions, their role being to link, not to separate, the various units of a piece, and--in classical works--to effect the changes of key called for by musical structure. Not only the symphonies of Beethoven, Tchaikovsky, and Mahler, but even those of Prokofiev, would be un?thinkable without transitions. Did Copland really do away with such musical cement and build his work entirely of themes and transformations
The answer to that question seems to be, most of the time, a clear yes. A close look at the music shows that it is almost entirely thematic: practically every measure in this 40-minute sym?phony derives from a small number of motifs. In most Classical and Romantic symphonies, motifs are shaped into themes that are longer and dis?play a symmetrical (periodic) structure. Not always so in Copland. His motifs, all extremely short, are constantly repeated and varied, but rarely inte?grated into stable, larger-scale patterns. Copland works with simple musical gestures such as the perfect fourth or perfect fifth, transposing them to different scale degrees and subjecting them to ever-changing rhythmic variations. As a result, he could achieve coherence without monotony, even without recourse to Romantic methods of expan?sive motivic development.
The symphony begins with a motif made up of fourths and fifths, played by violins, clarinets, and solo flute. This motif is followed by two oth?ers that "assemble" the same material in different ways. Through repeats and changes of orchestra?tion and rhythm, an original musical form is cre?ated that, as Copland pointed out, has nothing to do with traditional sonata form. Instead, it is a variation of a more modern design we might call a "rise-and-fall" form, with both tempo and dy?namics gradually intensifying and then becoming more subdued. Throughout the movement, we never cease to hear the derivatives of the initial fourths-and-fifths motif.
Copland referred to the second movement as the one closest to a traditional type of symphonic movement, namely the scherzo. While the scherzo character is unmistakable, the movement is not a typical scherzo. Scherzos don't usually have intro?ductions; this one, however, starts with a fanfare, and only gradually does an actual scherzo theme grow out of this fanfare. The theme is then taken through a whole set of rhythmic and tonal adven-
tures. A gentle trio section follows, whose song-like theme is first introduced by the solo oboe. This is the most extended symmetrical melody we have heard so far in the symphony; the regularity of the phrase structure and the use of the penta-tonic scale suggest the inspiration of folk music, although, as the composer pointed out, there are no actual folksong quotations in the symphony. The trio melody is followed by a delicious episode in which, suddenly, the orchestral piano takes cen?ter stage. The short recapitulation of the scherzo's main section includes a triple-forte restatement of the soft and gentle quasi-folk-tune of the trio.
The third movement, "Andantino quasi Alle?gretto," is the one that Leonard Bernstein, always a great champion of this symphony, called his "favorite part" in a letter to Copland. Bernstein even called the second theme of his movement his "personal wow." The theme undergoes some ex?citing transformations as its tempo increases and its character changes from tender to energetic. The end of the movement is again soft and lyrical, and, in a real tour de force of orchestration, the opening theme retums played by a solo violin (in harmonics) and a piccolo, to the soft accompani?ment of other strings and woodwinds, harps, and celesta.
The finale, the longest movement in the sym?phony, is based on one of Copland's best-known short compositions, the Fanfare for the Common Man (written in 1942 for Eugene Goossens and the Cincinnati Symphony), incorporated here in its entirety. Upon hearing this familiar fanfare, we realize that its perfect fourths and fifths are the same intervals we have been hearing all along; thus, it becomes clear retrospectively that the en?tire symphony is based on the same material as the fanfare. The form of the movement remotely resembles a rondo, with the fanfare theme con?sistently recurring (albeit in different orchestra?tions and on different dynamic levels). Between the appearances of the fanfare theme, we hear a succession of lively dance tunes full of jazzy syncopations, with occasional dramatic interrup?tions. One particularly arresting moment occurs about two-thirds through the movement, when a violent fortissimo dissonance brings the music to a momentary halt, followed by the sound of a single piccolo. Gradually, the other woodwinds join in with delicate runs and passages. Amidst these passages, the fanfare theme "sneaks back" rather unobtrusively at first, played by two muted
horns; it then grows to full volume and the sym?phony ends, in the composer's own words, "on a massive restatement of the opening phrase with which the entire work began."
Program notes by Peter Laki.
Robert McDuffie has appeared as soloist with most of the major orchestras of the world, including the New York and Los Angeles Philharmonics, the Chicago, San Fran?cisco, Atlanta, Houston, St. Louis, Montreal, and Toronto Symphonies, the Philadelphia, Cleveland, Minnesota Orchestras, the Leipzig Gewandhaus Orchestra, the North German Radio Orchestra, the Frankfurt Radio Orchestra, Orchestra del Te-atro alia Scala, Santa Cecilia Orchestra of Rome, and all of the major orchestras of Australia.
Recent appearances abroad have been at the Concertgebouw in Amsterdam with the Neth?erlands Radio Philharmonic, in France with the Orchestre National Bordeaux Aquetaine, at the Philharmonie in Cologne with the Bochum Sym-phoniker, in Seoul with the KBS Symphony, in Hamburg with the Hamburg Symphony followed by a 22-city US tour, and with the Vienna Radio
Robert McDuffie
Leon Botstein
Photo bySteve J Sherman
Symphony Orchestra. He retums to Rome each June as the Co-Founder and Artistic Director of the Rome Chamber Music Festival. The mayor of Rome has recently awarded Robert McDuffie the prestigious Premio Simpatia in honor of his contri?bution to the cultural life of that city.
Besides celebrating the fifth anniversary of the Rome Chamber Music Festival this last sum?mer, Mr. McDuffie returned to the Aspen Music Festival, took part in the Brevard Music Festival, played the Tchaikovsky Violin Concerto with the Atlanta Symphony, and performed with the Or-questa Sinf6nica de Mineria in Mexico City.
His current season is highlighted by perfor?mances of Miklos Rozsa's Concerto and Leonard Bernstein's Serenade with the Jerusalem Sym?phony in Israel and on a 16-city US tour. Future engagements include the premiere of The Ameri?can Four Seasons, a new work by Philip Glass writ?ten for Mr. McDuffie. He will perform the North American premiere with the Toronto Symphony, the European premiere with the London Philhar?monic, and the festival premiere in Aspen. He will tour Europe, North America, and Asia, pairing it with the Vivaldi Four Seasons. He will record both works for Telarc.
Mr. McDuffie is a Grammy-nominated art?ist whose acclaimed Telarc recordings include the violin concertos of Mendelssohn, Bruch, Adams, Glass, Barber, Rozsa, and Viennese favorites. He plays a 1735 Guarneri del Gesu violin, known
as the "Ladenburg." He has been profiled on NBC's Today, CBS Sunday Morning, PBS's Charlie Rose, A&E's Breakfast with the Arts, and in the New York Times and the Wall Street Journal. Mr. McDuffie is a Distinguished University Professor of Music at Mercer University in his hometown of Macon, Georgia. The Robert McDuffie Center for Strings at Mercer University had its official open?ing at the beginning of the 0708 academic year. Mr. McDuffie lives in New York with his wife and two children.
Leon Botstein is Music Director and Princi?pal Conductor of the Jerusalem Symphony Orchestra and the American Symphony Orchestra in New York. Radio broadcasts of Mr. Botstein's concerts with the Jerusalem Symphony Orchestra may be heard in syndication through?out the US. Since 1975 he has been president of Bard College in New York and in 1990 founded, and is now the co-artistic director of, the Bard Music Festival.
A recording of Paul Dukas' opera Ariane et Barbebleue with the BBC Symphony was recently released by Telarc. Mr. Botstein conducted this opera at New York City Opera in 2005. Soon to be released is Bruno Walter's Symphony No. 1 with NDR-Hamburg on the CPO label. Mr. Bot?stein also recently conducted the BBC Symphony
in a gala concert on Armistice Day at the Royal Albert Hall of John Fould's World Requiem with a live recording from Chandos. This fall, he leads the Jerusalem Symphony Orchestra in a tour of the US West Coast.
In addition to a demanding schedule as a guest conductor, Mr. Botstein has made a number of prestigious recordings of works by Chausson, Copland, Sessions, Perle, Dohnnyi, Liszt, Bruckner, Bart6k, Hartmann, Reger, Gliere, and Szymanowski for such labels as Telarc, New World Records, Bridge, Koch, and Arabeseque. With the American Symphony Orchestra he has recorded live performances of two operas by Rich?ard Strauss: Die agyptische Helena with Deborah Voigt and Die Liebe der Danae with Lauren Flani-gan; a recording of Copland, Sessions, Perle, and Rands; and discs by composers such as Dohnanyi, Brahms, and Joachim. His recording with the Lon?don Symphony Orchestra of Gavriil Popov's epic Symphony No. 7 and Shostakovich's Theme and Variations, Op. 3, received a Grammy nomination in the category of "Best Orchestral Performance." Mr. Botstein has performed with many prestigious orchestras including the BBC Symphony, London Symphony, London Philharmonic, NDR-Hamburg, NDR-Hannover, Royal Scottish National Orchestra, St. Petersburg Philharmonic, Budapest Festival Or?chestra, and Teatro Real in Madrid.
Mr. Botstein is the editor of The Musical Quarterly and the author of numerous articles and books. For his contributions to music he has re?ceived the award of the American Academy of Arts and Letters, and Harvard University's prestigious Centennial Award, as well as the Cross of Honor, First Class, from the government of Austria.
The Jerusalem Symphony Orchestra, Israel Broadcasting Authority (IBA) was founded in the 1940s as the national radio orchestra and was known as the "Kol Israel Or?chestra." In the 1970s, the orchestra expanded and became the Jerusalem Symphony Orchestra, IBA. Since its inception, the orchestra has had six musical directors including Mendi Rodan, Lukas Foss, Gary Bertini, Lawrence Foster, David Shal-lon, and is currently under the direction of Leon Botstein.
Since its inauguration, the Orchestra's reper?toire has been comprised of an exciting combina?tion of masterpieces from the past and contempo-
rary compositions of today. The orchestra was the first in Israel to perform works by composers such as Sofia Gubaidulina, Henry Dutilleux, and Alfred Schnittke. The JSO has always encouraged Israeli composers by commissioning and performing Is?raeli works. Currently the composer-in-residence with the JSO is Betty Olivero.
The JSO presents four concert series every season. The Musical Discoveries Series features both masterpieces and rare works by 19thand 20th-century composers. This series is conducted by Maestro Botstein and may be heard through?out the US on public and classical radio stations. The orchestra also offers the more traditional Classical Series; The Oratorios Series in collabora?tion with the opera house Tel Aviv-Yaffo; and the Do Re Mix Series for children and their families. The orchestra also performs each year during the Israel Festival and has participated in the Interna?tional Opera Festival in the Roman amphitheater in Caesare. In May 2000 the orchestra performed Turandot by Puccini and in June 2001 took part in a production of La Forza del Destino by Verdi.
The Orchestra has often toured Europe and the US, and has played in some of the most pres?tigious venues in Vienna, Dtisseldorf, Frankfurt, Luzerne, and New York. The Orchestra records regularly and is planning its next major recording project for the Milken Archive of Jewish Music.
UMS ARCHIVES
This afternoon's concert marks both the Jerusalem Symphony Orchestra and Leon Botstein's UMS debuts.
Violinist Robert McDuffie makes his second appearance under UMS auspices this afternoon. Mr. McDuffie made his UMS debut in an 80th birth?day celebration of composer Olivier Messiaen in a chamber music concert in November 1988 at Rackham Audito?rium. Interestingly, this year celebrates Olivier Messiaen's centenary.
Jerusalem Symphony Orchestra
Leon Botstein, Musical Director and Conductor
2008 US Tour Roster
Violin
Jenny Hunigen,
Concertmaster Ayuni Anna Paul,
Concertmaster Yuri Glukhovsky,
Assistant
Concertmaster Marina Schwartz Vitali Remenuik Olga Fabricant Michael Schvartzman Bea Sharon-Chrishan Eduard Kosovich Yevgeny
Voskoboynikov Fradiana Tsaliovich Inna Tilis Albert Gantman Elina Gurevich
Violin II
Victor Salomon Elina Yanovitsky Vitali Ostrowsky Raphael Rivkin Mark Bardenstein Eleonora Spichko Michael Tsinkin Adrian Bugichi Alia Skurkovich Lehner Carmen Guberman Polina Emma Milman Yehudin
Viola
Richard Assayas Amos Boasson Michael Damian Michael Ferdman Moshe Lifshitz Mark Lotkin Alexander Tumarison Vaclav loffe Alex Shoihet Doron Alperin
Cello
Irit Assayas Ina-Esther Joost Ben
Sassoon Oleg Stolpner Boris Mihanovski Yaghi Malka Peled Emilya Kazewman
Rivkin
Tzalel Mendelson Corneliu Faur Lilya
Kvartich-Flaksman Tomer Yosha
Double Bass
Eitan Reich Vladimir Rivkin Uri Arbel Lahav Shany David Tenenbaum Nadav Lachish Matan Gurevitz Ron Merhavi
Flute
Noam Buchman Rami Tal Vladimir Silva Hagit Parnes
Piccolo
Vladimir Silva
Oboe
Demetrios
Karamintzas Ronald Engel Roni Gal-Ed
Clarinet
Gershon
Dembinsky Victor Berlin Sigal Hechtlinger Ido Azrad
Bass Clarinet
Sigal Hechtlinger
Bassoon
Richard Paley
Alexander Fine Barbara Schmutzler
Contra Bassoon
Barbara Schmutzler
Horn
Eyal Vilner Kyle Hoyt Stephen Slater Benjamin Greenberg Aaron Korn
Trumpet
Dmitri Levitas Richard Berlin Rhona Brosch Eduard Kuskin
Trombone
Shahar Livne Roman Krasner
Bass trombone
Shai Nissenboim
Tuba
Guy Hardan
Timpani
Yoav Lifshitz
Percussion
Merav Askayo Mitsunori Kambe Yonathan Givoni Tom Betzalel Erez Meshiah
Harp
Zinaida Suchobak Rivka Arki Amar
Librarian
Olga Stolpner
Personnel Assistant
Carmen Lehner
Principal "Assistant Principal
Administration
Haim Shaham,
General Manager Ziva Almagor, Production
Manager Chaim Oz, Stage Manager
and the
Carl and Isabelle
Brauer Fund
present
Messiah
Composed by George Frideric Handel
UMS Choral Union
Ann Arbor Symphony Orchestra
Jerry Blackstone, Conductor and Music Director
Mary Wilson, Soprano Claudia Huckle, Mezzo-soprano John Tessier, Tenor Joshua Hopkins, Bass
Edward Parmentier, Harpsichord Scott VanOrnum, Organ
Program
Saturday Evening, December 6, 2008 at 8:00 Sunday Afternoon, December 7, 2008 at 2:00 Hill Auditorium Ann Arbor
23rd and 24th Performances 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.
The Messiah performances are supported by the Carl and Isabelle Brauer Fund. The 0809 Family Series is sponsored by Toyota.
Media partnership provided by Michigan Radio 91.7 FM, Ann Arbor's 107one, and WRCJ 90.9 FM.
Special thanks to Tom Thompson of Tom Thompson Flowers, Ann Arbor, for his generous contribution of seasonal decorations.
Special thanks to Steven Ball for coordinating the pre-concert music on the Charles Baird Carillon.
Ms. Wilson appears by arrangement with Mirshak Artists Management, New York, NY.
Mr. Tessier and Mr. Hopkins appear by arrangement with IMG Artists, New York, NY.
Large print programs are available upon request.
1 Sinfonia
Parti
Arioso Isaiah 40: 1 Isaiah 40:2
Isaiah 40: 3
Air
Isaiah 40: 4
Chorus
Isaiah 40: 5
Mr. Tessier
Comfort ye, comfort ye my people, saith your God.
Speak ye comfortably to Jerusalem, and cry unto her that her
warfare is accomplished, that her iniquity is pardoned. The voice of him that crieth in the wilderness: Prepare ye the way of
the Lord, make straight in the desert a highway for our God.
Mr. Tessier
Every valley shall be exalted, and every hill and mountain . . .
made low: the crooked ... straight, and the rough places plain:
And the glory of the Lord shall be revealed, and all flesh shall see it together: for the mouth of the Lord hath spoken it.
Accompanied recitative Mr. Hopkins
Haggai 2: 6 ... thus saith the Lord of hosts: Yet once, ... a little while, and I
will shake the heavens and the earth, the sea and the dry land; Haggai 2: 7 And I will shake all nations, and the desire of all nations
shall come:... Malachi 3: 1 ... the Lord, whom ye seek, shall suddenly come to his temple,
even the messenger of the covenant, whom ye delight in:
behold, he shall come, saith the Lord of hosts.
6 Air
Malachi 3: 2
7 Chorus
Malachi 3:3
8 Recitative Isaiah 7: 14
9 Air and Chorus Isaiah 40: 9
Isaiah 60: 7
Ms. Huckle
But who may abide the day of his coming And who shall stand when he appeareth For he is like a refiner's fire,...
. . . and he shall purify the sons of Levi, . . . that they may offer unto the Lord an offering in righteousness.
Ms. Huckle
Behold, a virgin shall conceive, and bear a son, and shall call his name Immanuel, "God-with-us."
Ms. Huckle
0 thou that tellest good tidings to Zion, get thee up into the high mountain; 0 thou that tellest good tidings to Jerusalem, lift up thy voice with strength; lift it up, be not afraid; say unto the cities of Judah: Behold your God!
Arise, shine; for thy light is come, and the glory of the Lord is risen upon thee.
10 Arioso
Isaiah 60: 2
Isaiah 60: 3
11 Air
Isaiah 9:2
12 Chorus
Isaiah 9: 6
13 Pifa
14 Recitative Luke 2: 8
15 Arioso Luke 2: 9
16 Recitative Luke 2: 10
Luke 2: 11
17 Arioso Luke 2: 13
18 Chorus Luke 2: 14
19 Air Zechariah 9: 9
Zechariah 9: 10
Mr. Hopkins
For behold, . . . darkness shall cover the earth, and gross darkness the people: but the Lord shall arise upon thee, and His glory shall be seen upon thee.
And the Gentiles shall come to thy light, and kings to the brightness of thy rising.
Mr. Hopkins
The people that walked in darkness have seen a great light: and they that dwell in the land of the shadow of death, upon them hath the light shined.
For unto us a child is born, unto us a son is given: and the
government shall be upon his shoulder, and his name shall be called Wonderful, Counselor, The Mighty God, The Everlasting Father, The Prince of Peace.
(Pastoral Symphony)
Ms. Wilson
. . . there were . . . shepherds abiding in the field, keeping watch over their flock by night.
Ms. Wilson
And, lo, the angel of the Lord came upon them, and the glory of the Lord shone round about them: and they were sore afraid.
Ms. Wilson
And the angel said unto them, Fear not: for, behold, I bring you good tidings of great joy, which shall be to all people.
For unto you is born this day in the city of David a Saviour, which is Christ the Lord.
Ms. Wilson
And suddenly there was with the angel a multitude of the heavenly host praising God and saying,
Glory to God in the highest, and peace on earth, good will toward men.
Ms. Wilson
Rejoice greatly, 0 daughter of Zion; shout, 0 daughter of
Jerusalem: behold, thy King cometh unto thee: he is the righteous Saviour,.. .
... and he shall speak peace unto the heathen:. ..
20 Recitative Isaiah 35: 5
Isaiah 35: 6
21 Air
Isaiah 40: 11
Matthew 11: 28 Matthew 11: 29
22 Chorus
Matthew 11:30
Ms. Huckle
Then shall the eyes of the blind be opened, and the ears of the
deaf.. .unstopped. Then shall the lame man leap as a hart, and the tongue of the
dumb shall sing: ...
Ms. Huckle and Ms. Wilson
He shall feed his flock like a shepherd: and he shall gather the lambs
with his arm, and carry them in his bosom, and . .. gently lead
those that are with young. Come unto Him, all ye that labour and are heavy laden, and He
will give you rest. Take His yoke upon you, and learn of Him, for He is meek and
lowly of heart: and ye shall find rest unto your souls.
... His yoke is easy, and His burden is light.
Intermission
Part II
23 Chorus John 1:29
24 Air
Isaiah 53: 3
Isaiah 50: 6
25 Chorus Isaiah 53:4 Isaiah 53: 5
26 Chorus
Isaiah 53:4
27 Arioso
Psalm 22: 7
Behold, the Lamb of God, that taketh away the sin of the world! . . .
Ms. Huckle
He was despised and rejected of men; a man of sorrows, and
acquainted with grief: . .. He gave his back to the smiters, and His cheeks to them that
plucked off the hair: He hid not His face from shame and spitting.
Surely he hath borne our griefs, and carried our sorrows: .. .
... he was wounded for our transgressions, he was bruised for our
iniquities: the chastisement of our peace was upon him; and with
his stripes are we healed.
All we like sheep have gone astray; we have turned every one to his own way; and the Lord hath laid on him the iniquity of us all.
Mr. Tessier
All they that see him laugh him to scorn: they shoot our their lips, and shake their heads, saying:
28 Chorus Psalm 22: 8
29 Accompanied
Psalm 69: 20
30 Arioso
Lamentations
31 Accompanied Isaiah 53: 8
32 Air
Psalm 16: 10
33 Chorus
Psalm 24: 7
Psalm 24: 8 Psalm 24: 9 Psalm 24: 10
34 Recitative Hebrews 1: 5
35 Chorus Hebrews 1: 6
36 Air
Psalm 68: 18
He trusted in God that he would deliver him: let him deliver him, if he delight in him.
recitative Mr. Tessier
Thy rebuke hath broken his heart; he is full of heaviness: he looked for some to have pity on him, but there was no man; neither found he any to comfort him.
1: 12
Mr. Tessier
. Behold and see if there be any sorrow like unto his sorrow . .
recitative Mr. Tessier
... he was cut off out of the land of the living: for the transgressions of thy people was he stricken.
Mr. Tessier
But thou didst not leave his soul in hell; nor didst thou suffer thy Holy One to see corruption.
Lift up your heads, 0 ye gates; and be ye lift up, ye everlasting
doors; and the King of glory shall come in. Who is this King of glory The Lord strong and mighty, the Lord
mighty in battle. Lift up your heads, 0 ye gates; and be ye lift up, ye everlasting
doors; and the King of glory shall come in. Who is this King of glory The Lord of hosts, he is the King of
glory
Mr. Tessier
. . . unto which of the angels said he at any time, Thou art my son, this day have I begotten thee ...
... let all the angels of God worship him.
Ms. Huckle
Thou art gone up on high, thou has lead captivity captive: and
received gifts for men; yea, even for thine enemies, that the Lord God might dwell among them.
37 Chorus
Psalm 68: 11
38 Air
Isaiah 52: 7
The Lord gave the word: great was the company of the preachers.
Ms. Wilson
How beautiful are the feet of them that preach the gospel of peace, and bring glad tidings of good things . . .
39 Chorus
Romans 10 : 18
40 Air
Psalm 2: 1
Psalm 2: 2
41 Chorus
Psalm 2:3
42 Recitative
Psalm 2:4
43 Air
Psalm 2: 9
44 Chorus
Revelation 19:6
Revelation 11: 15
Revelation 19: 16
Their sound is gone out into all lands, and their words unto the ends of the world.
Mr. Hopkins
Why do the nations so furiously rage together, ... why do the
people imagine a vain thing The kings of the earth rise up, and the rulers take counsel together
against the Lord and his anointed, . . .
Let us break their bonds asunder, and cast away their yokes from us.
Mr. Tessier
He that dwelleth in heaven shall laugh them to scorn: the Lord shall leave them in derision.
Mr. Tessier
Thou shalt break them with a rod of iron; thou shalt dash them in pieces like a potter's vessel.
Hallelujah: for the Lord God omnipotent reigneth.
. . . The kingdom of this world is become the kingdom of our
Lord, and of his Christ; and he shall reign for ever and ever. . . . King of Kings, and Lord of Lords.
You are invited to join the Choral Union in singing the "Hallelujah" chorus. Please leave the music at the door when exiting the auditorium. Thank you.
Part III
45 Air
Job 19:25
Job 19: 26 I Cor. 15:20
Ms. Wilson
I know that my redeemer liveth, and that he shall stand at the
latter day upon the earth. And though . . . worms destroy this body, yet in my flesh shall I
see God. For now is Christ risen from the dead,... the first fruits of them
that sleep.
46 Chorus
I Cor. 15: 21
I Cor. 15:22
. . . since by man came death, by man came also the resurrection
of the dead. For as in Adam all die, even so in Christ shall all be made alive.
47 Accompanied recitative Mr. Hopkins
Cor. 15: 51 Behold, I tell you a mystery; we shall not all sleep, but we shall all
be changed, Cor. 75: 52 In a moment, in the twinkling of an eye at the last trumpet:
48 Air
Cor. 15: 52
I Cor. 15: 53
49 Recitative Cor. 15: 54
50 Duet
Cor. 15: 55 I Cor. 15: 56
51 Chorus
Cor. 75: 57
Mr. Hopkins
... the trumpet shall sound, and the dead shall be raised
incorruptible, and we shall be changed. For this corruptible must put on incorruption, and this mortal must
put on immortality.
Ms. Huckle
. . . then shall be brought to pass the saying that is written, Death is swallowed up in victory.
Ms. Huckle and Mr. Tessier
0 death, where is thy sting 0 grave, where is thy victory The sting of death is sin; and the strength of sin is the law.
But thanks be to God, who giveth us the victory through our Lord Jesus Christ.
52 Air
Romans 8: 31 Romans 8: 33
Romans 8: 34
Ms. Wilson
If God be for us, who can be against us
Who shall lay anything to the charge of God's elect It is God
that justifieth. Who is he that condemneth It is Christ that died, yea rather, that
is risen again, who is... at the right hand of God, who ...
maketh intercession for us.
53 Chorus
Revelation 5: 12
Revelation 5: 13
. Worthy is the Lamb that was slain and hath redeemed us to God by His blood to receive power, and riches, and wisdom, and strength, and honour, and glory, and blessing.
. Blessing, and honour, . . . glory, and power, be unto Him that sitteth upon the throne, and unto the Lamb for ever and ever.
Amen.
During a very sad week in September, the UMS Choral Union lost two great spirits: Charles (Charlie) Lovelace (1931-2008) and Robert (Bob) Strozier (1939-2008). Membership in the UMS Choral Union is something in which we all take enormous pride. Teamwork, camarade?rie, and a sense of family are all very keen among its members, and we feel enormous loss with these two passings. Charlie's love of music was manifest in many different ways: through the Bethlehem United Church of Christ Choir, the Comic Opera Guild, the Lyra Male Chorus, and the UMS Choral Union, of which he was a member since 1981. Bob's long-term membership in the Choral Union began back in 1965; he also sang in the U-M Men's Glee Club and in the choirs of the Church of the Good Shepherd. Godspeed, Charlie and Bob! Thank you for your selfless friendship and your joyous love of music. The "Amen" of Messiah this year will be lacking your strong bass voices.... We'll dedicate our singing to your memories, and in gratitude for having had you among us. --Marilyn Meeker, Alto
Jerry Blackstone is Director of Choirs and Chair of the Conducting Department at the University of Michigan School of Music, The?atre & Dance. He conducts the Chamber Choir, teaches conducting at the graduate and under-
graduate levels, and administers a cho?ral program of 11 choirs. In February 2006,Dr.Blackstone won two Grammy Awards ("Best Cho?ral Performance" and "Best Classical Album") as cho-rusmaster for the critically acclaimed Naxos recording of
Jerry Blackstone
William Bolcom's Songs of Innocence and of Ex?perience. In November, the Chamber Choir pre?sented a special invitational performance under Dr. Blackstone's direction at the inaugural na?tional convention of the National Collegiate Cho?ral Organization in San Antonio. Dr. Blackstone is also the recent recipient of the Maynard Klein Lifetime Achievement Award announced at the annual convention of the Michigan chapter of the American Choral Directors' Association (ACDA) this past October.
Choirs prepared by Dr. Blackstone have ap?peared under the batons of Neeme Jarvi, Nicholas McGegan, Rafael Frubeck de Burgos, James Con-Ion, and Yitzak Perlman. Dr. Blackstone serves as Director of the U-M School of Music, Theatre & Dance summer programs for high school stu?dents and adults, which includes MPulse Ann Ar-
bor, a series of music and performing arts camps for high school students from around the worlo held on the Ann Arbor campus. He also leads the Michigan Youth Ensembles Program, offer?ing advanced instrumental and choral ensemble opportunities in Ann Arbor during the academic year for talented high school students throughout Michigan. Dr. Blackstone was named Conductor and Music Director of the UMS Choral Union in April 2004.
Dr. Blackstone is considered one of the coun?try's leading conducting teachers, and his students have received first-place awards and been finalists in both the graduate and undergraduate divisions of the ACDA biennial National Choral Conducting Awards competition. US News and World Report ranks the graduate conducting programs at U-M first in the nation. Dr. Blackstone has appeared as festival guest conductor and workshop presenter in 28 states as well as New Zealand, Hong Kong, and Australia. Guest appearances for the current season include festivals and conference presenta?tions in New Zealand, Hawaii, Texas, California, Indiana, Florida, Virginia, Idaho, Illinois, North Carolina, Montana, Wisconsin, Nebraska, and Michigan.
Mary Wilson (Soprano) is acknowledged as one of today's most exciting young artists. Cultivating a wide-ranging ca?reer singing chamber music, oratorio, and operatic repertoire, her "bright soprano seems to know no terrors, wrapping itself seductively around every phrase" (Dallas Morning News). She continues to
j receive critical acclaim jfrom coast to coast: I "The discovery was ' Mary Wilson, a fine lyric soprano with focused, lustrous tone and ster?ling enunciation" (The {Philadelphia Inquirer); I" Her fast passages were {flawless in intonation land seemingly easy in execution (the mark of la first-rate technique),
Mary Wilson
and her feel tor the sound and meaning of words was impeccable; her mastery of Handel's grand leaps and wide-ranging runs was total" (San Fran?cisco Classical Voice).
This season, Ms. Wilson will also perform Handel's Messiah with the Cleveland Orchestra. Other engagements include performances of Car-mina Burana with the Detroit Symphony, Haydn's .ord Nelson Mass with the Southwest Florida Symphony, and Mozart's Requiem and Bach's Cantata No. 51 with the National Philharmonic. With the Iris Orchestra, Ms. Wilson sings Mozart's Exultate Jubilate and a world-premiere song cycle :y Ned Rorem. She will sing a repeat concert with the Kansas City Symphony and Nicholas McGegan of Mendelssohn Lobgesang and selections from Beethoven's Leonore. In addition, Ms. Wilson will oin the Florida Bach Festival for Rossini's Stabat Mater, Bach's Easter Oratorio, and Brahm's Ger?man Requiem, the Los Angeles Master Chorale for Mendelssohn's Elijah, and the Delaware Sympho?ny Orchestra for Ravel's Sheherazade. With the American Bach Soloists, she will sing Pergolesi's Stabat Mater and virtuoso Handel duets in cel?ebration of their 20th-anniversary season.
Ms. Wilson's appearances for the 0708 season included debuts with Fargo-Moorhead Symphony, Santa Fe Symphony, and Florida Bach Festival for Carmina Burana; and the Portland Symphony for Brahms' Ein Deutches Requiem and Barber's Knoxville: Summer of 1915. She sang :he Faure Requiem with the St. Louis Symphony Orchestra and Bernard Labadie, Mendelssohn's Midsummer Night's Dream with the Cleveland Or?chestra and Bach's Mass in b minor with the Los Angeles Master Chorale and Grant Gershon. Ms. Wilson also sang Queen Isabella in Soler's Una Cosa Rara at the Opera Theatre of St. Louis, for which the St. Louis Post-Dispatch proclaimed that
"silvery-voiced soprano Mary Wilson is a royally ditzy Queen Isabella, with exquisite comic timing and a flawless vocal line."
Ms. Wilson holds performance degrees from St. Olaf College and Washington University in St. Louis. She currently resides in Memphis, Tennessee.
Claudia Huckle (Mezzo-soprano) is a recent graduate of the Domingo-Cafritz Young Artist Program at Washington National Op?era. Engagements this season included Irene in Tamerlano (with Placido Domingo and David Dan?iels), Second Maid in Elektra, Countess Ceprano
in Rigoletto, Hansel in Hansel and Gretel, and Zerlina in the Young Art?ist performance of Don Giovanni. Ms. Huckle sang further perfor?mances of Zerlina with Opera de Monte-Carlo. She will also sing Han?del's Messiah with the National Symphony Or?chestra at the Kennedy Center in Washington
Claudia Huckle
DC, and in February, she will perform Irene in Ta-merlano with Opera by Definition in the UK.
During the 0607 season, Ms. Huckle made her Washington National Opera debut as Kate Pinkerton in Madama Butterfly conducted by Maestro Placido Domingo; was seen as Siegrune in Francesca Zambello's production of Die Walkure (with Placido Domingo as Sigmund); and covered the role of Karolka in Jenufa. She also performed La Ciesca and Dorabella in the Young Artist per?formances of Gianni Schicchi and Cosi fan tutte. Ms. Huckle spent the summer of 2006 as an ap?prentice artist at Santa Fe Opera where she sang the Page in Salome, the Third Lady in The Magic Flute, and covered Anne-Sofie von Otter as Car?men. She returned to Santa Fe last summer to cover Dorabella in Cosi fan tutte.
0607 concert performances included Mo?zart's Requiem on a US and European tour with the Monteverdi Choir and English Baroque So?loists under Sir John Eliot Gardiner. Ms. Huckle performed Handel's Messiah with the Milwau?kee Symphony and the role of Emilia in Rossini's Ofeo with Washington Concert Opera. She was
also seen as the Slave in a concert performance of Salome with the National Symphony Orchestra and sang with Sarah Walker in a private recital in the UK.
Ms. Huckle has been a recipient of the Sybil Tutton Award, a prize winner at the Palm Beach Opera Vocal Competition and the Sullivan Foun?dation Competition, and the Grand final win?ner of the Thelma King Award for Singers. Ms. Huckle studied at the Royal College of Music as a Foundation Scholar, at the New England Con?servatory as a Presidential Scholar, and the Curtis Institute of Music.
On the international stages of opera, con?cert, and recital, Canadian John Tessier (Tenor) has gained attention and praise for the beauty and honesty of his voice, for a refined style and artistic versatility, and for his handsome, youthful presence in the lyric tenor repertoire. He has worked with many of the most notable con?ductors of our day including Lorin Maazel, Leon?ard Slatkin, Placido Domingo, John Nelson, Franz Welser-Most, Donald Runnicles, Robert Spano, and Bernard Labadie.
During the current season, Mr. Tessier's op?eratic diary includes two prominent house debuts: he bows as Almaviva in The Barber of Seville at the English National Opera and as the Steuermann in a new Tim Albery production of Der Fliegende Hollander at the Royal Opera House in Covent Garden conducted by Marc Albrecht. He retums to Vancouver Opera to assay the role of Lensky in Eugene Onegin and sings Ramiro in La Cener-entola for Glimmerglass Opera. He debuts on the roster of the Metropolitan Opera covering La Cenerentola in performances conducted by Mau-rizio Benini. On the concert stage, he retums to the San Francisco Symphony for performances of Schubert's Mass No. 6 in E-flat Major conducted by Michael Tilson Thomas and joins John Nelson for performances of Berlioz's L'enfance du Christ in Spain.
On the opera stage, Mr. Tessier has sung in productions including Don Giovanni for his debut at the Washington National Opera; Barbiere di Siviglia, Don Giovanni, Acis and Galatea, L'elisir d'amore, and Falstaff for New York City Opera; L'ltaliana in Aigeri and Dialogues des Carmelites at Vancouver Opera; viaggio a Reims at Oper Frankfurt; Haydn's Orlando Paladino; and Han-
del's Imeneo for Glim-merglass Opera.
Recent symphonic performances have included Mozart's Re?quiem with Donald Run-nicies and the Orchestra of St. Luke's at Carnegie Hall, Mozart's Mass in C with Lorin Maazel and the New York Phil?harmonic, Schumann's Scenes from Goethe's
John Tessier
Faust with Franz Welser-Most and the Cleveland Orchestra, and Messiah with the Los Angele;. Philharmonic, the Philadelphia Orchestra, the San Francisco Symphony, and the Toronto Symphony Orchestra.
Winner of the 2006 Borletti-Buitoni Trus: Award and the Verbier Festival Acad?emy's 2008 Prix d'Honneur, Joshua Hopkins {Baritone) has been hailed as "an out?standing young baritone with a virile, vigorou;. yet velvety sound and an immediately eviden: dramatic authority." Operatic engagements of the current season include Guglielmo in Cosi fan tutte at Madison Opera, Valentin in Faust with Calgary Opera, and Junius in a new Paul Curran
production of The Rape of Lucretia with the Central City Opera. Mr Hopkins joins the ros?ter of the Metropolitan Opera covering Belcore in L'elisir d'amore and Lescaut in Act III of Manon in the Opening Night Gala of the 0809 season. His dynamic concert schedule in?cludes performances of
Joshua Hopkins
Die Zauberflote with the Toronto Symphony Or?chestra under Bernard Labadie, Messiah with the National Symphony Orchestra and the Vancouver Chamber Choir, and Handel's Dettingen Te Deum under Bernard Labadie with the San Francisco Symphony.
Last year, Mr. Hopkins made his debut with the Cleveland Orchestra under the baton of Vladi?mir Ashkenazy in performances of Peer Oynt
Operatic performances of past seasons include Cos) fan tutte at the Verbier Festival, Die Zauber-flote with the Arizona Opera, Pagliacci with Opera Carolina, Don Giovanni and La demenza di Tito at L'Opera de Montreal, Die Zauberflote and Platee at Santa Fe Opera, Le nozze di Figaro with Opera Pacific, and Carmen for the Canadian Opera Company. Completing his training as a member of the Houston Grand Opera Studio in the spring of 2005, performances with the com?pany also include the role of Marcello in La bo-heme, The Pilot in The Little Prince, and Sharpless in Madama Butterfly.
Profoundly committed to the art of song, Mr. Hopkins has given solo recitals in New York at Car?negie Hall with J.J. Penna, under the auspices of the Vancouver Recital Society with Graham John?son. He also has collaborated with Barbara Bonney for performances of songs by three generations of Mozart at Lincoln Center and with pianist Richard Goode in a program of Haydn art songs.
Mr. Hopkins was a prize winner at the pres?tigious ARD Musikwettbewerb of 2006, at the 2005 Plcicido Domingo Operalia Competition held in Madrid, and in 2002, Jose Carreras presented him with the First Place prize in the Julian Gayarre International Singing Competition. He is also the recipient of prizes from the George London Foun?dation, the Sylva Gelber Foundation Award of the Canada Arts Council, and of the Jacqueline Des-marais Foundation.
Edward Parmentier (Harpsichord) is Profes?sor of Harpsichord and Director of the Early Music Ensemble at U-M School of Music, Theatre & Dance. He has performed throughout the US, Russia, Western Europe, Japan, and Korea on harpsichord and on historic organs, and is a fre?quent recitalist, lecturer, and adjudicator at sym?posia and festivals. His collection of recordings has won both critical and popular acclaim. Recent re?leases include Bach's partitas, French 17th-century harpsichord music, sonatas of Scarlatti, and music of the English virginalists. Mr. Parmentier appears frequently in ensemble settings as a continuist and concerto soloist. His harpsichord teachers were Al?bert Fuller and Gustav Leonhardt.
In 2008, Mr. Parmentier presented harpsi?chord recitals in churches in Nieuwolda and Zuid-hord, Netherlands and in Toledo and Columbus, Ohio. He also appeared with Baroque violinist
Lara Hall of New Zealand in a duo recital for the Academy of Early Music in Ann Arbor. Other con?cert performances include a recital with Nancy Ambrose King, Professor of Oboe at U-M, and a harpsichord recital at Oglethorpe University in Atlanta, Georgia. Also in Atlanta, Mr. Parmentier recently appeared as a lecturer for George State University and for the Atlanta Piano Teachers' Guild. He recently lectured, taught performance classes, and adjudicated at the Baroque Festival in Portland, Oregon.
A strong advocate for education and out?reach, Mr. Parmentier has lectured on Baroque performance practice and composition for the Ann Arbor Piano Teach?ers Association and his annual summer harp?sichord workshops at U-M attract performers from all over the world. In March, along with his U-M harpsichord stu-
Edward Parmentier
dents, Mr. Parmentier held the annual Michigan Harpsichord Saturday, an outreach program for young keyboard musicians. Mr. Parmentier, along with violin professor Aaron Berofsky, is team-teaching a new Baroque String Chamber Orches?tra at the School of Music, Theatre & Dance.
Throughout its 130-year history, the UMS Choral Union has performed with many of the world's distinguished orchestras and conductors.
Based in Ann Arbor under the aegis of UMS, the 175-voice Choral Union is known for its defini?tive performances of large-scale works for chorus and orchestra. Fourteen years ago, the UMS Cho?ral Union further enriched that tradition when it began appearing regularly with the Detroit Sym?phony Orchestra (DSO). Amidst performances of Stravinsky's Symphony of Psalms and Beethoven's Symphony No. 9, the UMS Choral Union has also recorded Tchaikovsky's The Snow Maiden with the orchestra for Chandos, Ltd.
Led by Grammy Award-winning conductor and Music Director Jerry Blackstone, the UMS Choral Union was a participant chorus in a rare performance and recording of William Bolcom's
Songs of Innocence and of Experience in Hill Au?ditorium in April 2004 under the baton of Leonard Slatkin. Naxos released a three-disc set of this re?cording in October 2004, featuring the UMS Cho?ral Union and U-M School of Music ensembles. The recording won four Grammy Awards in 2006, including "Best Choral Performance" and "Best Classical Album." The recording was also selected as one of the New York Times "Best Classical Mu?sic CDs of 2004."
Last season brought further collabora?tions with the DSO, including Detroit Orchestral Hall performances of the Verdi Requiem and Beethoven's Symphony No. 9, and a special Good Friday performance in Ann Arbor's Hill Auditorium of Bach's St. Matthew Passion.
The UMS Choral Union's current season includes two concerts in Ann Arbor: the annual performances of Messiah with the Ann Arbor Symphony Orchestra in December and a concert with two pianos featuring works of Mendelssohn, Rachmaninoff, Jonathan Dove, and Carl Orff at St. Francis of Assisi Catholic Church in April. In addi?tion, the UMS Choral Union has been invited to perform with the DSO for its opening weekend of performances conducted by Leonard Slatkin as the orchestra's new Music Director. These per?formances will feature Carl Orff's popular work, Carmina Burana.
This year marks the Ann Arbor Symphony Orchestra's (A2SO) 80th year of exception?al music-making that involves the Ann Ar?bor community, fires its imagination, and inspires the next generation of listeners. In 1941 Joseph Maddy (founder of Interlochen Music Camp) con?ducted this "mom and pop" orchestra of commit?ted and talented amateur musicians.
Maestro Lipsky's distinguished and inspired music-making is a treat to the Orchestra's grow?ing audiences. In recent seasons under Maestro Lipsky's leadership, the A2SO has been favorably compared to the Leipzig Gewandhaus Orchestra, the Detroit Symphony Orchestra, and the Boston Symphony. This past September, the A2SO record?ed the final track for its first release on the Naxos label: American composer Paul Fetler's Three Po?ems by Walt Whitman. The resulting CD will be released during this 80th anniversary season.
Each carefully prepared season features time-honored classics, a variety of less-familiar
works by the great masters, plus a bouquet of ac?cessible new works by modern composers, includ?ing the premiere of a new work by an emerging U-M student composer. This season also marks the third musical commission which features an Ann Arbor children's author's book being set to music--this year's offering by MacArthur Genius Award recipient Thylias Moss.
The Orchestra was heard over National Pub?lic Radio in November 2004 performing Once Upon a Castle, a commission created by Ann Arbor-based composer Michael Daugherty for the A2SO's 75th anniversary. The A2SO is a leader off?stage as well, serving over 47,000 students and 10,000 adult learners annually in seven counties in southeastern Michigan.
UMS ARCHIVES
The UMS Choral Union began performing on December 16, 1879 and has presented Handel's Mes?siah in annual performances ever since. This weekend's performances mark the UMS Choral Union's 410th and 411th appearances under UMS auspices. This weekend Dr. Blackstone makes his 13th and 14th UMS appearances following his debut leading the Choral Union in performances of Messiah in 2003 at the Michigan Theater.
This weekend's performances mark the Ann Arbor Symphony Orchestra's 55th and 56th UMS appearances since their 1974 UMS debut.
Harpsichordist Edward Parmen-tier has performed in the annual UMS presentations of Messiah since 1995; this weekend's performances marks Mr. Parmentier's 29th and 30th appearances under UMS auspices.
This weekend's performances mark John Tessier's second and third appear?ances under UMS auspices. Mr. Tessier made his UMS debut in April 2005 at Hill Auditorium as tenor soloist in Haydn's 77ie Creation.
UMS welcomes Mary Wilson, Claudia Huckle, and Joshua Hopkins who make their UMS debuts this weekend.
Ann Arbor Symphony Orchestra
Arie Lipsky, Music Director and Conductor
iolin I
athryn Votapek, Concertmaster
Stephen B. Shipps Concertmaster Chair Yi-Ting Kuo, Assistant Concertmaster
Ruth Merigian Adams Chair Linda Etter
Linda Etter Violin Chair Karen Zobel
Tom and Mary Steffek Blaske Violin Chair Katie Rowan
Kim, Darlene and Taylor Eagle Violin Chair Trina Stoneham
Sarah and Jack Adelson Violin Chair Antony Verner Kathryn Stepulla
Violin II
Barbara Sturgis-Everett
The A2SO Principal Second Violin Chair Honoring
Anne Gates and Annie Rudisill David Lamse
Abraham Weiser Violin Chair Marie-Elise McNeeley
Brian K. Etter Memorial Violin Chair Alice Culin-Ellison Anne Ogren Matthew Leslie Sharon Meyers Denice Turck
Viola
Janine Bradbury
Tim and Leah Adams Principal Viola Chair Alex Applegate Julianne Zinn Joanna Myers Carolyn Tarzia
Cello
Sarah Cleveland
Sundelson Endowed Principal Cello Chair Mimi Morris-Kim
Weiblen Cello Chair Daniel Thomas
Marijean Quigley-Young Cello Chair Alicia Rowe
Bass
Gregg Emerson Powell
Mercantile Bank of Michigan Principal Bank Chair Robert Rohwer
J. & J. Socha Bass Chair Brenna Speiser
Oboe
Kristy Meretta
Gilbert Omenn Principal Oboe Chair William Anderson
Bill and Jan Maxbauer Oboe Chair
English Horn
Kristin Reynolds
Bassoon
Nathanel Zeisler
E. Daniel Long Principal Bassoon Chair Scott Armstrong Christine Marsh Prince
Contrabassoon
Susan Nelson
Trumpet
Jason Bergman
David 5. Evans III Principal Trumpet Chair Alex Fioto
Timpani
James Lancioni
A. Michael and Remedios Montalbo Young Principal Timpani Chair
= Principal
Gregg Emerson Powell, Personnel Manager
Kit Weber, Librarian
Jim Wright, Operations Manager
UMS Choral Union
Jerry Blackstone, Conductor and Music Director
Jason Harris, Assistant Conductor Nancy K. Paul, Librarian
Jean Schneider and Scott VanOrnum, Accompanists Donald Bryant, Conductor Emeritus
Kathleen Operhall, Chorus Manager
Soprano
Kathryn Borden
Ann Marie Borders
Jamie Bott
Mary Bowman
Debra Joy Brabenec
Ann K. Burke
Carol Callan
Susan F. Campbell
Antonia Chan
Young Cho
Cheryl D. Clarkson
Elizabeth Crabtree
Marie Ankenbruck Davis
Carrie Deierlein
Catherine Dupuis
Patricia Ehlers
Jennifer Freese
Kathleen Gage
Keiko Goto
Jessie Kirchner
Etsuko Koyama
Allison Lamana
Sally Lawton
Loretta Lovalvo
Katherine Lu
Linda Selig Marshall
Toni Marie Micik
Marie Morrison
Ann Ophoff
Ann Orwin
Nancy K. Paul
Sara J. Peth
Margaret Dearden Petersen
Ann Payne
Marie Phillips
Carmen Price
Vera Sacharin
Erin I. Scheffler
Mary A. Schieve
Susie Shaefer
Linda Smith
Jennifer Steers
Jennifer Stevenson
Sue Ellen Straub
Virgina A. Thorne-Herrmann
Tabitha Treber
Katy Vaitkevicius-Wyner
Jane VanSteenis Melanie Wakefield Barbara Hertz Wallgren Rachelle Barcus Warren Margie Warrick Barbara J. Weathers Jocelyn Webber Mary Wigton Abigail Wolfe Linda Kaye Woodman Karen Woolams Kacie Wooster Kathleen Young
Alto
Paula Allison-England Carol Barnhart Dody Blackstone Lorraine Buis Alison Cohen Melissa Doyle Jeannette Faber Marilyn Finkbemer Katherine Fisher Norma Freeman Grace K. Gheen Kat Hagedorn Linda Hagopian Sook Han Brianne Hawes Nancy Heaton Lynn Heberlein Carol Kraemer Hohnke Stefanie Iwashyna Laura Kaplan Josephine Kasa-Vubu Katherine Klykylo Jessica Lehr Jean Leverich Emily Liddell Cynthia Lunan Karla K. Manson Jennifer McFarlane-Harris Nicole Michelotti Carol Milstein Mary Morse Kathleen Operhall Stephanie Overton
Sherry Root Susan Schilperoort Joy Schroeder Cindy Shindledecker Sue Sinta Beverly N. Slater Hanna Song Connie Soves Katherine Spindler Gayle Beck Stevens Ruth A. Theobald Carrie Throm Barbara Trevethan Cheryl Utiger Alice VanWambeke Mary Beth Westin Sandra K. Wiley Rebecca Wiseman Stephanie Zangrilli Heather Zettelmaier
Tenor
Michael I. Ansara
Gary Banks
Philip Cheng
Jason Cloen
Fr. Timothy J. Dombrowski
John W. Etsweiler III
Steven Fudge
Randy Gilchrist
Matthew Gray
Arthur Gulick
Jason Harris
Steve Heath
Nathan Kalmoe
Ezra Keshet
Bob Klaffke
Choongwoo Ko
Mark A. Krempski
Adrian Leskiw
David Meitzler
David Schnerer
Ray Shuster
Carl Smith
Joshua Smith
Patrick Tonks
Jim VanBochove
Vincent Zuellig
Bass
Dan A. Andrews
Sam Baetzel
William Baxter
William Beumel
David Bowen
Todd Bowie
Paul Bowling
Jamison Brewer
JeffClevenger
Michael Coster
John Dryden
Don Faber
Kenneth A. Freeman
Philip J. Gorman
James Head
Jason Hurst
Robert Kessler
John H. Kusmiss
Steven K. Lundy
William Malone
Edward Maki-Schramm
Joseph D. McCadden
Gerald Miller
Nicholas Mischel
Samuel Pazicni
Michael Peterson
James Cousins Rhodenhiser
Donald Sizemore
Jeff Spindler
John Paul Stephens
Robert Stevenson
William Stevenson
Steve Telian
Terril O. Tompkins
Tom Trevethan
John Van Bolt
Diaan Van der Westhuizen
Alexander Von Hagen-Jamar
James Wessel Walker
Jeff Watts
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 ito you. For immediate event info, please email umsed@umich.edu, or call the numbers listed below.
ADULT & COMMUNITY ENGAGEMENT
Please call 734.647.6712 or email umsed@umich.edu for more information.
The UMS Adult and Community Engagement Program serves many different audiences through a variety of educational events. With over 100 unique regional, local, and university-based partnerships, UMS has launched initia?tives for the area's Arab-American, African,
MexicanLatino, AsianChinese, and African-American audiences. Among the initiatives is the creation of the NETWORK: UMS African American Arts Advocacy Committee, a program that celebrates world-class artistry by today's leading African and African-American performers. UMS has earned national acclaim for its work with diverse cultural groups, thanks to its pro?active stance on partnering with and responding to individual communities. Though based in Ann Arbor, UMS Audience Development programs reach the entire southeastern Michigan region.
Public Programs
UMS hosts a wide variety of educational events to inform the public about arts and culture. These events include
PREPs Pre-performance lectures
Meet the Artists Post-performance Q&A with the artists
Artist Interviews Public dialogues with performing artists
Master Classes Interactive workshops
PanelsRound Tables In-depth adult edu?cation related to a specific artist or art form
Artist-in-Residence Artists teach, create, and meet with community groups, university units, and schools
Book Clubs Discussions on UMS-related literature
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. when purchasing tickets. Check out the UMS website at www.ums.org for March events!
School FundraisersGroup Sales
Raise money for your school and support the arts. UMS offers a wide range of fundraising opportunities and discount programs for schools. It is one of the easiest and most rewarding ways to raise money for schools. For informa?tion contact umsgroupsales@umich.edu or 734.763.3100.
Teacher Advisory Committee
This group of regional educators, school administrators, and K-12 arts education advo?cates advises and assists UMS in determining K-12 programming, policy, and professional development.
UMS is in partnership with the Ann Arbor Public Schools and the Washtenaw Intermediate School District as part of the Kennedy Center: Partners in Education Program. UMS also participates in the Ann Arbor Public Schools' "Partners in Excellence" program.
UMS Teen
Teen Tickets
Teens can attend UMS performances at signifi?cant discounts. Tickets are available to teens for $10 the day of the performance (or on the Friday before weekend events) at the Michigan League Ticket Office and $15 beginning 90 minutes before the performance at the venue. One ticket per student ID, subject to availability.
Breakin' Curfew
In a special collaboration with the Neutral Zone, Ann Arbor's teen center, UMS presents this yearly performance highlighting the area's best teen performers. Details about this per?formance will be announced in Spring 2009.
I am proof that the University of Michigan changes lives.
When I first came to campus, I didn't know of any black composers and didn't see many minorities attending classical concerts. With the support of
professors at the School of Music, I estabLished
an organization to encourage diversity in
the classical arts--and I did it while
still a student. U-M introduced me
to a whole new world of music and allowed me to discover my life's work.
Being a member of the Alumni Association is how I give back to the University that has provided me so much.
I am proud to say, I am Michigan.
ALUMNI ASSOCIATION
University of Michigan Uniting the Leaders and Best
Aaron Dworkin, '97, MM'98
Founder and president of the Sphinx Organization for minorities in the classical arts, accomplished violinist, 2005 MacArthur Fellow, poet, film producer and director, Alumni Association member
UMS Family
The 0809 season features family performances of Rubberbandance Group and Dan Zanes and Friends. Family-friendly performances also include Soweto Gospel Choir, Silk Road Ensemble, and Kodo. Please visit www.ums.org for a complete list of family-friendly performances.
The 0809 Family Series is sponsored by TOYOTA
Classical Kids Club
Parents can introduce their children to world-renowned classical music artists through the Classical Kids Club. Designed to nurture and cre?ate the next generation of musicians and music lovers, the Classical Kids Club allows students in grades 1-8 to purchase tickets to all classical music concerts at a significantly discounted rate. Parents can purchase up to two children's tickets for $10 each with the purchase of a $20 adult ticket beginning two weeks before the concert. Seating is subject to availability. UMS reserves a limited number of Classical Kids Club tickets to each eligible performance--even those that sell out! For information, call 734.764.2538 or sign up for UMS E-News and check the box for Classical Kids Club.
Education Program Supporters
Reflects gifts received during the 0708 fiscal year
Ford Motor Company Fund and Community Services
Michigan Council for Arts and Cultural Affairs University of Michigan
Anonymous Arts at Michigan Bank of Ann Arbor Borders Group, Inc. Bustan al-Funun Foundation
for Arab Arts The Dan Cameron Family
FoundationAlan and
Swanna Saltiel CFI Group Community Foundation for
Southeast Michigan Doris Duke Charitable
Foundation
DTE Energy Foundation The Esperance Family
Foundation GM Powertrain
Willow Run Site Honigman Miller Schwartz
and Cohn 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 UMS Advisory Committee University of Michigan
Credit Union University of Michigan
Health System U-M Office of the Senior Vice
Provost for Academic
Affairs U-M Office of the Vice
President for Research Wallace Endowment Fund
UMS STUDENT PROGRAMS
www.ums.orgstudents
UMS offers four programs designed to fit stu?dents' lifestyles and save students money. Each year, 18,000 students attend UMS events and collectively save over $350,000 on tickets through these programs. UMS offers students additional ways to get involved in UMS, with internship and workstudy programs, as well as a UMS student advisory committee.
Half-Price Student Ticket Sales
At the beginning of each semester, UMS offers half-price tickets to college students. A limited number of tickets are available for each event in select seating areas. Simply visit www.ums.orgstudents, log in using your U-M unique name and Kerberos password, and fill out your form. Orders will be processed in the order they are received. You will pay for and pick up your tickets at a later date at the Michigan League Ticket Office.
Winter Semester: Begins Sunday, January 11. 2009 at 8 pm and ends Tuesday. January 13 at 5 pm.
Sponsored by
Rush Tickets
Sometimes it pays to procrastinate! UMS Rush Tickets are sold to college students for $10 the day of the performance (or on the Friday before weekend events) and $15 beginning 90 minutes before the event. Rush Ticket availability and seating are subject to Ticket Office discretion. Tickets must be purchased in person at the Michigan League Ticket Office or at the per?formance venue ticket office. Just bring your valid college ID. Limit two tickets per student.
UMS Student Card
Worried about finding yourself strapped for cash in the middle of the semester The UMS Student Card is a pre-paid punch system for Rush Tickets. The Card is valid for any event
for which Rush Tickets are available, and can be used up to two weeks prior to the perform?ance. The UMS Student Card is available for $50 for 5 performances or $100 for 10 per?formances. Please visit www.ums.orgstudents to order online.
Arts & Eats
Arts & Eats combines two things you can't live without--great music and free pizza--all in one night. For just $15, you get great seats to a UMS event (at least a 50 savings) and a free pizza dinner before the concert, along with a brief talk by someone knowledgeable about the performance. Tickets go on sale approximately two weeks before the concert.
0809 Arts & Eats Events:
Complicite: A Disappearing Number, Thurs. 911
Compagnie Heddy Maalem, Wed. 1015
Joe Lovano "Us Five" Quintet and Jason Moran, Fri. 117
Handel's Messiah, Sat. 126
Rubberbandance Group, Sun. 111
Sweet Honey In The Rock, Thurs. 212
Silk Road Ensemble with Yo-Yo Ma, Fri. 313
Richard III: An Arab Tragedy, Thurs. 319
St. Louis Symphony Orchestra, Thurs. 42
Sponsored by UMOT5 fi
With support from the U-M Alumni Association
Internships and College Work-Study
Internships with UMS provide experience in performing arts administration, marketing, ticket sales, programming, production, and arts education. Semesterand year-long unpaid internships are available in many of UMS's departments. For more information, please call 734.615.1444.
Students working for UMS as part of the College Work-Study program gain valuable experience in all facets of arts management including concert promotion and marketing, ticket sales, fundraising, arts education, arts
programming, and production. If you are a University of Michigan student who receives work-study financial aid and are interested in working at UMS, please call 734.615.1444.
Student Advisory Committee
As an independent council drawing on the diverse membership of the University of Michigan community, the UMS Student Advisory Committee works to increase student interest and involvement in the various pro?grams offered by UMS by fostering increased communication between UMS and the student community, promoting awareness and accessi?bility of student programs, and promoting the student value of live performance. For more information or to participate on the Committee, please call 734.615.6590.
Support
There are many ways to support the efforts of UMS, all of which are critical to the success of our season. We would like to welcome you to the UMS family and involve you more closely in our exciting programming and activities. This can happen through corporate sponsorships, business advertising, individual donations, or through volunteering. Your financial investment andor gift of time to UMS allows us to continue connecting artists and audiences, now and into the future.
CORPORATE SPONSORSHIP AND ADVERTISING
Advertising
When you advertise in the UMS program book you gain season-long visibility among ticket buyers while enabling an important tradition of providing audiences with the detailed program notes, artist biographies, and program descrip?tions that are so important to the performance experience. Call 734.764.6833 to learn how your business can benefit from advertising in the UMS program book.
Sponsorship
As a UMS corporate sponsor, your organization comes to the attention of an educated, diverse, and growing segment of not only Ann Arbor, but all of southeastern Michigan. You make possible one of our community's cultural treas?ures, and also receive numerous benefits from your investment. For example, UMS offers you a range of programs that, depending on your level of support, provide a unique venue for:
Enhancing corporate image
Cultivating clients
Developing business-to-business relationships
Targeting messages to specific demographic groups
Making highly visible links with arts and education programs
Recognizing employees
Showing appreciation for loyal customers
For more information, please call 734.647.1176.
INDIVIDUAL DONATIONS
We could not present our season without the invaluable financial support of individual donors. Ticket revenue only covers half of the cost of our performances and educational events. UMS donors help make up the differ?ence. If you would like to make a gift, please fill out and mail the form on page P40 or call 734.647.1175.
UMS VOLUNTEERS
UMS Advisory Committee
The UMS Advisory Committee is an organiza?tion of over 70 volunteers who contribute approximately 7,000 hours of service to UMS each year. The purpose of the Advisory Committee is to raise funds for UMS's nationally-acclaimed arts education program through the events listed below. In addition, Advisory Committee members and friends provide assis?tance in ushering at UMS youth performances and assist in various other capacities through?out the season. Meetings are held every two months and membership tenure is three years. Please call 734.647.8009 to request more nformation.
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.
3IRECT0R
$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 Bartleti 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 Tuttle 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
Dede and Oscar Feldman Yi-Tsi M. and Albert
Feuerwerker Clare M. Fingerle Susan A. Fisher Susan R. Fisher and
John W. Waidley Robben Fleming Food Art
James W. and Phyllis Ford Dan and Jill Francis Leon and Marcia Friedman Enid H. Caller Tom Gasloli Prof. David M. Gates Thomas and Barbara Gelehrter Beverley and Gerson Geltner Sue Gingles Karl and Karen Gotting Cozette T. Grabb Elizabeth Needham Graham Robert A. Green MD Leslie and Mary Ellen Guinn Helen C. Hall Alice and Clifford Hart Sivana Heller Diane S. Hoff Carolyn B. Houston Cheryl and Kevin Hurley Eileen and Saul Hymans Perry Irish Jean Jacobson Wallie and Janet Jeffries John E. Fetzer Institute Timothy and Jo Wiese Johnson Shirley Y. and Thomas E. Kauper David and Gretchen Kennard Gloria and Bob Kerry Tom and Connie Kinnear Diane Kirkpatrick Drs. Paul and Dana Kissner Philip and Kathryn Klintworth Carolyn and Jim Knake Michael J. Kondziolka and
Mathias-Philippe Florent
Badin
Melvyn and Linda Korobkin Bud and Justine Kulka Scott and Martha Larsen Wendy and Ted Lawrence Melvin A. Lester MD Richard LeSueur Myron and Bobbie Levine Carolyn and Paul Lichter Jean E. Long
John and Cheryl MacKrell Cathy and Edwin Marcus Ann W. Martin and
Russ Larson
Claude and Marie Martin Marilyn Mason and
William Steinhoff Mary and Chandler Matthews Judythe and Roger Maugh Raven McCrory Griff and Pat McDonald Lester and Jeanne Monts Alan and Sheila Morgan Melinda Morris Cyril Moscow William Nolting and
Donna Parmelee NuStep, Inc. Marylen S. Oberman Marie L. Panchuk Elaine and Bertram Pitt Stephen and Bettina Pollock
Peter and Carol Polverini Richard and Lauren Prager Mrs. Frances Quartern Mr. Donald Regan and
Ms. Elizabeth Axelson Ray and Ginny Reilly Malverne Reinhart Doug and Nancy Roosa Rosalie Edwards
Vibrant Ann Arbor Fund Jeffrey and
Huda Karaman Rosen Corliss and Dr. J. C. Rosenberg Doris E. Rowan David and Agnes Sarns Maya Savarino Erik and Carol Serr Janet and Michael Shatusky Carl Simon and Bobbi Lew 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 H.D. Cameron Nathan and Laura Caplan Jack and Wendy Carman J. W. and Patricia Chapman John and Camilla Chiapuris Dr. Kyung and Young Cho Janice Clark Cheryl and Brian Clarkson
Alice S. Cohen
Jonathan Cohn
Wayne and Melinda Colquitt
Jim and Connie Cook
Malcolm and Juanita Cox
Mr Michael and Dr. Joan Crawford
Mary C. Crichton
Jean Cunningham and
Fawwaz Ulaby
Roderick and Mary Ann Daane Mr. and Mrs.
Robert L. Damschroder Timothy and Robin Damschroder Norma and Peter Davis Jean and John Debbink Ellwood and Michele Derr Linda Dintenfass and Ken Wisinski Steve and Judy Dobson Cynthia M. Dodd Bill and Marg Dunifon Eva and Wolf Duvernoy Dr. Alan S. Eiser Stefan and Ruth Fajans Harvey and Elry Faht 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. Garavaglia Beverly Gershowitz Dr. and Mrs. Paul W. Gikas Zita and Wayne Gillis Amy and Glenn Gottfried Dr. John and Renee M. Greden Arthur W. Gulick MD Don P. Haefner and
Cynthia J Stewart Susan R. Harris
Jeanne Harrison and Paul Hysen Dan and Jane Hayes Alfred and Therese Hero Herb and Dee Hildebrandt Nina Howard Harry and Ruth Huff Jane Hughes Ann D. Hungerman John and Patricia Huntington Thomas and Kathryn Huntzicker Maha Hussain and Sal Jafar Eugene and Margaret Ingram invia Medical Imaging Solutions Stuart and Maureen Isaac Rebecca S. Jahn Jim and Dale Jerome Drs. Kent and Mary Johnson Paul and Olga Johnson Mark and Madolyn Kammski Christopher Kendall and
Susan Schilperoort Eire R. and Farideh Khoury Rhea Kish
Hermine Roby Ktingter Anne Kloack
Charles and Linda Koopmann Rebecca and Adam Kozma Donald J. and Jeanne L. Kunz Donald John Lachowicz Jane F. Laird LaVonne L. Lang John K. Lawrence and
Jeanine A. De Lay David Lebenbom Ken and Jane Lieberthal Marilyn and Martin Lindenauer Mark Lindley and Sandy Talbott Rod and Robin Little Julie M. Loftin
E. Daniel and Kay Long
Frances Lyman
Bfigitte 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 J. Schriber David E. and Monica Schteingart Harriet Selin Julie and Mike Shea Howard and Aliza Shevhn Johnson Shiue Edward and Kathy Silver Sandy and Dick Simon Irma J. Sklenar Andrea and William Smith Gregory and Margaret Smith Shelly Soenen and
Michael Sprague Mrs. Gretchen Sopcak Gus and Andrea Stager Gary and Diane Stahle Naomi and James Starr Virginia and Eric Stein Eric and Ines Storhok David and Karen Stutz Manuel Tancer John and Geraldine Topliss Fr. Lewis W. Towler Claire and Jerry Turcotte Doug and Andrea Van Houweling Steven and Christina Vantrease Drs. Bill Lee and Wendy Wahl David C. and Elizabeth A. Walker Liina and Bob Wallin Shaomeng Wang and Ju-Yun Li Jo Ann Ward
Arthur and Renata Wasserman Gary Wasserman Zachary B. Wasserman Angela and Lyndon Welch Iris and Fred Whitehouse
Leslie C.Whitfield
Nancy 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 L. Baird
Bruce Baker and Genie Wolfson Daniel and Barbara Balbach John and Ginny Bareham Cheryl Barget and Tom Darnton Frank and Gail Beaver Gary M. Beckman and 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 Beverly J. Bole Bob and Sharon Bordeau Amanda and Stephen Borgsdorf Victoria C. Botekand
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 Dons Caddell Brent and Valerie Carey Dennis J. Carter
Andrew Caughey and Shelly Neitzel Sylvia M. Meloche Charles Stewart Mott Foundation Joan and Mark Chesler Andy and Dawn Chien Kwang and Soon Cho Reginald and Beverly Ciokajlo Donald and Astrid Cleveland Coffee Express Co Anne and Edward Comeau M.J. Coon Dr. Hugh Cooper and
Elry Rose-Cooper Celia and Peter Copeland Katharine Cosovich Cliff 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 Powne Davidge Ed and Ellie Davidson Alice and Ken Davis Dale and Gretchen Davis Dawda. Mann, Mulcahy &
Sadler, PLC
Elena and Nicholas Delbanco
Sophie and Maryiene Delphis
Judith and Kenneth DeWoskin
Elizabeth Dexter
Sally and Larry DiCarlo
Mark and Beth Dixon
Elizabeth A. Doman
Michael and Elizabeth Drake
Elizabeth Duel!
Peter and Grace Duren
Swati Dutta
Jane E. Dutton
Kim and Darlene Eagle
Morgan and Sally Edwards
Mary Ann Faeth
Dr. and Mrs. S.M Farhat
Inka and David Felbeck
Phil and Phyllis Fellin
James and Flora Ferrara
Sidney and Jean Fine
Herschel and Adrienne Fink
C. Peter and Beverly A. Fischer
Dr. Lydia Fischer
Jessica Fogel and Lawrence Werner
Scott and Janet Fogler
David Fox and Paula Bockenstedt
Howard and Margaret Fox
Philip and Renee Frost
Carol Gaghardi 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 Grichor
Elmer G. Gilbert and
Lois M. Verbrugge J. Martin Gillespie and
Tara Gillespie Beverly Jeanne Giltrow Maureen and David Gmsburg 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 Graf ton 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 Mariys Hamill Tom Hammond Walt and Chariene Hancock Martin and Connie Harris Abdelkader and Huda Hawash 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 HoJz Mabelle Hsueh
Dr. Howard Hu and Ms. Rani Kotha Hubert and Helen Huebl Robert B. Ingling ISCIENCES, L.LC. John H. and Joan L. Jackson
Mel and Myra Jacobs Beverly P. Jahn Frances and Jerome Jehnek 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 Marilynn Kokoszka Alan and Sandra Kortesoja Barbara and Ronald Kramer Donald and Doris Kraushaar Mary and Charles Krieger Dorothea Kroell and
Michael Jonietz Bert and Geraldine Kruse Kathy and Timothy Laing Lucy and Kenneth Langa Jean Lawton and James Ellis Bob and Laurie Lazebnik John and Theresa Lee Sue Leong David Baker Lewis Jacqueline H. Lewis Michael and Debra Lisull Dr. Daniel Little and
Dr. Bernadette Lmtz Gail Solway Little Bill and Lois Lovejoy Charles and Judy Lucas Claire and Richard Malvin Melvm and Jean Manis Nancy and Phil Margohs W. Harry Marsden Irwin and Fran Martin H.L. Mason Regent Olivia Maynard and
Olof Karlstrom
Martha Mayo and Irwin Goldstein Margaret and Harris McClamroch James and Mary E. McConville Uam T. McDonald Eileen Mdntosh and
Charles Schaldenbrand Bill and Ginny McKeachie Mercantile Bank of Michigan Warren and Hilda Merchant Russ and Bngitte Men Liz and Art Messiter Walter and Ruth Metzger Gabhelle 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 0. 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 Avtva 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 Dtane Telian Mark and Patricia Tessler Mary H. Thieme Edwin J. Thomas Nigel and Jane Thompson Louise Townley Dr. Hazel M. and
Victor C. Turner, Jr. Alvan and Katharine Uhle Drs. Matthew and Alison Uzieblo Hugo and Karla Vandersypen Marie Vogt
Drs. Harue and Tsuguyasu Wada Virginia Wait
Charles R. and Barbara H. Wallgren Enid Wasserman Carol Weber
Jack and Jerry Weidenbach Connie Witt and John Glynn Charlotte A. Wolfe Bryant Wu and Theresa Chang Betty and Bob Wurtz Don and Charlotte Wyche Mary Jean and John Yablonky Richard and Kathryn Yarmain MaryGrace and Tom York Zakhour and Androulla Youssef Erik and Lineke Zuiderweg Gail and David Zuk
ENDOWMENT FUND SUPPORT
July 1, 2007-June 30, 2008
The University Musical Society is grateful to those have supported UMS endowment funds, which will generate income for UMS in perpetuity and benefit UMS audiences in the future.
$100,000 or more
Doris Duke Charitable
Foundation The Power Foundation
$50,000-599,999
Anonymous
lene H. Forsyth
Estate of Lillian G. Ostrand
;20,000-S49,999
Anonymous
3ernard 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
55,000-59,999
Herb and Carol Amster Joan Akers Binkow Robert and Frances
Gamble Trust Mrs. Robert E. Meredith Susan B. Ullrich Marina and Robert Whitman Ann and Clayton Wilhite
51,000-54,999
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
$100-5999
Jerry and Gloria Abrams Mrs. Bonnie Ackley Barbara A. Anderson and John H. Romani
Anonymous
Arts League of Michigan
Lynne Aspnes
Bob and Martha Ause
John U. Bacon
Daniel and Barbara Balbach
Emily Bandera and Richard Shackson
Harvey Berman and
Rochelle Kovacs Berman Inderpal and Martha Bhatia Stan and Sandra Bies Sara Billmann and Jeffrey Kuras Maurice and Linda Binkow Martha and David Bloom Blue Nile Restaurant Paul Boylan Carl A. Brauer, Jr. Dale E. and Nancy M. Briggs Jeannine and Robert Buchanan Andrew and Emily Buchholz John and Janis Burkhardt David Bury and Marianne Lockwood Letitia J. Byrd
Carolyn Carty and Thomas Haug Sue and Bill Chandler Shana Meehan Chase Dr. Kyung and Young Cho Edward M. and Rebecca Chudacoff Toby Citrin and Phyllis Blumenfeld Hilary and Michael Cohen Sandra and Ted Cole Phelps and Jean Connell Katharine Cosovich Malcolm and Juanita Cox George and Connie Cress Mary C. Crichton Dana Foundation Linda Davis and Robert Richter Neeta Delaney and Ken Stevens Macdonald and Carolin Dick Steve and Lori Director Steve and Judy Dobson Cynthia M. Dodd Robert J. and Kathleen Dolan Hal and Ann Doster Janet Eilber
Cheryl and Bruce Elliott Beth B. Fischer
Gerald B. and Catherine L.
Fischer
Harold and Billie Fischer Jeanne and Norman
Fischer
Esther M. Floyd Bob and Terry Foster Neal and Meredith Foster Lucia and Doug Freeth Marilyn L. Friedman Bart and Cheryl Frueh Tavi Fulkerson Luis and L. April Gago Otto and Lourdes Gago Michael Gatti and
Lisa Murray Beverley and
Gerson Geltner Gail Gentes and
Phil Hanlon
Joyce and Steve Gerber Heather and Seth Gladstein Kathleen and Jack Glezen Tom and
Katherine Goldberg William and Jean Gosling Mr. and Mrs. Charles and
Janet Goss Robert A. Green MD Larry and Sandy Grisham Charles Hamlen Walt and Charlene
Hancock
Alice and Clifford Hart Daniel and Jane Hayes Joyce and John Henderson Dr. John and
Mrs. Donna Henke J. Lawrence Henkel and
Jacqueline Stearns John and Martha Hicks Lorna and
Mark Hildebrandt Diane S. Hoff Jerry and Helga Hover Ralph M. Hulett Joyce M. Hunter Judith Hurtig
IATSE Local 395 Stagehands Richard Ingram and
Susan Froelich Keki and Alice Irani Mel and Myra Jacobs Dolores R. Jacobson Beverly P. Jahn Ellen Janke and Ian Lewis Marilyn G. Jeffs Ben Johnson Christopher Kendall and
Susan Schilperoort John B. Kennard, Jr. David and Sally Kennedy Paul and Leah Kileny
Diane Kirkpatrick
Dr. David E. and
Heidi Castleman Klein Anne Kloack Mary L. Kramer Gary and Barbara Krenz Daniel H. Krichbaum Amy Sheon and
Marvin Krislov Edna LandauIMG Artists Wendy and Ted Lawrence Leslie Lazzerin Cyril and Ruth Leder Mary LeDuc Leo and Kathy Legatski
Elastizell Corporation
of America Melvin A. Lester MD Lewis & Company Marketing
Communications, Inc. David Baker Lewis Donald and
Carolyn Dana Lewis David Lieberman Ken and Jane Lieberthal Marilyn and
Martin Lindenauer Jimena Loveluck and
Timothy Veeser Jonathan Trobe and
Joan Lowenstein Dale Schatzlein and
Emily Maltz Fund Shirley Dorsey Martin Mary and
Chandler Matthews Regent Olivia Maynard
and Olof Karlstrom Jon McBride Laurie McCauley and
Jessy Grizzle Susan McClanahan and
Bill Zimmerman Dores McCree Joe McCune and
Gigi Sanders
Bill and Ginny McKeachie Joanna McNamara and
Mel Guyer Barbara Meadows Joetta Mial Patricia E. Mooradian Jean M. Moran Mary Morse
Gerry and Joanne Navarre Fred Neidhardt Kay and Gayl Ness M. Haskell and
Jan Barney Newman Susan and Richard Nisbett Patricia and
Max Noordhoorn Jan Onder
Constance and David Osier Anne Parsons and
Donald Dietz Frances and Arlene Pasley
Michelle Peet and
Rex Robinson Steven and Janet Pepe Marv Peterson Stephen and Agnes Reading John and Dot Reed Mamie Reid Theresa Reid and
Marc Hershenson Kenneth J. Robinson and
Marcia Gershenson Doris E. Rowan Bill and Lisa Rozek Herbert and
Ernestine Ruben Harry and Elaine Sargous Maya Savarino Ann and Thomas J. Schriber Ingrid and Cliff Sheldon Mikki Shepard Don and Sue Sinta Carl and Jari Smith Rhonda SmithStanding
Ovation Productions Lois and John Stegeman Victor and
Marlene Stoeffler Ronald Stowe and
Donna Power Stowe David and Karen Stutz Teresa A. Sullivan and
Douglas Laycock Charlotte Sundelson Mark and Patricia Tessler Norman and
Marcia Thompson Carrie and Peter Throm Claire and Jerry Turcotte Frank and Amanda Uhle Elizabeth and
Stephen Upton Richard and
Madelon Weber W. Scott Westerman, Jr. Max Wicha and
Sheila Crowley Dianne Widzinski and
James Skupski MD Phyllis B. Wright
S1-S99
Joseph Ajlouny Friends at Alverno Arts Alliance of the
Ann Arbor Area Barbara Bach Jenny Bilfield-Friedman and
Joel Friedman Ed and Luciana Borbely
Barbara Everitt Bryant
Simon Carrington
Mark Clague
Edward S. and Ruth P. Cogen
Guy L. Cooper
Richard and Edith Croake
Sally Cushing
Diana R. Engel
Madeleine Faith
Stefan and Ruth Fajans
Martha Fischer and Bill Lutes
Kristin Fontichiaro
John N. Gardner
Walter Helmreich
Kenneth and Joyce Holmes
John and Patricia Huntington
Judie and Jerry Lax
Shelley MacMillan and
Gary Decker
Jaclin L. and David H. Marlin Janice Mayer Ronald G. Miller Shelley and Dan Morhaim Warren and Shelley Perlove Julianne Pinsak Eileen Pollack Michael and
Lisa Psarouthakis Thomas and
Sue Ann Reisdorph Omari Rush Liz Silverstein Charles E. Sproger Lloyd and Ted St. Antoine Peg Talburtt and Jim Peggs Denise Thai and
David Scobey
Christina and Tom Thoburn Linda Tubbs Harvey and Robin Wax Zelma Weisfeld Warren Williams
Endowed Funds
The future success of the University Musical Society is secured in part by income from UMS's endowment. UMS extends its deepest apprecia?tion to the many donors who have established andor con?tributed to (he following funds:
H. Gardner and Bonnie
Ackley Endowment Fund Herbert S. and Carol Amster
Fund Catherine S. Arcure
Endowment Fund Carl and Isabelle Brauer
Endowment Fund Frances Mauney Lohr Choral
Union Endowment Fund Hal and Ann Davis
Endowment Fund
Doris Duke Charitable
Foundation Endowment
Fund
Ottmar Eberbach Funds Epstein Endowment Fund David and Phyllis Herzig
Endowment Fund JazzNet Endowment Fund William R. Kinney
Endowment Fund Natalie Matovinovic
Endowment Fund NEA Matching Fund Palmer Endowment Fund Mary R. Romig-deYoung
Music Appreciation Fund Prudence and Amnon
Rosenthal K-12 Education
Endowment Fund Charles A. Sink Endowment
Fund Catherine S. Arcure
Herbert E. Sloan
Endowment Fund University Musical Society
Endowment Fund The Wallace Endowment
Fund
Burton Tower Society
The Burton Tower Society recognizes and honors those very special friends who have included UMS in their estate plans. UMS is grateful for this important support which will continue the great traditions of artistic excellence, educational opportunities, and community partnerships in future years.
Bernard and Raquel Agranoff Carol and Herb Amster Mr. Neil P. Anderson Dr. and Mrs. David G.
Anderson
Catherine S. Arcure Linda and Maurice Binkow Elizabeth S. Bishop Mr. and Mrs.
W. Howard Bond Mr. and Mrs. Pal E. Borondy Carl and Isabelle Brauer Barbara Everitt Bryant Pat and George Chatas Mr. and Mrs.
John Alden Clark H. Michael and
Judith L. Endres Dr. James F. Filgas Ken and Penny Fischer Ms. Susan Ruth Fischer Beverley and Gerson Geltner Paul and Anne Glendon John and Martha Hicks Mr. and Mrs. Richard Ives
Marilyn G. Jeffs Thomas C. and
Constance M. Kinnear Diane Kirkpatrick Charlotte McGeoch Michael G. McGuire M. Haskell and
Jan Barney Newman Len Niehoff Dr. and Mrs.
Frederick C. O'Dell Mr. and Mrs.
Dennis M. Powers Mr. and Mrs. Michael Radock Mr. and Mrs. Jack Ricketts Mr. and Mrs.
Willard L. Rodgers Prudence and
Amnon Rosenthal Margaret and
Haskell Rothstein Irma J. Sklenar Herbert Sloan Art and Elizabeth Solomon Roy and JoAn Wetzel Ann and Clayton Wilhite Mr. and Mrs.
Ronald G. Zollars
Tribute Gifts
Contributions have been made in honor andor memory of the following people:
H. Gardner Ackley
Matthew Arcure
Naren and Nishta Bhatia
Linda and Maurice Binkow
llene Birge
Isabelle Brauer
Jean W. Campbell
Charles and Evelyn Carver
Jean Burnett Cassidy
Douglas D. Crary
Ellwood Derr
Benning Dexter
Angela S. Dobson
John S. Dobson
Mrs. Jane D. Douglass
Ken Fischer
Sally Fleming
Maxine and Stuart Frankel
Mary Carol Frames
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
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Robert Brown Yehonatan Berick Lynda Berg Berry Goldsmiths The Betty Brigade Nishta Bhatia
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Dance Department Eastern Michigan University
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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
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and Breakfast Hong Hua
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The Moveable Feast Iguanaworks Integrated Architecture Inward Bound Yoga Julie's Music Imagining America Mohammad Issa Andrew Jennings Mercy and Stephen Kasle Meg Kennedy Shaw Ken's Flower Shops Kerrytown Concert House Patty and David Kersch Iman Khagani Kenneth Kiesler Tom and Liz Knight Knit A Round Yarn Shop Knit Pickers Joan Knoertzer Gayle laVictoire Lynnae Lehfeldt Lori Lentini-Wilbur Richard LeSueur Bobbie and Myron Levine Lewis Jewelers Karen Lindenberg Logan An American Restaurant Eleanor Lord Stephanie Lord Martin and Jane Maehr Manachi Especial de Alma Martha Cook Residence Hall Marygrove College Dance
Department Chandler and Mary Matthews
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Distinguished Visitors Series Performance Network Peter's Palate Pleaser Pierre Paul Art Gallery Gregory and Allison Poggi The Polo Fields Golf and
Country Club David Potter Phil and Kathy Power Yopie Prins Purple Rose Theater Putterz Golf & Games The Quarter Bistro and Tavern Ingrid Racine
Paula RandJuliana Collezione Mamie Reid Huda Rosen Steve Rosoff Ellen Rowe Russell S. Bashaw Faux Finish
Studio, LLC Afa Sadykhly Sam's Clothing Store Agnes and David Sarns Jamie Saville and Rusty Fuller
Schakolad Chocolate Factory Michael Schoenfeldt Penny Schreiber Ruth Scodel SeloShevel Gallery Sesi Lincoln Mercury
Volvo Mazda Seva Restaurant Rabia Shafie
Shaman Drum Bookshop Nelson Shantz Piano Service Bright Sheng George Shirley John Shultz Photography Silkmoons Susan Silver-Fink Loretta Skewes Tim and Marie Slottow Andrea Smith Mandisa Smith Elizabeth Southwick Cynthia Sowers The Spa at Liberty Peter Sparling Rick Sperling Sphinx Organization Jim and Nancy Stanley St. Anne's Church in Detroit Bennett Stein Stonebndge 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
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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 WGTE16 WKAR 25
Wright Griffen Davis 28 WUOM 26
MEMBER ORGANIZATIONS
UMS is proud to be a member of the following organizations:
Ann Arbor Area Convention & Visitors Bureau
Ann Arbor Chamber of Commerce
Arts Alliance of the Ann Arbor Area
ArtServe Michigan
Association of Performing Arts Presenters
Chamber Music America
International Society for the Performing Arts
Main Street Area Association
Michigan Association of Community
Arts Agencies
National Center for Nonprofit Boards State Street Association Think Local First

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