Press enter after choosing selection

UMS Concert Program, Friday Jan. 09 To 16: University Musical Society: Winter 2009 - Friday Jan. 09 To 16 --

Download PDF
Rights Held By
University Musical Society
OCR Text

Season: Winter 09
University Of Michigan, Ann Arbor

university musical society
Winter 09 University of Michigan Ann Arbor
2 Letters from the Presidents
5 Letter from the Chair
UMSLeadership 7 UMS Corporate and Foundation Leaders
14 UMS Board of DirectorsNational Council
SenateAdvisory Committee
15 UMS StaffCorporate Council
Teacher Advisory Committee
UMSlnfo 17 General Information
19 UMS Tickets
UMSAnnals 21 UMS History
22 UMS Venues and Burton Memorial Tower
Event Program 24 Your Event Program Book follows page 24
UMSExperience 27 UMS Education and Community
Engagement Programs
34 UMS Student Programs
UMSSupport 37 Corporate Sponsorship and Advertising
37 Individual Donations
39 UMS Volunteers
41 Annual Fund Support
45 Endowment Fund Support
48 UMS AdvertisersMember Organizations
Cover: (R-L) Compagnie Marie Chouinard (photo: Michael Slobodian), Lorin Maazel and
the New York Philharmonic (Chris Lee), Wynton Marsalis (Clay McBride), Batsheva Dance
Company, Julia Fischer, Hill Auditorium audience (Spencer & Wycoff)

Welcome to this University Musical Society (UMS) performance. We at the University of Michigan are proud of UMS and of the world-class artists and ensembles that it brings each season to the University and southeast Michigan. As UMS marks its 130th continuous season, making it the oldest university-related presenter in the United States, we are also cele?brating the outstanding educational programs it offers to people of all ages and the new works in dance, theater, and music it commissions.
When I consider which UMS events best exemplify the melding 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, two of which were US exclusive presentations attracting audiences from 39 states and five countries.
I am pleased 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 relation?ship 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, usually held in May, will take place Saturday, January 24, 2009, so that students who have participated in the RSC residencies or who have had Professor 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.
This UMS winter season also brings us multi-day performances combined with numerous educational opportunities when the New York Philharmonic visits on March 7 and 8, and when Yo-Yo Ma brings his Silk Road Project to campus March 13 and 14.
Audience members also have a chance to delve into the rich diversity of cultural expressions from the Arab world, as UMS completes its Performing Arts of the Arab World series this term. I encourage you to attend Gilgamesh in January, Aswat: Celebrating the Golden Age of Arab Music in March, and Mohammed Bennis and the Hmadcha Ensemble in April along with the educational programs surrounding them.
There are many other UMS events as well as performances, exhibitions, and cultural activities offered by our faculty and students in U-M's many other units. To learn more about arts and culture at Michigan, including the March 21 performance commemorating the 25th anniversary of U-M's acclaimed musical theater program and the March 28 grand re-opening of the restored and expanded U-M Museum of Art, please visit the University's website at
Mary Sue Coleman
President, University of Michigan
Welcome to this UMS performance. Thank you for supporting UMS through your attendance, especially during these challenging times. The entire UMS family of Board, Senate, and Advisory Committee members; staff colleagues; Choral Union members; ushers; and hundreds of other volunteers are grateful that you're here and hope that you'll enjoy the experience and attend more UMS events during this second half of our 130th season. You'll find all of our remaining 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 the Guarneri Quartet's Farewell Tour concert; the New York Philharmonic's residency; Simon Shaheen's Aswat production; Yo-Yo Ma's two Silk Road events; Chick Corea and John McLaughlin's reunion; 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.
I have had the pleasure over the past two years of working in partnership with UMS Board Chair Carl Herstein, who has provided outstanding lay leader?ship to UMS. His term comes to an end in June. Be sure to read his letter on P5 of this program book, and you'll get a sense of how we've benefited from his knowledge of our history, his understanding of the power of the arts, and his deep appreciation of each member of the UMS family who attends our per?formances, donates to our organization, or volunteers their services. Thanks for your dedicated service, Carl.
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 or call me at 734.647.1174.
And thanks again for coming to this event.
Very best wishes,
Kenneth C. Fischer UMS President
In these times of economic uncertainty and unease about the future, the power of the arts reminds us of enduring values. In its 130 years, UMS and its numerous generations of patrons and audiences have seen many times of anxiety and turmoil, each of which was unprecedented in its day. Throughout that time, great artists performing important works helped the UMS community come to grips with the world. In some cases this occurred because the perform?ance of a classic work brought a sense of reassurance, harmony, and peace. In others, a modern work challenged the audience to come to terms with unsettling new realities. The best of these performances were transformative events, helping to shape the emotional and intellectual response of each audience member to contemporary events.
We are immensely fortunate that an appreciation of this powerful legacy led these audiences to steward UMS safely through the vicissitudes of world wars, global depression, demographic and cultural changes, and intellectual and sci?entific revolutions. The arts which UMS has presented and fostered have remained an indispensable part of our common ability to make sense of a world that never ceases to amaze, surprise, and sometimes frighten us. Succeeding generations have bequeathed to us a legacy of involvement and support so that we too are able to enjoy the sustenance and inspiration that is the gift of great art.
It is, therefore, critically important that we do our part to cherish and preserve the legacy that our community is so fortunate to enjoy. By bringing friends to performances, becoming involved with the UMS Advisory Committee, partici?pating in educational events, supporting youth performances, and providing the ever-critical financial support that makes the work of UMS possible, you are continuing the work of bringing the power of the arts to us all at a time when it is very much needed. We want to thank all of you who have participated in this work with your support of the UMS Difference Campaign, which has been a success due to the commitment not merely of a few, but of 4,279 of you who believe that what UMS does makes a real difference in the life of our community. If you are one of those 4,279, you have our deepest thanks and our encourage?ment to continue to be a vital part of the UMS family; if you have not yet con?tributed, please consider deepening your engagement with us. We think you will find, as so many others have before you, that it will make your UMS experience more meaningful, more personal, and will have the added benefit of making it more accessible to others who have not yet enjoyed the experiences that have been so important to you and to us.
Thank you for coming to this performance. Whether you have come a hun?dred times before or for the first time today, please know that you are always welcome in the UMS family; a group which gathers strength from its diversity, honors its extraordinary past, and works for a future of excellence no matter what transient challenges we may face.
Carl W. Herstein
Chair, UMS Board of Directors
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 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 perform?ances for patients, families, and visitors sponsored by our Gifts of Art program, or therapies such as harmonica classes for pulmonary patients or music relaxation classes for cancer patients, we've seen firsthand the power of music and performance. That's why we are proud to support the University Musical Society's ongoing effort to bring inspiration and entertainment to our communities."
Douglass R. Fox
President, Ann Arbor Automotive "We at Ann Arbor Automotive are pleased to support the artistic variety and program excellence given to us by the University Musical Society."
Laurel R. Champion
Publisher, The Ann Arbor News "The people at The Ann Arbor News are honored and
pleased to partner with and be supportive of the University Musical Society, which adds so much depth, color, excite?ment, and enjoyment to this incredible community."
Hoda Succar
President, American Syrian Arab Cultural Association
"ASACA is a proud sponsor of the UMS 0809 season.
We applaud UMS's effort to diversify and globalize its
programs to reach different communities in the US."
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."
Bruce Duncan
Ann Arbor Regional Bank President, 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, Honigman Miller Schwartz and Cohn LLP _J
"Honigman is proud to support non-profit organizations in the communities where our partners and employees live and work. We are thrilled to support the University Musical Society and commend UMS for its extraordinary programming, com?missioning of new work, and educational outreach programs."
Mark A. Davis
President and CEO, Howard & Howard "At Howard & Howard, we are as committed to
enriching the communities in which we live and work as we are to providing sophisticated legal services to businesses in the Ann Arbor area. The performing arts benefit us all, and we are proud that our employees have chosen to support the cultural enrichment provided by the University Musical Society."
Mohamad Issa
Director, Issa Foundation
'The Issa Foundation is sponsored by the Issa family, which has been established in Ann Arbor for the last 30 years, and is involved in local property management as well as area pub?lic schools. The Issa Foundation is devoted to the sharing and acceptance of culture in an effort to change stereotypes and promote peace. UMS has done an outstanding job bringing diversity into the music and talent of its performers."
Bill Koehler District President, KeyBank
"KeyBank remains a committed supporter of the performing arts in Ann Arbor and we commend the University Musical Society for its contribution to the community. Thank you, UMS. Keep up the great work!"
Dennis Serras
Owner, Mainstreet Ventures, Inc. "As restaurant and catering service owners, we consider ourselves fortunate that our business provides so many opportunities for supporting the University Musical Society and its continuing success in bringing internationally acclaimed talent to the Ann Arbor community."
Sharon J. Rothwell
Wee President, Corporate Affairs and Chair, Masco Corporation Foundation "Masco recognizes and appreciates the value the performing arts bring to the region and to our young people. We applaud the efforts of the University Musical Society for its diverse learning opportunities and the impact its programs have on our communities and the cultural leaders of tomorrow."
Scott Merz
CEO, Michigan Critical Care Consultants, Inc. (MC3) "MC3 is proud to support UMS in recognition of its success in creating a center of cultural richness in Michigan."
Erik H. Serr
Principal, Miller, Canfield, Paddock and Stone, P.L.C. "Miller Canfield proudly supports the University Musical Society for bringing internationally-recognized artists from a broad spectrum of the performing arts to our community, and applauds UMS for offering another year of music, dance, and theater to inspire and enrich our lives."
Michael B. Staebler
Senior Partner, Pepper Hamilton LLP "The University Musical Society is an essential part of the great quality of life in southeastern Michigan. We at Pepper Hamilton support UMS with enthusiasm."
Joe Sesi
President, Sesi Lincoln Mercury Volvo Mazda "The University Musical Society is an important cultural asset for our community. The Sesi Lincoln Mercury Volvo Mazda team is delighted to sponsor such a fine organization."
Thomas B. McMullen
President, Thomas B. McMullen Co., Inc. "I used to feel that a U-M-Ohio State football ticket was the best ticket in Ann Arbor. Not anymore. UMS provides the best in educational and artistic entertainment."
Robert R. Tisch
President, Tisch Investment Advisory "Thank you, Ann Arbor, for being a wonderful community in which to live, raise a family, and build a successful business."
Tom Thompson
Owner, Tom Thompson Flowers
"Judy and I are enthusiastic participants in the UMS family. We appreciate how our lives have been elevated by this relationship."
Shigeki Terashi
President, Toyota Technical Center "Toyota Technical Center is proud to support UMS, an organization with a long and rich history of serving diverse audiences through a wide variety of arts programming."
Jeff Trapp
President, University of Michigan Credit Union "Thank you to the University Musical Society for enriching our lives. The University of Michigan Credit Union is proud to be a part of another great season of performing arts."
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
Doris Duke Foundation for Islamic Art DTE Energy Foundation Esperance Family Foundation National Endowment for the Arts
Cairn Foundation
Maxine and Stuart Frankel Foundation Charles H. Gershenson Trust The Mosaic Foundation, Washington DC National Dance Project of the New England Foundation for the Arts
Bustan al-Funun Foundation for Arab Arts Community Foundation for Southeast Michigan Eugene and Emily Grant Family Foundation Martin Family Foundation THE MOSAIC FOUNDATION (of R. & P. Heydon) Performing Arts Fund
Consulate General of The Netherlands in New York Mohamed and Hayat Issalssa Foundation Sarns Ann Arbor Fund Target
Thomas and Joann Adler Family Foundation
UNIVERSITY MUSICAL SOCIETY of the University of Michigan
Carl W. Herstein,
Chair James C. Stanley,
Wee Chair Kathleen Benton,
Secretary Michael C. Allemang,
Treasurer Wadad Abed Carol L. Amster Lynda W. Berg
DJ. 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 Marcus Collins,
Board Fellow
Clayton E. Wilhite, Chair Marylene Delbourg-
Delphis John Edman
Janet Eilber Eugene Grant Charles Hamlen David Heleniak
Toni Hoover Judith Istock Wallis Klein 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 5. 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
Phyllis Herzig, Chair Janet Callaway, Wee Chair Elizabeth Palms, Secretary Sarah Nicoli, Treasurer
Ricky Agranoff MariAnn Apley Lone Arbour Barbara Bach Rula Kort Bawardi Francine Bomar Lucia na Borbely Mary Breakey Mary Brown Betty Byrne
Heather Byrne Laura Caplan Cheryl Cassidy Patricia Chapman Cheryl Clarkson Wendy Comstock Norma Davis Mary Dempsey Mary Ann Faeth Michaeiene Farrell Sara Fink Susan A. Fisher Susan R. Fisher Kathy Goldberg Walter Graves
Joe Grimley Susan Gross Susan Gutow Lynn Hamilton Charlene Hancock Alice Hart Rafe Juarez Jen Ketch
Meg Kennedy Shaw Pam Krogness Mary LeDuc Joan Levitsky Eleanor Lord Jane Maehr Jennifer;. Maisch
Joanna McNamara Liz Messiter Robin Miesel Natalie Mobley Kay Ness Thomas Ogar Allison Poggi Lisa Psarouthakis Swanna Saltiel Agnes Moy Sarns Penny Schreiber Bev Seiford Aliza Shevrin Alida Silverman Loretta Skewes
Andrea Smith Becki Spangler Nancy Stanley Carlin C. Stockson Karen Stutz Eileen Thacker Janet Torno Louise Townley Amanda Uhle Dody Viola Enid Wasserman Ellen Woodman Mary Kate Zelenock
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
Susan McClanahan, Director Susan Bozell, Manager of
Corporate Partnerships Rachelle Lesko,
Development Assistant Lisa Michiko Murray,
Manager of Foundation and
Government Grants M. Joanne Navarre, Manager of
Annual Giving Marnie Reid, Manager of
Individual Support
Lisa Rozek, Assistant to the Director of Development
Cynthia Straub, Advisory Committee and Events Coordinator
EducationAudience Development
Claire C. Rice, Interim Director Bree Juarez, Education and
Audience Development Manager Mary Roeder,
Residency Coordinator Omari Rush, Education Manager
MarketingPublic Relations
Sara Billmann, Director James P. Leija, Public Relations
Mia Milton, Marketing Manager Stephanie Normann, Marketing
Douglas C. Witney, Director Emily Avers, Production
Operations Director Jeffrey Beyersdorf,
Technical Manager
Michael J. Kondziolka, Director Mark Jacobson,
Programming Manager Carlos Palomares,
Artist Services Coordinator Liz Stover, Programming
Ticket Services
Jennifer Graf, Ticket Services
Sally A. Cushing, Ticket Office Associate Suzanne Davidson, Assistant Ticket
Services Manager Adrienne Escamilla,
Ticket Office Associate Sara Sanders, Front-of-House
Karen Zobel, Group Sales Coordinator Dennis Carter, Bruce Oshaben,
Brian Roddy, Head Ushers
Catherine Allan Gabriel Bilen Greg Briley Tyler Brunsman Allison Carron Shannon Deasy Vinal Desai Rebecca Dragonetti Kelsy Durkin Daniel Erben Carrie Fisk Natalie Freilich Charlie Hack Dana Harlan Jennifer Howard Andy Jones Bryan Langlitz Francesca Lollini Brooke Lundin Alejandro Manso Mary Martin Michael Matlock Bryan McGivern
Ashley McNees Michael Michelon Grace Morgan Paula Muldoon Leonard Navarro Jack O'Connell Stephanie Overton Andrew Smith Cahill Smith Trevor Sponseller Catherine Tippman Julie Wallace Sarah Wilbur Sophia Zhuo
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
Abby Alwin Fran Ampey Robin Bailey Greta Barfield Joey Barker Alana Barter Judy Barthwetl Rob Bauman Brita Beitler Eli Bleiler Ann Marie Borders
David Borgsdorf Signd Bower Marie Brooks Susan Buchan Deb Clancy Carl Clark Ben Cohen Julie Cohen Leslie Criscenti Orelia Dann Saundra Dunn
Johanna Epstein Susan Filipiak Katy Filhon 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 Perigo Rebeca Pietrzak Cathy Reischl
Jessica Rizor Vicki Shields Sandra Smith Gretchen Suhre Julie Taylor Cayld Tchalo Dan Tolly Alex Wagner Barbara Wallgren Kimberley Wright Kathryn Young
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.
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 ($7,500) 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 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 will be asked to wait in the lobby until seated by ushers. Most lobbies have been outfitted with monitors andor speakers so that latecomers will not miss the performance.
The late-seating break is determined by the artist and will generally occur during a suitable repertory break in the program (e.g., after the first entire piece, not after individual movements of classical works). There may be occasions where latecomers are not seated until intermis?sion, as determined by the artist. UMS makes every effort to alert patrons in advance when we know that there will be no late seating.
UMS tries to work with the artists to allow a flexible late-seating policy for family perform?ances.
Group Tickets
Treat 10 or more friends, co-workers, or 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 without a group discount.
For more information, please contact 734.763.3100 or e-mail
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.
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 P33.
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
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
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, 200S
In Person:
League Ticket Office
911 North University Ave.
Mon-Fri: 9am-5pm
Sat: 10am-1pm
By Phone:
Outside the 734 area code, call toll-free 800.221.1229
By Internet:
By Fax: 734.647.1171
By Mail:
UMS Ticket Office Burton Memorial Tower 881 North University Ave. Ann Arbor, Ml 48109-1011
On-site ticket offices at performance venues open 90 minutes before each performance.
Through a commitment to presentation, education, and the creation of new work, the University Musical Society (UMS) serves Michigan audiences by bringing to our community an ongo?ing series of world-class artists, who represent the diverse spectrum of today's vigorous and exciting live performing arts world. Over the past 130 years, strong leadership coupled with a devoted community has placed UMS in a league of internationally recognized performing arts presenters. Today, the UMS seasonal program is a reflection of a thoughtful respect for this rich and varied history, balanced by a commit?ment to dynamic and creative visions of where the performing arts will take us in this new millennium. Every day UMS seeks to cultivate, nurture, and stimulate public interest and participation in every facet of the live arts.
UMS grew from a group of local university and townspeople who gathered together for the study of Handel's Messiah. Led by Professor Henry Simmons Frieze and conducted by Professor Calvin Cady, the group assumed the name The Choral Union. Their first perform?ance of Handel's Messiah was in December of 1879 and this glorious oratorio has since been performed by the UMS Choral Union annually.
As many Choral Union members also belonged to the University, the University Musical Society was established in December, 1880. UMS included the Choral Union and University Orchestra, and throughout the year presented a series of concerts featuring local and visiting artists and ensembles.
Since that first season in 1880, UMS has expanded greatly and now presents the very best from the full spectrum of the performing arts--internationally renowned recitalists and orchestras, dance and chamber ensembles, jazz and world music performers, and opera and theater. Through educational endeavors, commissioning of new works, youth programs, artist residencies, and other collaborative projects, UMS has maintained its reputation for quality, artistic distinction, and innovation. UMS now hosts over 50 performances and more than 125 educational events each sea?son. UMS has flourished with the support of a generous community that this year gathers in eight different Ann Arbor venues.
The UMS Choral Union has likewise expanded its charge over its 130-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.
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 Truman Capote), the Power Center achieved the seemingly contradictory combination of providing a soaring interior space with a unique level of intimacy. Architectural features include two large spiral staircases leading from the orchestra level to the balcony and the well-known mirrored glass panels on the exterior. The lobby of the Power Center presently features two hand-woven tapestries: Modern Tapestry by Roy Lichtenstein and Volutes (Arabesque) by Pablo Picasso.
The Power Center seats approximately 1,400 people.
Arbor Springs Water Company is generously providing complimentary water to UMS artists backstage at the Power Center throughout the 0809 season.
Rackham Auditorium
Sixty years ago, chamber music concerts in Ann Arbor were a relative rarity, presented in an assortment of venues including University Hall (the precursor to Hill Auditorium), Hill Auditorium, and Newberry Hall, the current home of the Kelsey Museum. When Horace H. Rackham, a Detroit lawyer who believed strongly in the importance of the study of human history and human thought, died in 1933, his will awarded the University of Michigan the funds not only to build the Horace H. Rackham Graduate School, which houses Rackham Auditorium, but also to estab?lish a $4 million endowment to further the development of graduate studies. Even more remarkable than the size of the gift is the fact that neither he nor his wife ever attended the University of Michigan.
Designed by architect William Kapp and architectural sculptor Corrado Parducci, Rackham Auditorium was quickly recognized
as the ideal venue for chamber music. In 1941, UMS presented its first chamber music festival with the Musical Art Quartet of New York per?forming three concerts in as many days, and the current Chamber Arts Series was born in 1963. Chamber music audiences and artists alike appreciate the intimacy, beauty, and fine acoustics of the 1,129-seat auditorium, which has been the location for hundreds of chamber music concerts throughout the years.
St. Francis of Assisi Catholic Church
Dedicated in 1969, St. Francis of Assisi Catholic Church has grown from 248 families when it first started to more than 2,800 today. The present church seats 1,000 people and has ample free parking. In 1994, St. Francis pur?chased a splendid three manual "mechanical action" organ with 34 stops and 45 ranks, built and installed by Orgues Letourneau from Saint Hyacinthe, Quebec. Through dedication, a commitment to superb liturgical music, and a vision to the future, the parish improved the acoustics of the church building, and the reverberant sanctuary has made the church a gathering place for the enjoyment and con?templation of sacred a cappella choral music and early music ensembles.
Burton Memorial Tower
Seen from miles away, Burton Memorial Tower is one of the most well-known University of Michigan and Ann Arbor landmarks. Designed by Albert Kahn in 1935 as a memorial to U-M President Marion Leroy Burton, the 10-story tower is built of Indiana limestone with a height of 212 feet. The carillon, one of only 23 in the world, is the world's fourth heaviest containing 55 bells and weighing a total of 43 tons. UMS has occupied administrative offices in this building since its opening, with a brief pause in the year 2000 for significant renovations.
Winter 2009 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, January 9 through Friday, January 16, 2009
Rubberbandance Group
Friday, January 9, 8:00 pm 5
Saturday, January 10, 1:00 pm (Family Performance) 9
Sunday, January 11, 2:00 pm 9
Power Center
Guarneri String Quartet 15
Sunday, January 11, 4:00 pm Rackham Auditorium
Tord Gustavsen Trio 23
Friday, January 16, 8:00 pm Lydia Mendelssohn Theatre
Fall 2008
19-20f Dance Groui
AIHa ind the Iraqi Maqam Ens
eto Gospel Choir
18 Sat Milton Nascimento and the Jobim
19 Sun Camerata Salzbui
Anne-Sop1 . iolin
27 Me Chamber PI
Joe Lovano "Us Five" Quintet and J,.
fefim Bronfman, pianos 13 ThuEstonian Philharmonic Chof usalem Syrr:
Winter 2009
9-11 Fri-Sun Rubberbandance Group 11 Sun Guarneri String Quartet 16 FriTord Gustavsen Trio
23-24 Fri-Sat Gilgamesh: Kinan Azmeh, clarinet and Kevork Mourad, MaxMSP
24 Sat Ford Honors Program honoring the Royal
Shakespeare Company, Michael Boyd, and Ralph Williams
25 Sun Richard Goode, piano 29 Thu-Chanticleer
31 SatMichigan Chamber Players
7 SatLawrence Brownlee, tenor with
Martin Katz, piano 12 Thu Sweet Honey in the Rock 13fri-Kodo 14-15 Sat-Sun Batsheva Dance Company
7-8 Sat-Sun New York Philharmonic
10 Tue Wynton Marsalis and Jazz at Lincoln Center
11 WedBrentano String Quartet with Peter Serkin,
piano and Richard Lalli, baritone
12 Thu Aswat: Celebrating the Golden Age of Arab
Music with Simon Shaheen and the Golden Age
Orchestra 13-14 Fri-SatThe Silk Road Ensemble with
Yo-Yo Ma, cello 18 WedAltenberg Trio Vienna
22 Sun Zakir Hussain, tabla with
Pandit Shivkumar Sharma, santoor 26 Thu The Romeros 29 Sun Dan Zanes & Friends
1 Wed John Williams, guitar
2 Thu St. Louis Symphony Orchestra with
Anssi Karttunen, cello 4Saf-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
17 Fr'-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 Thu UMS Choral Union
24 Fri Julia Fischer, violin with Milana Chernyavska, piano 25-26 Sat-Sun Compagnie Marie Chouinard
UMS Educational Events
through January 76, 2009
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 or contact the UMS education department at 734.647.6712 or
Rubberbandance Group
After Party!
Friday, January 9, post-performance The Yellow Barn, 416 W. Huron (across the street from the YMCA)
Keep the energy flowing following the perfor?mance of Rubberbandance Group at a hip-hop dance party featuring a DJ spinning live. Hosted by UMS and Dance 2XS. Ages 18 and over; no cover.
Family Event
Saturday, January 10, 11 am--12:00 noon U-M Alumni Center, 200 Fletcher Street
Drawing on elements of hip-hop, ballet, martial arts, and yoga, the contemporary dance company Rubberbandance Group takes a truly multidisci-plinary approach to their work. This participatory family event will give children an introduction to the many art forms used by the company in their explosive and inventive dances. Come ready to get up and move!
A collaboration with the U-M Alumni Association.
Guarneri String Quartet
Chamber Music Jam Session
Sunday, January 11, 12:00 noon
Michigan League, Michigan Room, 2nd Floor,
911 N. University
In honor of the Guarneri String Quartet's final appearance, UMS and the Ann Arbor Camerata host a chamber music reading session. Com?munity members will be able to arrive with their
instruments and sight-read through great works of music with area musicians in a fun and relaxed environment. Music includes both standard and rarely played works by composers such as Beethoven, Schubert, and Dvorak. No pre-event practice or rehearsal necessary, just a willingness to play a few wrong notes and jam! Event is open to observers. Musicians interested in playing should e-mail for details. A collaboration with the Ann Arbor Camerata.
Penny Stamps Distinguished Visitors Program:
(re)creating Gilgamesh: The Artistic and Technical Exploration of an Ancient Epic Thursday, January 22, 5:10 pm, Michigan Theater, 603 E. Liberty Street
Clarinetist and composer Kinan Azmeh and visual artist Kevork Mourad have collaborated to illuminate the ancient Mesopotamian Epic of Gil?gamesh, using both music and painting as vehicles for storytelling. In this presentation, prior to their weekend UMS performances, the artists discuss the origins of the project and their creative col?laboration. They also demonstrate the fusion of music, painting, and technology through per?formance excerpts and examination of the more technical aspects of their work.
A collaboration with the U-M School of Art and Design and the Penny Stamps Distinguished Visitors Program.
Rubberbandance Group
Co-Artistic Directors
Victor Quijada and Anne Plamondon
Louise Michel Jackson Mariusz Ostrowski Anne Plamondon
Victor Quijada Lila-Mae G. Talbot Frederic Tavernini
Choreography by Victor Quijada
Lighting Design by Yan Lee Chan Music by Jasper Gahunia Video Concept by Rene-Pierre Belanger Costumes by Anne-Marie Veevaete Set Design by Stephane Longpre
Friday Evening, January 9, 2009 at 8:00 Power Center Ann Arbor
Punto Ciego
Tonight's performance runs approximately one hour and 50 minutes. There is a five minute pause after the first 50 minutes.
25th Performance of the 130th Annual Season
The photographing or sound and video recording of this performance or possession of any device for such recording is prohibited.
The Sunday performance is sponsored by the University of Michigan Health System.
Funded in part by the National Dance Project of the New England Foundation for the Arts, with lead funding from Doris Duke Charitable Foundation. Additional funding provided by The Andrew W. Mellon Foundation, the Ford Foundation and MetLife Foundation.
Also funded in part by the Performing Arts Fund, a program of Arts Midwest funded by the National Endowment for the Arts, which believes a great nation deserves great art, with additional contributions by Michigan Council for Arts and Cultural Affairs, General Mills Foundation, and Land O'Lakes Foundation.
Youth Performances funded in part by Target.
Youth performances also funded by the Prudence and Amnon Rosenthal K--12 Education Endowment Fund.
Media partnership provided by Metro Times, Between the Lines, and Michigan Radio 91.7 FM.
Special thanks to Marja Lankinen, Dance 2XS, U-M Alumni Association, and Scarlett Middle School for their participation in this residency.
Produced by Rubberbandance Group, with generous support from Conseil des arts et des lettres du Quebec and the Canada Council for the Arts.
Large print programs are available upon request.
Punto Ciego
Punto Ciego is an ambitious project that was built in two phases over two years. This full evening work was inspired by the non-linear approaches of writers Kundera and Tarantino, and is comprised of several situations that bring six personalities together to examine, defend, and possibly accept varying perspectives on a collective reality. This tragic comedy uses the audience's own subjective validation to give the dense physicality of this work a double edge.
The first phase of the work, the duo of Quijada and Plamondon, breaks the fourth wall and introduces characters that speak to the audience while slipping between present reality and past memories. The second phase of the work introduces a quartet that allows us to follow an individual from one situation to the next, appreciating the perspective of one character as the focus changes to the perspective of another. Using a novelistic approach, the ensemble offers a non-linear narrative of different situations from several viewpoints.
This work is the continuing development of a vocabulary that combines contemporary dance with techniques and textures of various street-dance forms. Refined over the last decade, this movement style coils tight and strong in the solar plexus, as arms and legs move freely through space. The three-dimensional surfaces of the body push and carve through the space, taking the body out of the upright position and into horizontal and inverted planes. This creation is part of an ongoing exploration of what can be communicated through this distinct vocabulary.
The use of video, audio recording, audience interaction, and set design are all aspects that have been successfully explored before by Rubberbandance Group. The Group has expanded on these past experiments to produce one of their most remarkable works to date, offering their public an utterly captivating spectacle.
Collaborators include lighting designer Yan Lee Chan, who in her sixth creation for Mr. Quijada has devised an elaborate never-ending landscape in which the scenario unravels; and composer Jasper Gahunia (DJ Lil' Jaz), who through his composition, has inadvertently become a pioneer
in a new musical genre and has unleashed an unbelievably rich palette of sound and emotion for the audience to discover. This new creation includes a very simple, yet transformative decor proposed by Stephane Longpre; videos created by director and frequent collaborator Rene-Pierre Belanger; costumes by Anne-Marie Veevaete; and consultation by Miko Sobreira.
Please refer to page 12 in your program book for complete company biographies and staff credits.
Produced by Rubberbandance Group in co-production with La Societe de la Place des Arts de Montreal, Na?tional Arts Center (Ottawa), New England Foundation for the Arts (USA).
With generous support from Conseil des arts et des lettres du Quebec and the Canada Council for the Arts.
Residencies provided by Centennial Hall (Lennoxville, Qc), salle Pauline-Julien (Ste-Genevieve, Qc) and maison de la culture Mercier du reseau acces culture (Montreal, Qc).
Rubberbandance Group
Co-Artistic Directors
Victor Quijada and Anne Plamondon
Joe Danny Aurelien Lila-Mae G. Talbot Louise Michel Jackson
Mariusz Ostrowski Anne Plamondon Victor Quijada
Choreography by Victor Quijada
Lighting Design by Yan Lee Chan and Caroline Nadeau Costumes by Caroline Boisvert and Anne Plamondon
Saturday Afternoon, January 10, 2009 at 1:00 (One-hour Family Performance) Sunday Afternoon, January 11, 2009 at 2:00 Power Center Ann Arbor
Elastic Perspective
Secret Service
Meditations on the Gift
Exercise in Wholeness and Awareness
Mi Verano
Before Back Then
The Traviattle
Sunday afternoon's performance runs 75 minutes with intermission.
26th and 27th Performances of the 130th Annual Season
The photographing or sound and video recording of this performance or possession of any device for such recording is prohibited.
The Sunday performance is sponsored by the University of Michigan Health System.
The 200809 Family Series in sponsored by Toyota.
Funded in part by the National Dance Project of the New England Foundation for
the Arts, with lead funding from Doris Duke Charitable Foundation. Additional
funding provided by The Andrew W. Mellon Foundation, the Ford Foundation
and MetLife Foundation.
Also funded in part by the Performing Arts Fund, a program of Arts Midwest
funded by the National Endowment for the Arts, which believes a great nation
deserves great art, with additional contributions by Michigan Council for Arts
and Cultural Affairs, General Mills Foundation, and Land O'Lakes Foundation.
Youth Performances funded in part by Target.
Youth performances also funded by the Prudence and Amnon Rosenthal K--12
Education Endowment Fund.
Media partnership provided by Metro Times, Between the Lines, and Michigan
Radio 91.7 FM.
Special thanks to Marja Lankinen, Dance 2XS, U-M Alumni Association, and
Scarlett Middle School for their participation in this residency.
Produced by Rubberbandance Group, with generous support from Conseil des
arts et des lettres du Quebec and the Canada Council for the Arts.
Large print programs are available upon request.
Elastic Perspective
Elastic Perspective is a selection of works created within the first two years of the founding of Rubberbandance Group. The evening is presented in two parts: the first is comprised by six short pieces created through commissions by hip-hop and contemporary dance festivals. The latter is the 25-minute quartet"Hasta La Proxima" created for Urban Dance Series at Espace Tangente.
Elastic Perspective is the result of a contemporary choreographic research that breaks the established conventions of hip-hop. Victor Quijada, Choreographer and Co-Artistic Director of Rubberbandance Group, creates a work that scrambles the aesthetic identity of hip-hop, fusing it with theories that evolved based on his direct experiences working in various dance forms. He has given rise to a hybrid style that emerges between the worlds of break and contemporary dance.
Chris Randle
Elastic Perspective
Secret Service (June 2002)
Romeo and Juliet (excerpt): "Dance of the Knights," by Sergei Prokofiev Dancers: Joe Danny Aurelien, Louise Michel Jackson, Mariusz Ostrowski, Anne Plamondon, Victor Quijada
Meditations on the Gift (June 2002)
"Epoca," by Gotan Project
Dancers: Victor Quijada and Louise Michel Jackson
Exercise in Wholeness and Awareness (May 2002) "Ohm," Saul Williams Dancer: Mariusz Ostrowski
Mi Verano (June 2003)
Four Seasons (excerpt), "Summer," by Antonio Vivaldi
Dancers: Joe Danny Aurelien, Louise Michel Jackson, Victor Quijada, Lila-Mae G. Talbot
Before Back Then (March 2003)
"Le Badinage," by Marin Marais
Dancers: Marisuz Ostrowski, Victor Quijada
The Traviattle (March 2003)
La Traviata (excerpt), "Libiamo, ne'lieti calici, by Giuseppi Verdi
Dancers: Joe Danny Aurelien, Lila-Mae G. Talbot
Hasta La Proxima (October 2002)
"Pegame Tu Vicio," by Antony Santos
"Le pas du chat noir," by Anouar Brahem
"De Los Amores," by Susana Baca
"Insects Between the Walls," by Paolo Santos
"Liquid Swords," by GZAGenius
Dancers: Joe Danny Aurelien, Anne Plamondon, Victor Quijada, Lila-Mae G. Talbot
Rubberbandance Group (RBDG) was formed as a vehicle to manifest a choreographic identity that expresses itself beyond a sequence of dance movements on stage. This vision stretches into the arena of theatrical interpretation, improvisational approaches, visual imagery of film, and spontaneous eruption of impromptu performance as a tool in the shifting of commonplace reality.
The Group was founded as a collective in 2002 by choreographer Victor Quijada out of a reactionary need to reconnect to the movement ideals of his maternal hip-hop lifestyle. RBDG became the proving ground where Quijada's coming-of-age through hip-hop culture--and years of high-level professional experience in the contemporary ballet world--would collide choreographically. The Group reflected this interface as it was made up of dancers with either break or ballet backgrounds that would train to absorb and integrate the opposing style.
Since 2002, RBDG has produced seven substantial works that have gained recognition for a new and unique vision of contemporary dance theater. The Group has been presented throughout Canada, and has represented Canadian artistic innovation in the US, Europe, UK, and Japan. RBDG was formed with the resolution to create work that is exciting, intimate, and meaningful. Mr. Quijada, carrying within him the sensibility of a street dancer, often explores ways to bring the immediacy of spontaneous hip-hop circles to the frame of compositional display. He has tested alternative venues, carried out impromptu performances, and broken the performeraudience barrier on several occasions in order to shatter conventional presentational formats, in hopes that the public can experience dance as a participatory event, and not as a passive activity.
This weekend's performances mark the UMS debut of Rubberbandance Group.
The remarkable path of choreographer Victor Quijada began in Los Angeles, where from a young age, he was deeply influenced by hip-hop culture. His introduction to formal dance and theater at LA. County High School for the Arts was a small awakening that brought questions concerning the possibilities and potential of the hip-hop art form. A protege of Judson Church pioneer Rudy Perez, Mr. Quijada adapted postmodernism to his hip-hop ideals. During three years of working with dance icon Twyla Tharp, he applied choreographic know-how to those ideals. Strongly attracted to classical ballet technique, he worked with Eliot Feld and later joined Les Grands Ballets Canadiens de Montreal, experiences that further influenced and re-shaped his long-standing relationship with hip-hop.
In 2002, after years of exploring dance and theater from urban, classical and contemporary angles, he formed Rubberbandance Group (RBDG). His work with RBDG examines humanity through a unique fusion of these dance and theater aesthetics. In 2003 Mr. Quijada received both the Bonnie Bird North American Award and the Peter Darrell Choreography Award (UK). He has created work for Pacific Northwest Ballet, Ballet Met, Jeune Ballet du Quebec, Peter Boal & Company (NYC), Transitions Dance Company (London), Chamber Dance Project, and notably Self Observation Without Judgement for Scottish Dance Theater, which won the 2004 National Dance Award for "Best Modern Repertory."
A finalist in the 2004 American Choreography Awards for the short film adaptation of Hasta La Proxima, Mr. Quijada also earned a Choreography in Media Honors Award for the sequence he staged in the K-OS music video "Man I Used To Be" (2005 Much Music Video Award for "Best Rap Video"). Mr. Quijada has directed two short films, small explosions that are yours to keep (2006, under the mentorship of director Micah Meisner) and Secret Service (2007). He also collaborated with director Rene-Pierre Belanger on both the 2006 Radio-Canada production of La symphonie eclatee, featuring Kent Nagano conducting the I'Orchestre Symphonique de Montreal, and on the Gemini Award-nominated "Canada Day 2004" broadcast for CBC television.
Anne Plamondon {Co-Artistic DirectorDancer) received her classical training at 1'F.cole Superieure de Danse du Quebec and The Banff Center for the Arts. From 1994 to 2000, she danced with Les Grands Ballets Canadiens de Montreal, Nederlands Dans Theater 2 (Holland), and the Gulbenkian Ballet (Portugal). She has performed worldwide and created works with numerous choreographers including contemporary masters Jiri Kylian, Paul Lightfoot, Ohad Naharin, and Angelin Prejlokaj. Based in Montreal since 2000, she works as an independent artist, collaborating with many choreographers such as Jean Grand-Maitre, James Kudelka, Crystal Pite, and in 2005, Estelle Clareton for the creation of a solo work, DAME. Since 2002, Ms. Plamondon has dedicated herself to the Montreal-based company Rubberbandance Group. In 2004 she became Co-Artistic Director alongside Choreographer Victor Quijada. Ms. Plamondon and Mr. Quijada are currently artists-in-residence at Cinquieme SallePlace des Arts (Montreal) for seasons 0708 and 0809.
Based in Montreal, Yan Lee Chan (Lighting Design, Technical Director) has worked in the field of performing arts for over ten years. He first studied lighting design at the Saint-Hyacinthe School for Theatre Arts where he earned a degree in stage management and technical direction. After graduation, he worked primarily in Europe assisting Olivier Duplessis and other artists. Mr. Chan has also performed as a slight-of-hand magician since his early teens, and has consequently developed new lighting concepts to create stage illusion.
Yan Lee Chan has collaborated with many Canadian choreographers and companies including Momentum, Theatre duGrand jour, Sonya Biernath, Lin Snelling, Bill Coleman, Andrew de Lotbiniere Harwood, Nicole Mion, Philip Ducro, Jenn Goodwin, and H6lene Langevin. In 2006 he created the lighting design for Theatre du Rideau Vert's production of reste avec moi ce soir, directed by Jean-Frederic Messier; Pigeons International's Demain, directed by Paula De Vasconcelos; and the Pacific Northwest Ballet commission of Suspension of Disbelief, by Victor Quijada. Yan Lee Chan designed the latest Rubberbandance Group production of AV InputOuput and Punto Ciego.
Caroline Boisvert (Costume Design) graduated from the Superior Institute of Design in Montreal, after studying fashion and stencil arts. She has worked as a designer, stylist, and dresser for dance and theater companies including Les Grands Ballets Canadiens de Montreal. She created her own signature, Neant, in 2005, and has taken part in numerous fashion shows, opened a fashion boutique featuring her creations, and collaborated with Rubberbandance Group on Slicing Static ("Best Dance Production of 2004"--Philip Szporer Hour Magazine). She follows her attraction to urban fashion design and her developing interest in scenic design, citing challenge as the main drive of her inspiration.
Rubberbandance Group
Victor Quijada, Co-Artistic Director, Choreographer,
and Dancer
Anne Plamondon, Co-Artistic Director and Dancer Yan Lee Chan, Technical Director and Lighting Designer Maryse Boulanger, Administrative Director and
Tour Coordinator
Timothy Rodrigues, Sound and Video Technician Maryse Fortin, Tour and Stage Manager
Produced by Rubberbandance Group in co-production with La Societe de la Place des Arts de Montreal, Na?tional Arts Center (Ottawa), New England Foundation for the Arts (USA).
With generous support from Conseil des arts et des lettres du Quebec and the Canada Council for the Arts.
Residencies provided by Centennial Hall (Lennoxville, Qc), salle Pauline-Julien (Ste-Genevieve, Qc) and maison de la culture Mercier du reseau acces culture (Montreal, Qc).
Rubberbandance Group is represented by Harold Norris of H-Art ManagementUSA and Paul Tanguay of Tanguay ImpresarioEurope and Canada.
and the Linda and Maurice Binkow Philanthropic Fund
Guarneri String Quartet
Arnold Steinhardt, Violin John Dalley, Violin Michael Tree, Viola Peter Wiley, Cello
Program Sunday Afternoon, January 11, 2009 at 4:00
Rackham Auditorium Ann Arbor
Ludwig van Beethoven String Quartet No. 12 in E-flat Major, Op. 127
Adagio, ma non troppo e molto cantabile
Scherzando vivace
Beethoven String Quartet No. 15 in a minor. Op. 132
Assai sostenuto--Allegro
Allegro ma non tanto
Molto adagio--Andante--Molto adagio--Andante--Molto adagio
Alia marcia, assai vivace--Piu allegro-aftacca
Allegro appassionato

28th Performance of the 130th Annual Season
46th Annual Chamber Arts Series
The photographing or sound and video recording of this concert or possession of any device for such recording is prohibited.
This afternoon's performance is sponsored by the Linda and Maurice Binkow Philanthropic Fund.
Special thanks to Christopher Kendall, Dean and Paul Boylan Collegiate Professor of Music, Theatre & Dance, U-M School of Music, Theatre & Dance, for partici?pating in tonight's post-concert dinner.
Funded in part by the National Endowment for the Arts as part of American Masterpieces: Three Centuries of Artistic Genius.
Media partnership provided by WGTE 91.3 FM and Observer & Eccentric Newspapers. Special thanks to the Ann Arbor Camerata for their participation in this residency.
The Guarneri String Quartet appears by arrangement with Herbert Barrett Management, New York, NY.
The Guarneri String Quartet records for Surrounded by Entertainment, Arabesque, RCA Victor, and Philips Classics.
Large print programs are available upon request.
String Quartet No. 12 in E-flat Major,
Op. 127(1825) Ludwig van Beethoven
Bom December 15 or 16, 1770 in Bonn, Germany Died March 26, 1827 in Vienna
Snapshot of History... In 1825:
The 16-year-old Felix Mendelssohn writes his
first masterpiece, Octet for Strings (Op. 20)
in Berlin Greece is in the middle of its eight-year War of
Independence against Turkey The world's first modern railway, the Stockton
and Darlington Railway, opens in England The Erie Canal opens, connecting the Great
Lakes to the Atlantic Ocean Alexander Pushkin writes his drama Boris
Godunov in internal exile in Russia Johann Strauss Jr., the future Waltz King, is
born in Vienna
In the fall of 1822, Beethoven received a letter from a Russian aristocrat and amateur cello player, Prince Nikolai Galitzin. The Prince commissioned Beethoven to write three string quartets and urged him to name his own price. Beethoven accepted the proposal and promised to deliver the first quartet within a month. However, more than two years passed before the String Quartet in E-flat Major, the first one in the set, reached the Prince, even though it seems that Beethoven had begun to make sketches for a new string quartet even before receiving Galitzin's letter. (He had not written a string quartet since the f-minor work, Op. 95, of 1810.)
Let us for a moment imagine the Prince and his three companions in St. Petersburg as they put the parts of Op. 127 on their music stands. They start playing the opening "Maestoso," thinking it is a slow introduction; yet after only six measures, they see with surprise that the introduction is cut short and an "Allegro" theme begins in a new meter. After a few minutes (during which time two distinct musical ideas appear, more or less like in a classical sonata exposition), the opening "Maestoso" retums in a startlingly distant key. It is brushed aside once more by the "Allegro" music, now
taking on the distinct features of a development section (frequent modulations, fragmentation of motives). Another set of slow measures--shorter than the previous ones--again propels the music in unexpected harmonic directions, with the home key in E-flat Major eventually returning and bringing the music to a soft and somewhat inconclusive conclusion.
After this enigmatic opening, the players encounter a slow theme-and-variation movement of unprecedented complexity (they must have been exceptional players indeed if they could make it to the end!). A lyrical melody of otherworldly beauty is followed by five variations: the first largely ornamental; the second playful; the third, suddenly moving to a distant new key, extremely slow and intense; the fourth seemingly returning to the style of the first yet introducing many fascinating surprises; and the last one developing a "free fantasia" on the theme.
At one point, the harmony seemed so confusing that the Prince had to ask Beethoven in a letter whether he meant a certain note in the viola part to be a Cor a D-flat. Beethoven went to great lengths to explain why it had to be a D-flat, and added: "If I had written C, the melody would have been destroyed." There is no record, however, to tell us whether Galitzin and his partners felt, as many modern commentators have, that Beethoven contemplated the starry heavens in the central E-Major variation.
The remaining two movements are no less extraordinary. The "Scherzando vivace" uses an extremely simple rhythmic pattern to generate uncommon dramatic energy. That pattern is developed and transformed in ways that recall the scherzo of Symphony No. 9. The trio, or middle section, is a breathless Presto in the minor mode, later switching to the major and suddenly interrupted by a general rest and the return of the "Scherzando." At the end of the movement, the trio section is briefly recalled; another general rest separates this reminiscence from the abrupt ending, again similarly to what happens in Symphony No. 9.
In the finale, Beethoven let go of all the dramatic tensions that had weighed so heavily on the first three movements. Joseph Kerman,
one of the most influential musicologists of our time, described this finale (which bears no tempo marking) as a "medley of folk-like phrases... square and ingenuous, jogging along in all-but-continuous quarter-notes." The contrast with the rest of the quartet could not be greater. Yet Beethoven reserved a final surprise to those players and listeners who thought he was simply writing a folk-dance finale in homage to his one?time teacher Haydn. He added a mysterious Coda in a new meter (68 replacing cut time) in which the harmonic adventures of earlier movements suddenly reappear. The tempo designation is Allegro comodo (a comfortably fast motion), not con moto (with motion) as some editions suggest. Kerman finds the harmonic progressions to be "sheer dream"--a dream that is followed by an awakening, a consolidation of the home key, and a sudden yet resolute ending.
String Quartet No. 15 in a minor.
Op. 132(1825) Beethoven
With its "Holy Song of Thanksgiving of a Convalescent to the Deity in the Lydian Mode," the String Quartet in a minor is in a category all by itself, not only among Beethoven's quartets but in the entire music literature as well. Nowhere else did Beethoven take such a bold step outside the style that Haydn, Mozart, and Beethoven himself, had done so much to develop. The same claim could possibly be made of the Great Fugue (originally the finale of the string quartet in B-flat, Op. 130, later published separately), but while in that work Beethoven expands an existing framework almost beyond recognition, in the "Holy Song" he does the opposite: he reduces his means and retreats into a newly-invented archaic world that no one knew existed.
The patient who gives thanks for his recovery was, of course, Beethoven himself. In April 1825--when he was in the middle of writing the a-minor quartet--the composer became gravely ill with an inflammation of the bowels. His physician, Dr. Anton Braunhofer, prescribed a strict diet, and
wrote in one of the deaf composer's conversation books: "No wine, no coffee; no spices of any kind. I'll arrange matters with the cook." Beethoven's condition improved; soon he was able to return to work and finished the quartet in July 1825. But with a slow movement that had obviously not been planned from the start, this was no longer the same work that Beethoven had begun before his illness.
If there is one word that occurs more often than any other in discussions of this quartet, it is contrast--contrast both within movements and between movements. The contrasts begin immediately at the beginning, where a mysterious slow introduction is suddenly interrupted by an "Allegro" flourish in first violin. "The conflict revealed here casts a shadow not only over the first movement but over the quartet as a whole," William Kinderman writes in his insightful monograph on Beethoven. In fact, the anguished half-steps of the introduction and the agitated rhythms of the "Allegro" determine much of what follows, along with the lyrical second idea played by the second violin. The first two elements are contrapuntally combined in the development section and further elaborated in the subsequent sections of the movement. In a significant departure from conventional sonata form, Beethoven brings not one recapitulation but two. The first of these resembles the exposition more closely but is set in a key other than a minor, the home key, while the second treats the material with much more freedom but re-establishes a minor in the movement's vibrantly dramatic coda.
To say that the second movement is a minuet with trio is both true and untrue. The 34 time and A-B-A form are certainly present, and the drone effects of the trio have a long ancestry in movements of this type. Yet the movement doesn't sound like a minuet. Commentator Michael Steinberg has described this movement as "an always surprising mixture of the gentle and the acid," with harmonies that are "a bit tart." The frequent half-steps are audibly related to those from the slow introduction of the first movement. Of the trio section, Steinberg writes: "A country dance tune, with bagpipe drone and
all, becomes transfigured at a great height into something distant, mysterious, free of the pull of gravity." This ethereal dance is, however, suddenly interrupted by a unison passage where even the meter changes briefly from triple to duple. Thus, even this lyrical intermezzo is not spared from the dramatic contrasts that fill the entire work.
Beethoven took pains to specify that the "Holy Song of Thanksgiving" was in the Lydian mode, which is one of the old church modes upon which Gregorian chant and much early polyphonic music was based. The name itself is even older, going back to ancient Greece. We know that Beethoven studied some examples of Renaissance music and also theoretical writings from the period, and thus he was well aware that the Lydian mode was associated with healing in some ancient writings. According to theory books, this mode consists of the white keys of the piano starting with the note F; in other words, it is an F-major scale with a B-natural instead of a B-flat. This poses a grave problem, however, in that the interval F-B is an augmented fourth or "tritone" that was called the "interval of the devil" in medieval times and usually avoided. All chant melodies notated in Lydian are actually sung with a B-flat, an alteration that was routinely applied to the music. In Op. 132, Beethoven used B-natural, and it is very likely that his use of the "Lydian mode" is the first in history not to correct the offending interval. Thus, while seemingly reviving an old musical element, Beethoven actually created something quite new. (The Lydian mode with B-natural does exist in Eastern European folk music.) The entire song of thanksgiving is harmonized with only "white keys," which--in conjunction with the extremely slow tempo--makes the sound eerily transparent. In addition to ancient sources, Beethoven also drew on the Protestant chorale tradition in this movement--a tradition he was familiar with in
spite of his Catholic background. The uniform rhythms and clear-cut cadences (line endings) turn the Holy Song into a chorale of sorts, though this chorale has five lines instead of the usual four.
At the end of the fifth line, the second violin plays the first altered note (a C-sharp) in the movement, giving the signal for the next section, marked Neue Kraft fuhlend (Feeling new strength). As a total contrast to the preceding Lydian music, this section is in a bright and confident D Major. In Steinberg's words: "The staccatos, the wide leaps, the exuberant upbeats in scurrying thirty-second notes, the jubilant violin trill that rides across the top of the music, the breathless excitement in the accompaniment, all contribute to the joyful atmosphere."
The hymn retums with some fascinating changes in the texture. The static, almost frozen chords of the first appearance are softened by a more complex rhythmic interplay among the voices, giving the music a more flowing character. Then the second section retums, lavishly ornamented. With the third and final return of the Lydian chorale, we understand the form as A-B-A-B-A (as in the slow movement of Symphony No. 9), but this final "A" is more intimate and transcendent than any of its previous incarnations. It is also much longer. At first, only one instrument at a time adds ornaments to the melody, the others play the long notes from the beginning. As a result, each player comes forward--an individual singing his own personal hymn of thanksgiving. Then, the four instruments join forces again to play the otherworldly harmonies of the movement's final measures.
The brief march that follows confirms the convalescent's return to life. Beethoven wanted a simpler and more lighthearted movement after the "Holy Song," and according to his sketches, he first intended a landler-type dance at this point.
eethoven also drew on the Protestant chorale tradition in this movement--a tradition he was familiar with in spite of his Catholic background.
Guarneri String Quartet
He later decided otherwise, and the landler found its home as the "Alia danza tedesca" movement of Op. 130.
We might think that when we hear the march in Op. 132, the trials and tribulations are finally over. Not so. A dramatic recitative interrupts the happy music, leading into the "Allegro appassionato" finale. Despite the waltz-like lilt of the main theme, there is significant tension under the surface. The rondo theme is quite close to the agitated melody of the first movement. The first episode provides momentary relief; the second even intensifies the "storm and stress." But eventually, the tonality shifts from a minor to A Major; the tempo increases to Presto, and a new lyrical melody helps to give this monumental work a happy ending.
The a-minor Quartet was first performed by the Schuppanzigh Quartet at a Viennese tavern named Zum Wilden Mann (The Wild Man), on September 9 and 11, 1825. The concert hall premiere followed two months later, in November of the same year.
Program notes by Peter Laki.
The renowned Guarneri String Quartet "is among the most revered and enduring ensembles of its kind in the world" (National Public Radio) and has circled the globe countless times since it was formed in 1964, playing in the most prestigious halls in North and South America, Mexico, Europe, Asia, and Australia. The Guarneri String Quartet has announced its retirement at the completion of the current season. In their final season the Quartet will celebrate by doing what it does best--touring extensively throughout the US as they have for nearly 45 years. Performances include their annual Metropolitan Museum of Art concert series, instituted in 1965, as well as a collaboration with the Johannes String Quartet. The ensemble also makes its annual tour to Europe this winter.
The Guarneri has been featured on many television and radio specials, documentaries and educational presentations both in North America and abroad. They have been interviewed by Charles Kuralt on CBS's nationwide television program, Sunday Morning. A full-length film entitled High Fidelity--The Guarneri String
n 1992, the Guarneri String Quartet became the only quartet to receive the prestigious Award of Merit from the Association of Performing Arts Presenters in New York City.
Quartet was released nationally, to great critical and public acclaim, in the fall of 1989 (the film was directed and produced by Allan Miller who was also the directorproducer of the Academy Award-winning documentary, From Mozart to Mao, which dealt with Isaac Stern's visit to China). The Quartet is also the subject of various books including Quartet by Helen Drees Ruttencutter (Lippincott & Crowell, 1980), The Art of Quartet Playing: the Guarneri in Conversation with David Blum (Alfred A. Knopf, 1986), and Arnold Steinhardt's Indivisible by Four: A String Quartet in Pursuit of Harmony (Farrar, Straus and Giroux, 1998).
In addition to mastering the finest works in the existing quartet repertoire, the Guarneri String Quartet is committed to performing and popularizing works by today's foremost composers. In the spring of 2008 the quartet, in collaboration with the Johannes String Quartet, premiered new works by acclaimed American composers William Bolcom and Derek Bermel, a program which appeared on the 0708 UMS Chamber Arts series. In the 0304 season, they gave the first performance of String Quartet No. 5 (In Search of La Vita Nuova) written for them by the award-winning American composer, Richard Danielpour. Mr. Danielpour had previously written a Concerto for String Quartet and Orchestra, commissioned by the National Symphony Orchestra and written expressly for the Guarneri String Quartet. It was premiered with the NSO at the Kennedy Center under the direction of Leonard Slatkin in January 2000, followed by its New York premiere at Carnegie Hall later that same month. In the 0102 season, the Guarneri gave the first performances of String Quartet No. 5, written for them by Lukas Foss.
In 1982, Mayor Koch presented the Quartet with the first New York Seal of Recognition. The Quartet was awarded Honorary Doctorate degrees
by the University of South Florida (1976) and the State University of New York (1983). In 1992, the Guarneri String Quartet became the only quartet to receive the prestigious Award of Merit from the Association of Performing Arts Presenters in New York City. The Quartet continues their longstanding series and residency at the University of Maryland where they are on the faculty. In 2004, the Guarneri received the Richard J. Bogomolny National Service Award from Chamber Music America. This is CMA's highest honor, given annually to an individual or ensemble for a lifetime of service and achievement in the field. In 2005, Guarneri received the Ford Honors Award from the University Musical Society of the University of Michigan (UMS) where they have performed 31 times over the past 38 years.
The Guarneri has recorded for Surrounded by Entertainment, which released a CD in spring 2001 of quartets by Ravel, Debussy, and Faure. Several of its recordings on both RCA Red Seal and Philips have won international awards, including its recent recording of Juan Crisostomo de Arriaga's String Quartets Nos. 1-3 (Philips), which won the 1996 Deutsche Schallplattenkritik Award in Germany. Among its other award-winning recordings are collaborations with such artists as Artur Rubinstein, Pinchas Zukerman; and Boris Kroyt and Mischa Schneider of the Budapest Quartet. They have also recorded on the Arabesque label Mendelssohn's String Quartet No. 3 and its first-ever recording of the great Mendelssohn Octet, Op. 20, in collaboration with the Orion Quartet.
V?R. Celh
Program of the first Guarneri String Quartet performance under UMS auspices in February 1971.
For over 40 years, the musicians of the Guarneri have been among the highest-ranking aristocrats in the chamber music world. The Guarneri String Quartet made their UMS de?but on February 25, 1971 in Rackham Auditorium in a program which included works by Beethoven, Stravinsky, Webern, Josef Suk, and Schumann. During the past 38 years, the Quar?tet has performed 19 stand-alone concerts in Ann Arbor as well as two complete Beethoven quartet cycles: the first cycle spanning five performances during the 197677 UMS season, and a second complete cycle spanning six performances over three successive seasons beginning in the 198485 season. During the 1981 winter season, the Guarneri appeared twice on the UMS Chamber Arts Series in programs consisting entirely of compositions by B?la Bart6k. In Novem?ber 1999, the Guarneri appeared alongside the Orion String Quartet in a program featuring Mendelssohn's Octet, Op. 20. Tonight we celebrate the Guarneri String Quartet in the Quartet's 32nd appearance under UMS auspices.
James and
Nancy Stanley
Tord Gustavsen Trio
Tord Gustavsen, Piano Mats Eilertsen, Bass Jarle Vespestad, Drums
Friday Evening, January 16, 2009 at 8:00 Lydia Mendelssohn Theatre Ann Arbor
Tonight's program will be performed without intermission and will be announced from the stage by the artists.
29th Performance of the 130th Annual Season
15th Annual Jazz Series
The photographing or sound and video recording of this concert or possession of any device for such recording is prohibited.
Tonight's performance is sponsored by Borders and by James and Nancy Stanley. Media partnership provided by WEMU 89.1 FM and Mefro Times.
The Steinway piano used in this evening's performance is made possible by the Steinway Piano Gallery of Detroit.
The Tord Gustavsen Trio appears by arrangement with Musica Extraordinaria.
Large print programs are available upon request.
Before starting his solo career as a pianist, Tord Gustavsen had already been an important part of the Norwegian jazz scene for several years. His playing formed a cornerstone in projects featuring some of Norway's finest singers, including Silje Nergaard, Siri Gjaere, Kristin Asbjornsen, and Solveig Slettahjell. The urge
for individual expression fused with acutely attentive listening and creative interplay make Mr. Gustavsen's solo and ensemble performances a very special experience. His way of conversing with jazz history, Nordic reflective moods, and lyrical beauty
brings about an intriguing voice on today's music scene.
Mr. Gustavsen released three albums on ECM Records with his trio: Changing Places (2003), The Ground (2005), and Being There (2007). While relating to fields like Scandinavian folk music, gospel, Caribbean music, and cool jazz alike, the trio presents a unique universe of lyricism and subtle funkiness. In 2008, Mr. Gustavsen launched his newest project, the Tord Gustavsen Ensemble, with a commissioned work for the Vossajazz Festival in Norway, followed by a few selected performances leading up to a new recording by the ensemble to be released in autumn 2009.
In addition to the trio releases, Mr. Gustavsen can be heard on numerous recordings including those with the Silje Nergaard Band, the Nymark Collective, the Ulrich Drechsler Quartet, clarinetist Carl Petter Opsahl, the duo aire & angels, as well as upcoming album releases by singers Kristin Asbjornsen and Solveig Slettahjell. Mr. Gustavsen has done extensive worldwide touring with his projects in Australia, Asia, South Africa, the US, Canada, and Europe over the past eight years, gaining praise from critics and public alike.
Tonight's concert marks the Tord Gustavsen Trio's UMS debut.
Mats Eilertsen (Bass) has been an important musical partner for Mr. Gustavsen for several years, playing in most of his projects. This cooperation culminated in 2008 in the newly formed Tord Gustavsen Ensemble. Mr. Eilertsen now also takes the stage with Mr. Vespestad and Mr. Gustavsen in the intimacy of the trio formation. Mr. Eilertsen plays with a unique combination of solid, sensuous accompaniment, and constant creative thinking, making him a very special musician.
Mr. Eilertsen currently leads his own quartet, and has released three albums under his own name with different projects during the last decade. He plays with Swedish pianist Bobo Stenson in an ensemble called Paris, recorded on ECM Records. He tours and records with the Wolfert Brederode Quartet, Jacob Young Group, and The Source-also on ECM Records. Mr. Eilertsen is one of the most sought after bass players on the Scandinavian and Central European jazz scenes, and his total discography as a key ensemble player counts over 50 releases.
Jarle Vespestad (Drums) has played with Tord Gustavsen in trio and quartet settings for more than seven years. This collaboration has brought forth three trio albums and extensive worldwide touring. Mr. Vespestad has been a crucial part in developing the sound of Mr. Gustavsen's repertoire and the artistic vision of his ensembles. The kind of sublime minimalism he stands for has very few, if any, parallels in the world of drummers. Mr. Vespestad's lyrical emphasis, and the highly responsive interplay developed between him and Mr. Gustavsen over the years, are essential elements in the musical textures presented by the trio.
Apart from working with Mr. Gustavsen, Mr. Vespestad has been an important part of key Scandinavian jazz projects Supersilent, Farmers Market, and the Silje Nergaard Band, releasing albums, touring world-wide, and developing an impressive discography on labels including Universal Music, Rune Grammofon, and ECM Records. Mr. Vespestad is also a highly sought-after freelance musician whenever he can find time--having played with artists such as Dhafer Yosef, Dave Liebman, Django Bates, and Bugge Wesseltoft.
Tord Gustavsen
UMS's Education Program deepens the relation?ship between audiences and art, while efforts in Audience Development raise awareness of the positive impact the performing arts and education can have on the quality of life in our community. The program creates and presents the highest quality arts education and community engagement experiences to a broad spectrum of community constituencies, proceeding in the spirit of partnership and collaboration. Details about all educational and residency events are posted online at approximately one month before the performance date. Join the UMS Email Club to have updated event information sent directly to you. For immediate event info, please email, or call the numbers listed below.
Please call 734.647.6712 or email 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 initiatives for the area's Arab American, African,
MexicanLatino, AsianChinese, and African American audiences. UMS has earned national acclaim for its work with diverse cultural groups, thanks to its proactive stance on part?nering with and responding to individual com?munities. Though based in Ann Arbor, UMS Audience Development programs reach the entire southeastern Michigan region.
Public Programs
UMS hosts a wide variety of educational and community events to both inform the public about arts and culture and provide forums for discussion and celebration of the performing arts. 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
Community Receptions Opportunities for audiences to network and socialize with each other and with artists
UMS is grateful to the University of Michigan for its support through the U-MUMS Partner?ship Program of many educational activities scheduled in the 0809 season. These activities provide opportunities for students, faculty, and other members of the University and southeast Michigan communities to deepen their connection with 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. NET?WORK members receive ticket discounts for selected UMS events; membership is free.
Rubberbandance Group
Lawrence Brownlee Martin Katz
Sweet Honey In The Rock
Jazz at Lincoln Center Orchestra with Wynton Marsalis
Please call 734.615.0122 or email 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 daytime performances give pre-K through high school students the opportunity to see the same internationally renowned per?formances as the general public. The Winter 2009 season features special youth presenta?tions of Rubberbandance Group, Sweet Honey
In The Rock, Jazz at Lincoln Center Orchestra, Aswat: Celebrating the Golden Age of Arab Music, and Dan Zanes & Friends. Tickets range from $3-6 depending on the performance; each school receives free curriculum materials.
Teacher Workshop Series
UMS is part of the Kennedy Center Partners in Education Program, offering educators mean?ingful professional development opportunities. Workshops, cultural immersions, and book clubs bring the best in local and national arts education to our community, through presen?tations by Kennedy Center teaching artists, UMS performing artists, and local arts and cul?ture experts. This series focuses on arts integra?tion, giving teachers techniques for incorporating the arts into everyday classroom instruction.
Some think anticipation.
We think track record.
New York Philharmonic
Private Banking Investment Banking Asset Mana
We look at things from a different perspective for the benefit of our clients. An approach we share with the New York Philharmonic. As Global Sponsor we are proud to support a renowned institution that continuously sets new standards in innovation redefining classical music. This mutual tradition of challenging conventional thinking helps us to realize new opportunities for our clients. This has been our ambition since 1856.
Thinking New Perspectives. CREDIT SlJISSE
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. Further, the UMS curricular materials are available online at no charge to the general public. All materials are designed to connect to the curricular stan?dards via the Michigan Grade Level Content Expectations.
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 ID when purchasing tickets. Check out 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 information contact UMS Group Sales at 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. If you would like to participate, please contact
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. This show is curated, designed, marketed, and produced by teens under the mentorship of UMS staff. This year's Breakin' Curfew takes place on Friday, May 8, 2009.
UMS Family
The Winter 2009 season features family per?formances of Rubberbandance Group and Dan Zanes & Friends. Family-friendly performances also include the Silk Road Ensemble and Kodo. Please visit 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 visit and sign up for UMS E-News and check the box for Classical Kids Club.
Education Program Supporters
Ford Motor Company Fund and Community Services
Michigan Council for Arts and Cultural Affairs University of Michigan
Arts at Michigan
Bank of Ann Arbor
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
DTE Energy Foundation The Esperance Family Foundation GM Powertrain
Willow Run Site David and Phyllis Herzig
Endowment Fund Honigman Miller Schwartz
and Cohn LLP JazzNet Endowment WK Kellogg Foundation Masco Corporation
Miller, Canfield, Paddock and
Stone, P.LC. The Mosaic Foundation,
(of R. S P. Heydon) National Dance Project of the
New England Foundation
for the Arts
National Endowment for the Arts Performing Arts Fund Prudence and Amnon
Rosenthal K-12 Education
Endowment Fund Rick and Sue Snyder Target
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 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 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 five 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.
Winter 2009 Arts & Eats Events:
Rubberbandance Group, Sun. 111
Sweet Honey In The Rock, Thurs. 212
Silk Road Ensemble with Yo-Yo Ma, Fri. 313
St. Louis Symphony Orchestra, Thurs. 42
Sponsored by UMM5 S
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.
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.
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.
As a UMS corporate sponsor, your organization comes to the attention of an educated, diverse, and growing segment not only of 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.
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 Advisory Committee
The UMS Advisory Committee is an organization of 70 volunteers who contribute approximately 7,000 hours of service to UMS each year. The purpose of the UMS Advisory Committee is to raise community awareness and funds for UMS's nationally acclaimed arts education program. Members contribute their time and talents in a wide variety of ways consistent with their interests.
Fundraising projects include the Ford Honors Program Gala, On the Road Auction, and Delicious Experiences. Advisory Ambassadors and Youth Performance Ushering are two projects that involve direct contact with local school?children, teachers, and community groups.
All Advisory Committee members serve as UMS advocates to the greater community by encouraging attendance at UMS performances and participation in UMS and Advisory Committee programs and events.
Two upcoming events include:
Ford Honors Program and Gala January 24, 2009
This year's program will honor the Royal Shakespeare Company, RSC Artistic Director Michael Boyd, and U-M Professor Ralph Williams with UMS Distinguished Artists awards. Following the program and award presenta?tions, the UMS Advisory Committee will host a Gala reception and dinner to benefit UMS Education Programs.
On the Road Auction
For each of the last three years, approximately 300 people have enjoyed an evening of food, music, and silent and live auctions, netting more than $70,000 each year to support UMS Education Programs. On the Road 2009 will be held on September 11, 2009.
Please call 734.764.8489 for more information.
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
July 1, 2007-November 1, 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 November 1, 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.
$100,000 or more
Maurice S. and Linda G. Binkow
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
$50,000-$99,999 Doris Duke Foundation for Islamic Art Esperance Family Foundation National Endowment for the Arts TAQA New World, Inc.
Brian and Mary Campbell
Cairn Foundation
Charles H. Gershenson Trust
DTE Energy Foundation
Maxine and Stuart Frankel Foundation
Lillian A. Ives
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
$10,000-$ 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
Carl and Isabelle Brauer Fund
Bustan al-Funun Foundation for Arab Arts
Mary Sue and Kenneth Coleman
Community Foundation for Southeast Michigan
Alice B. Dobson
Eugene and Emily Grant
David W. and Kathryn Moore Heleniak
David and Phyllis Herzig
Honigman Miller Schwartz and Conn
Frank Legacki and Alicia Torres
Lawrence and Rebecca Lohr
Charlotte McGeoch Mrs. Robert E. Meredith Donald L. Morelock Performing Arts Fund A. Douglas and Sharon J. Rothwell University of Michigan Credit Union Marina and Robert Whitman Ann and Clayton Wilhite
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
$5,000-$7,499 American Syrian Arab
Cultural Association Herb and Carol Amster Ann Arbor Automotive Anonymous
Essel and Menakka Bailey Blue Nile Restaurant Marilou and Tom Capo Dennis Dahlmann and Patricia Garcia Marylene Delbourg-Delphis The Doan Family Foundation 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 ISSA Foundation 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 Prue and Ami Rosenthal
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
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 Rick and Sue Snyder Lois A. Theis Dody Viola
Robert O. and Darragh H. Weisman Keith and Karlene Yohn
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 Robert and Victoria Buckler Barbara and Al Cain Bruce and Jean Carlson 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
Dr. and Mrs. Nathaniel H. Rowe
Frances U. and Scott K. Simonds
Mjaiad and Aida Shihadeh
Lewis and Judy Tann
Jim Toy
Don and Carol Van Curler
Don and Toni Walker
Elise Weisbach
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
Dr. and Mrs. Rudi Ansbacher
Harlene and Henry Appelman
Jonathan Ayers and Teresa Gallagher
Laurence R. and Barbara K. Baker
Dr. Lesli and Mr. Christopher Ballard
Norman E. Barnett
Robert H. and Wanda Bartlett
Bradford and Lydia Bates
Dr. Astrid B. Beck
Linda and Ronald Benson
Ruth Ann and Stuart Bergstein
Anne Beaubien and Philip Berry
Naren and Nishta Bhatia
John Blankley and Maureen Foley
Howard and Margaret Bond
Laurence and Grace Boxer
Dr. and Mrs. Ralph R. Bozell
Dale E. and Nancy M. Briggs
Barbara Everitt Bryant
Lawrence and Valerie Bullen
Charles and Joan Burleigh
Letitia J. Byrd
Amy and Jim Byrne
Betty Byrne
Jean W. Campbell
David and Valerie Canter
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
Cynthia and Jeffrey Colton
Consulate General of The Netherlands
in New York
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 Dr. and Mrs. Charles Davenport Hal and Ann Davis Andrzej and Cynthia Dlugosz Molly Dobson
Robert J. and Kathleen Dolan Domino's Pizza
Dallas 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
Mr. and Mrs. George W. Ford
James W. and Phyllis Ford
Dan and Jill Francis
Leon and Marcia Friedman
Enid H. Galler
Tom Gasloli
Prof. David M. Gates
Thomas and Barbara Gelehrter
Beverley and Gerson Geltner
Sue Gingles
Karl and Karen Gotting
Cozette T. Grabb
Elizabeth Needham Graham
Robert A. Green MD
Leslie and Mary Ellen Guinn
Helen C. Hall
Alice and Clifford Hart
Sivana Heller
Diane S. Hoff
Carolyn B. Houston
Cheryl and Kevin Hurley
Eileen and Saul Hymans
Perry Irish
Jean Jacobson
Wallie and Janet Jeffries
John E. Fetzer Institute
Timothy and Jo Wiese Johnson
Shirley Y. and Thomas E. Kauper
David and Gretchen Kennard
Gloria and Bob Kerry
Tom and Connie Kinnear
Diane Kirkpatrick
Drs. Paul and Dana Kissner
Philip and Kathryn Klintworth
Carolyn and Jim Knake
Michael 1. 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 Bernice and Herman Merte Lester and Jeanne Monts Alan and Sheila Morgan Melinda Morris Cyril Moscow Susan and Richard Nisbett William Nolting and Donna Parmelee NuStep, Inc. Marylen S. Oberman
Mohammad and
J. Elizabeth Othman Marie L. Panchuk Judith Ann Pavitt Elaine and Bertram Pitt Stephen and Bettina Pollock Peter and Carol Polverini Richard and Lauren Prager Mrs. Gardner C Quarton 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 Norma and Dick Sarns Maya Savarino Erik and Carol Serr Janet and Michael Shatusky Carl Simon and Bobbi Low Elaine and Robert Sims Rodney W. Smith MD Susan M. Smith and
Robert H. Gray Kate and Philip Soper Joseph H. Spiegel Michael B. Staebler Lloyd and Ted St. Antoine Lois and John Stegeman Victor and Marlene Stoeffler Dr. and Mrs. Stanley Strasius David and Karen Stutz Charlotte Sundelson Jan Svejnar and Katherine Terrell Brad and Karen Thompson Jeff and Lisa Tulin-Silver Susan B. Ullrich
Jack and Marilyn van der Velde 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. Wisgemof II Charles Witke and
Aileen Gatten
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 Ramon Berguer MD L.S. Berlin
Jack Billi and Sheryl Hirsch William and llene Birge Jerry and Dody Blackstone 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
Jean and Philip Converse
Jim and Connie Cook
Arnold and Susan Coran
Malcolm and Juanita Cox
Mr. Michael and Dr. Joan Crawford
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
Unda Dintenfass and Ken Wisinski
Steve and Judy Dobson
Cynthia M. Dodd
Bill and Marg Dunifon
Eva and Wolf Duvernoy
Dr. Alan S. Eiser
Stefan and Ruth Fajans
Harvey and Elly Falit
Margaret and John Faulkner
Carol Finerman
David Fink and Marina Mata John and Karen Fischer
Ray and Patricia Fitzgerald Howard P. and Margaret W. Fox 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 Jean and William Gosling Amy and Glenn Gottfried James and Maria Gousseff Dr. John and Renee M. Greden Arthur W. Gulick MD Don P Haefner and
Cynthia J. Stewart Martin and Connie Harris 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 Hunt2icker Maha Hussain and Sal Jafar Eugene and Margaret Ingram Invia Medical Imaging Solutions Stuart and Maureen Isaac Rebecca S. Jahn Jim and Dale Jerome Drs. Kent and Mary Johnson Paul and Olga Johnson Mark and Madolyn Kaminski Christopher Kendall and
Susan Schilperoort Nouman and Iman Khagani Elie R. and Farideh Khoury Rhea Kish
Hermine Roby Klingler Anne Kloack
Charles and Linda Koopmann Rebecca and Adam Kozma Barbara and Michael Kratchman Donald J. and Jeanne L. Kunz Donald John Lachowicz Jane F. Laird LaVonne L. Lang
John K. Lawrence and
Jeanine A Oe Lay David Lebenbom Richard LeSueur Ken and Jane Lieberthal Marilyn and Martin Lindenauer Mark Undley and Sandy Talbott Rod and Robin Little Julie M. Loftin E. Daniel and Kay Long Frances Lyman Bngitte 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 Merrill Lynch
Henry D. Messer and Carl A House Fei Fei and John Mettler Don and Lee Meyer Joetta Mia I James M Miller and
Rebecca H Lehto Myrna and Newell Miller Bert and Kathy Moberg Lewis and Kara Morgenstern Kay and Gayl Ness Randolph and Margaret Nesse 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 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. Rekhert
Richard and Edie Rosenfeld Margaret and Haskell Rothstem Samuel H. Kress Foundation Linda Samuelson and Joel Howell Miriam Sandweiss Dr. Lynn Schachinger and
Dr. Sheryl Ulin
Ann and Thomas J. Schriber David E. and Monica Schteingart Harriet Selin Julie and Mike Shea Howard and Aliza Shevrin Johnson Shiue Edward and Kathy Silver Sandy and Dick Simon Irma JSklenar 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 James Christen Steward Eric and Ines Storhok Timothy W. Sweeney Manuel Tancer John and Geraldine Topliss Fr. Lewis W. Towler Louise Town ley 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 Wierntk
Rev. Francis E. Williams
Robert J. and Anne Marie Willis
I.W. and Beth Winsten
Dr. Lawrence and Man Wise
Frances A. Wright
Jeanne and Paul Yhouse
Judith Abrams
Chns and Tena Achen
Dorit Adler
Thomas and Joann Adler Family
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 Frank Ascione James and Doris August Susan and Michael Babinec 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 Eriing and Merete Blondal Bengtsson Linda Bennett and Bob Bagramian Dr. Rosemary R. Berardi Marc Bernstein and Jennifer Lewis Beverly J. Bole Mark D Bomia Luciana Borbely Bob and Sharon Bordeau Amanda and Stephen Borgsdorf Victoria C. Botek and
William M. Edwards Susie Bozell Robert M Bradley and
Charlotte M. Mistretta William R. Brashear Joel Bregman and Elaine Pomerantz Alexander and Constance Bridges Donald R. and June G. Brown Pamela Brown Richard and Karen Brown Tony and Jane Burton Heather Byrne Doris CaddeEl Brent and Valerie Carey Jim and Lou C arras Dennis J. Carter Albert C.Cattell
Andrew Caughey and Shelly Neitzel Samuel and Roberta C happell 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 Nancy Connell Phelps and Jean Connell M.J. Coon Dr. Hugh Cooper and
Elly 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 Elite Davidson Alice and Ken Davis Dale and Gretchen Davis Mr and Mrs William J. Davis
Dawda. Mann, Mukahy & Sadler. PLC
Elena and Nicholas Delbanco
Sophie and Marylene Delphis
Judith and Kenneth DeWoskin
Elizabeth Dexter
Sally and Larry DiCarlo
Mark and Beth Dixon
Elizabeth A. Doman
Michael and Elizabeth Drake
Elizabeth Duell
Peter and Grace Duren
Swati Dutta
Jane E. Diitton
Kim and Daiiene Eagle
Morgan and Sally Edwards
The Equispon Agency
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 Fmk
C Peter and Beverly A. Fischer
Dr. Lydia Fischer
Jessica Fogel and Lawrence Weiner
Scott and Janet Fogler
David Fox and Paula Bockenstedt
Howard and Margaret Fox
Philip and Renee Frost
Carol Gagliardi and Dave Flesher
Sandra Gast and Greg Kolecki
Martin Garber and Beth German
Richard L. Garner
Michael Gatti and Lisa Murray
Beth Genne and Allan Gibbard
Deborah and Henry Gerst
Walter Z. Graves
Ronald Gibala and Janice Grichor
Milton and Susan Gross
Elmer G. Gilbert and
Lois M. Verbrugge J. Martin Gillespie and
Tara Gillespie Beverly Jeanne Giltrow Maureen and David Ginsburg Edie Goldenberg Richard Gonzalez and
Carrie Berkley Mitch and Barb Goodkin Enid Gosling and Wendy Comstock William and Jean Gosling Mr. and Mrs. Charles and Janet Goss Michael L Gowing Steve and Carol Grafton Christopher and Elaine Graham Walter Z. Graves 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 Milton and Susan Gross Bob and Jane Grover Robin and Stephen Gruber Anna Grzymata-Busse and
Joshua Berke Ken and Margaret Guire George and Mary Haddad M. Peter and Anne Hagiwara Yoshiko Hamano Marrys Hamill Tom Hammond Walt and Charlene Hancock Martin and Connie Harris Abdelkader and Huda Hawasli Anne M. Heacock Rose and John Henderson J. Lawrence Henkel and
Jacqueline Stearns Keith and Marcelle Henley Dr. and Mrs. Michael Hertz Paul and Erin Hickman Peter Hinman and Elizabeth Young John Hogikyan and Barbara Kaye Ronald and Ann Holz Mabelle Hsueh
Dr. Howard Hu and Ms. Rani Kotha Hubert and Helen Huebl Robert B. Ingling Mr. and Mrs. Eugene 0. Ingram (SCIENCES. L L.C John H. and Joan L. Jackson Mel and Myra Jacobs
Beverly P. Jahn Elizabeth Jahn Jerome Jelinek Harold R Johnson Mark and Linda Johnson Mary and Kent Johnson The Jonna Companies Jack and Sharon Kalbfleisch Irving and Helen Kao Arthur A. Kaselemas MD Morris and Evelyn Katz Nancy Keppelman and
Michael Smerza Alfred Kellam
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
Rosalie and Ron Koenig Joseph and Maritynn Kokoszka Alan and Sandra Kortesoja Barbara and Ronald Kramer Donald and Doris Kraushaar Mary and Charles Krieger Dorothea Kroeli and
Michael Jonietz Bert and Geraldine Kruse Kathy and Timothy Lamg Lucy and Kenneth Langa Neal and Anne Laurance Jean Lawton and James Ellis Bob and Laurie Lazebnik Cyril and Ruth Leder John and Theresa Lee Sue Leong
Melvyn and Joan Levitsky David Baker Lewis Jacqueline H. Lewis Michael and Debra Lisull Dr. Daniel Little and
Dr. Bernadette Lintz Gail Sorway Little Dr. and Mrs. Lennart Lofstrom Bill and Lois Lovejoy Charles and Judy Lucas Claire and Richard Malvin Melvin and Jean Manis Michael and Pamela Marcovitz Nancy and Philip Margolis Milan Manch W. Harry Marsden Irwin and Fran Martin H.L. Mason Regent Olivia Maynard and
Olof Karfstrom
Martha Mayo and Irwin Goldstein Laurie McCauley and Jessy Grizzle Margaret and Harris McClamroch James and Mary E. McConville Lym T. McDonald Eileen Mclntosh and
Charles Schaidenbrand Bill and Ginny McKeachie Sylvia M. Meloche Mercantile Bank of Michigan Warren and Hilda Merchant Russ and Brigitte Merz Liz and Art Messiter Walter and Ruth Metzger Gabnelle M. Meyer Shirley and Bill Meyers Leo and Sally Miedler George Miller and Deborah Webster Kitty and Bill Moeller Olga Moir
William G. and Edith 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 Arthur S. Nusbaum Kathleen I.! David and Andrea Page Betty and Steve Palms Karen Park and John Beranek John and Mary Pedley
Jean and Jack Peirce
David and Renee Pinsky
Donald and Evonne Piantinga
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
Mamie Reid
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 Lisa and William Rozek Carol Rugg and Richard Montmorency Arnold Sameroff and
Susan McDonough Ina and Terry Sandalow Jamie Saville
Stephen J. and Kim Rosner Saxe Albert and Jane Saved Betina Schlossberg David and Marcia Schmidt Matthew Shapiro and Susan Garetz David and Elvera Shappirio Patrick and Carol Sherry James Shields George and Gladys Shirley Jean and Thomas Shope George and Nancy Shorney 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 Cynthia Straub Bashar and Hoda Succar Barbara and Donald Sugerman Brian and Lee Talbot Peg Talburtt and Jim Peggs Louise Taylor Sam and Eva Taylor Steve and Diane Telian Mark and Patricia Tessler Mary H. Thieme Edwin). Thomas Nigel and Jane Thompson 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 Wuru Don and Charlotte Wyche Mary Jean and John Yablonky Richard and Kathryn Yarmam ManGrace and Tom York Zakhour and Androulla Youssef Erik and Lineke Zuiderweg Gail and David Zuk
July 1, 2007-November 1, 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 Estate of Eva Mueller The Power Foundation
llene H. Forsyth
Estate of Lillian G. Ostrand
Bernard and Raquel Agranoff Ralph G. Conger Trust Susan and Richard Gutow David and Phyllis Herzig
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
Herb and Carol Amster
Joan Akers Binkow
John R. Edman and Betty B. Edman
Robert and Frances Gamble Trust
Mrs. Robert E. Meredith
Stephen and Agnes Reading
Susan B. Ullrich
Marina and Robert Whitman
Ann and Clayton Wilhite
Michael Allemang and
Janis Bobrin
Essel and Menakka Bailey Robert H. and Wanda Bartlett DJ and Dieter Boehm Jean W. Campbell Jean and Ken Casey Kathleen Crispell and Tom Porter Molly Dobson Jack and Betty Edman Charles and Julia Eisendrath Dede and Oscar Feldman Sid Gilman and Carol Barbour Paul and Anne Glendon David W. and
Kathryn Moore Heleniak Debbie and Norman Herbert Carl and Charlene Herstein Robert M. and Joan F. Howe Jim Irwin
Robert L. and Beatrice H. Kahn Gloria and Bob Kerry Richard and Stephanie Lord Natalie Matovinovic Jerry A. and Deborah Orr May Melinda Morris Susan and Mark Orringer Mrs. Charles Overberger (Betty) Richard N. Peterson and
Wayne T. Bradley Stephen and Bettina Pollock Jeffrey and Huda Karaman Rosen Corliss and Dr. J. C. Rosenberg Prue and Ami Rosenthal Nancy W. Rugani Norma and Dick Sarns Frances U. and Scott K. Simonds Herbert Sloan Lewis and Judy Tann Karl and Karen Weick Ronald and Eileen Weiser Jeanne and Paul Yhouse Jay and Mary Kate Zelenock
Jerry and Gloria Abrams Mrs. Bonnie Ackley Dr. Joann Aebersold 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 I. 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 Astrid and Donald Cleveland 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
Lewis and Mary Green 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 Barbara and Michael Lott 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 John and Dot Reed Marnie Reid Theresa Reid and
Marc Hershenson Kenneth J. Robinson and
Marcia Gershenson Doris E. Rowan Bill and Lisa Rozek Herbert and
Ernestine Ruben Harry and Elaine Sargous Maya Savarino Ann and Thomas J. Schriber Ingrid and Cliff Sheldon Mikki Shepard Don and Sue Sinta Carl and Jari Smith Rhonda SmithStanding
Ovation Productions Lois and John Stegeman Victor and
Marlene Stoeffler Ronald Stowe and
Donna Power Stowe David and Karen Stutz Teresa A. Sullivan and
Douglas Laycock Charlotte Sundelson Mark and Patricia Tessler Norman and
Marcia Thompson Carrie and Peter Throm Claire and Jerry Turcotte Frank and Amanda Uhle Elizabeth and
Stephen Upton Richard and
Madelon Weber W. Scott Westerman, Jr. Mary Ann Whipple Max Wicha and
Sheila Crowley Dianne Widzinski and
James Skupski MD Phyllis B. Wright
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 Ruth Carey Simon Carrington Mark Clague
Edward 5. 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 Enid and Richard Grauer Walter Helmreich Kenneth and Joyce Holmes John and Patricia Huntington Judie and Jerry Lax Shelley MacMillan and
Gary Decker
Jaclin L. and David H. Marlin Janice Mayer Ronald G. Miller Shelley and Dan Morhaim Warren and Shelley Perlove Julianne Pinsak Eileen Pollack Michael and
Lisa Psarouthakis Thomas and
Sue Ann Reisdorph Omari Rush Liz Silverstein Charles E. Sproger Lloyd and Ted St. Antoine Peg Talburtt and Jim Peggs Denise Thai and
David Scobey
Christina and Tom Thoburn Linda Tubbs Harvey and Robin Wax Zelma Weisfeld Warren Williams
Endowed Funds
The future success of the University Musical Society is secured in part by income from UMS's endowment. UMS extends its deepest apprecia?tion to the many donors who have established andor con?tributed to the following funds:
H. Gardner and Bonnie
Ackley Endowment Fund Herbert S. and
Carol Amster Fund Catherine S. Arcure
Endowment Fund Carl and Isabelle Brauer
Endowment Fund Frances Mauney Lohr Choral
Union Endowment Fund Hal and Ann Davis
Endowment Fund Doris Duke Charitable
Foundation Endowment
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 Barbara K. and
Laurence R. Baker Kathy Benton and
Robert Brown 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 Mary C. Crichton H. Michael and
Judith L. Endres Dr. James F. Filgas Ken and Penny Fischer Ms. Susan Ruth Fischer Meredith L. and Neal Foster Beverley and Gerson Geltner Paul and Anne Glendon Debbie and Norman Herbert John and Martha Hicks Mr. and Mrs. Richard Ives Marilyn G. Jeffs
Thomas C. and
Constance M. Kinnear Diane Kirkpatrick Richard LeSueur Pearson and Robert Macek Susan McClanahan 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
Nancy L. Ascione
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
Betty Fisher
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 T. Hoff
Ben Johnson
Doug Kelbaugh and Kat Nolan
Francis W. Kelsey
Elizabeth Earhart Kennedy
Marilyn Krimm
Robert Lazzerin
Charles Lovelace
Zelma K. Marich
Sharon Anne McAllister
Susan McClanahan
Bettie Metcalf
Valerie D. Meyer
Masud Mostaghim
Ella Baker Munger
Sophia Nanos
Holmes E. and Susan E. Newton
Betty Overberger
Brian Patchen
James Pattndge
Gwen and Emerson Powrie
Gail W. Rector
Steffi Reiss
Margaret E. Rothstein
Eric H. Rothstein
Nona Schneider
Barry Sloat
George E. Smith
Edith Marie Snow
James Stanley
Robert Strozier
Virginia W. Stuart
Sonja Astrid Stutz
Dr. and Mrs. E. Ttiurston Thieme
Charles R. Tieman
Francis V. Viola III
Elea C. and Alexandra Vlisides
Martha J. Whitney
Clayton Wilhite
CarlH. Wilmof19
Maria Wolter
Peter Holderness Woods
Stanley Wrobel
Gifts In-Kind
16 Hands
4 Seasons Perfume and
LingerieAllure Boutique Wadad Abed Abracadabra Jewelry
Gem Gallery Acme Mercantile Benjamin Acosta-Hughes Bernie and Ricky Agranoff Alice Lloyd Residence Hall Carol and Herb Amster Blair Anderson Ann Arbor Art Center Ann Arbor Art Center
Gallery Shop
Ann Arbor Aviation Center Ann Arbor District Library Ann Arbor Framing Ann Arbor Hands-On Museum Ann Arbor Public Schools Ann Arbor Tango Club Ann Arbor's 107one Arbor Brewing Company Avanti Hair Designers Ayla & Company John U. Bacon Bailey. Banks & Biddle Bana Salon and Spa Bob and Wanda Bartlett Joseph W. Becker Gary Beckman Bellanina Day Spa Kathy Benton and Robert Brown Yehonatan Berick Lynda Berg
Berry Goldsmiths
The Betty Brigade
Nishta Bhatia
Maurice and Linda Binkow
Jerry Blackstone
Bloomfield Gourmet Shoppe
Blue Nile
Boychoir of Ann Arbor
Enoch Brater
Beth BruceThe Carlisle Collection
Bob Buckler
Jim Bumstein
Patty ButzkeOrbit Hair Design
Cafe Zola
Cake Nouveau
Lou and Janet Callaway
Camp Michigania
Mary CampbellEveryday Wines
Nathan and Laura Caplan
Casey's Tavern
Cass Technical High School
Cesar Chavez High School
Mignonette Cheng
Cherry Republic
The Chippewa Club
Mark Clague
Deb Clancy
Coach Me Fit
Cole Street Salon & Spa
The Common Grill
Community High School
Community High School
Dance Program Complete Chiropractic and
Bodywork Therapy Howard CooperHoward
Cooper Import Center Liz Copeland James Corbett and
Mary Dempsey Curves Habte Dadi Gary Decker Judith DeWoskin Sally and Larry DiCarlo Andrew S. DixonPersonal
Computer Advisor Heather Dombey Downtown Home & Garden DTE Energy
Duggan Place Bed and Breakfast Aaron Dworkin The Earle Restaurant Eastern Michigan University
Dance Department Eastern Michigan University
Department of Theater
Education Gillian Eaton Jack and Betty Edman Lisa and Jim Edwards El Bustan Funoun Anthony Elliott Julie Ellison Equilibrium Espresso Royale Mary Ann Faeth Fantasy Forest
Jo-Anna and David Featherman Susan Filipiak Ucal Finley
Susan Fisher and John Waidley Kristin Fontichiaro Frame Factory Fran Coy Salon Sara Frank
Maxine and Stuart Frankel Traianos Gagos Deborah Gabrion
Zvi Gitelman
Glass Academy LLC
Anne Glendon
Kathy and Tom Goldberg
The Golden Apple
Larry Greene
Greenstone's Fine Jewelry
Linda Gregerson
Tim Grimes
Groom & Go
Susan Guiheen
Susan and Richard Gutow
Walt and Charlene Hancock
Lavinia Hart
Heather's Place
David W. and
Kathryn Moore Heleniak Carl and Charlene Herstein Hill Top Greenhouse and Farms Barbara Hodgdon The Homestead Bed
and Breakfast Hong Hua
Howell Nature Center Carol and Dan Huntsbarger
The Moveable Feast Iguanaworks Integrated Architecture Inward Bound Yoga Julie's Music Imagining America Mohammad Issa Andrew Jennings Mercy and Stephen Kasle Meg Kennedy Shaw Ken's Flower Shops Kerrytown Concert House Patty and David Kersch Iman Khagani Kenneth Kiesler Tom and Liz Knight Knit A Round Yarn Shop Knit Pickers Joan Knoertzer Gayle LaVictoire Lynnae Lehfeldt Lori Lentini-Wilbur Richard LeSueur Bobbie and Myron Levine Lewis Jewelers Karen Lindenberg Logan An American Restaurant Eleanor Lord Stephanie Lord Martin and Jane Maehr
Mariachi Especial de Alma Martha Cook Residence Hall Marygrove College Dance
Department Masri Sweets
Chandler and Mary Matthews Marilyn McCormick Zarin Mehta Kate Mendeloff The Metro Cafe MFit Culinary Team MFit Fitness Center Michigan Theater Carla Milarch Miles of Golf
Jeff MoreAshley's Restaurant Morgan and York Mosaic Youth Theater Motawi Tileworks Vince Mountain Louis Nagel The Neutral Zone John Neville-Andrews M. Haskell and
Jan Barney Newman Sarah and Dan Nicoli Tom OgarMerrill Lynch Jane Onder and Pat Shure Opus One Marysia Ostafin Pacific Rim by Kana Paesano's Restaurant Kimberly Pearsall Penny Stamps Visiting
Distinguished Visitors Series Performance Network Peter's Palate Pleaser Pierre Paul Art Gallery Gregory and Allison Poggi The Polo Fields Golf and
Country Club David Potter Phil and Kathy Power Yopie Prins Purple Rose Theater Putterz Golf & Games The Quarter Bistro and Tavern Ingrid Racine
Paula RandJuliana Collezione Mamie Reid Huda Rosen Steve Rosoff Ellen Rowe Russell S. Bashaw Faux Finish
Studio, LLC
Afa Sadykhly
Sam's Clothing Store
Agnes and David Sams
Jamie Seville and Rusty Fuller
Schakolad Chocolate Factory
Michael Schoen(eldt
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
Susan Silver-Fink
Loretta Skewes
Tim and Marie Slottow
Andrea Smith
Mandisa Smith
Elizabeth Southwick
Cynthia Sowers
The Spa at Liberty
Peter Sparling
Rick Sperling
Sphinx Organization
Jim and Nancy Stanley
St. Anne's Church in Detroit
Bennett Stein
Stonebridge Golf Club
Cindy Straub
Ed and Natalie Surovell
Edward Surovell Realtors Sweet Gem Confections Swing City Dance Studio Ten Thousand Villages Tom Thompson Flowers Liz Toman Trader Joe's
Travis Pointe Country Club Sue Ullrich
U-M Alumni Association U-M Arts of Citizenship U-M Arts on Earth U-M Arts at Michigan U-M Black Arts Council U-M Center for Afroamerican
and African Studies U-M Center for Chinese Studies U-M Center for Latin American
and Caribbean Studies
U-M Center for Middle Eastern
and North African Studies U-M Center for Russian and
East European Studies U-M Department of Dance U-M Department of Internal
Medicine U-M Department of Musical
U-M Gifts of Art U-M Golf Course U-M Hatcher Graduate Library U-M Honors Program U-M Institute for the
U-M International Institute U-M Museum of Art U-M Office of New Student
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,
Theatre 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
Alumni Association of U-M 28
Ann Arbor City Club 33
Ann Arbor Public Schools Ed. Found. 31
Ann Arbor Symphony Orchestra 38
Bank of Ann Arbor 24
Cardea Construction 18
Center for Plastic and Reconstructive
Surgery 26 Charles Reinhart 29 Credit Suisse 30 Detroit Jazz Festival 39 Donaldson and Gunther, DDS 25 Edward Surovell Realtors 18 Edwards Brothers 36 Honigman Miller Schwartz and
Cohn LLP 4
Howard Cooper Imports 16 IATSE 38 Iris Cleaners 35
Jaffe Raitt Heuer and Weiss 26 Kellogg Eye Center 6 Kensington Court inside front cover Measure For Measure 36 Michigan RadioWUOM 26 Paul and Charlie HickmanThe
Collaboration 18 Performance Network 25 Red Hawk 32 Schakolad16
Stacey M. Washington, Attorney16 Tisch Investments 38 Totoro Japanese Restaurant 18 United Bank and Trust 4 U-M Museum of Art 20 WEMU inside back cover WGTE 35 WKAR 32
Wright Griffen Davis 24 Zanzibar 32
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

Download PDF