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UMS Concert Program, Friday Jan. 23 To Feb. 07: University Musical Society: Winter 2009 - Friday Jan. 23 To Feb. 07 --

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Day
23
Month
January
Year
2009
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Rights Held By
University Musical Society
OCR Text

Season: Winter 09
University Of Michigan, Ann Arbor

WINTER 2009 SEASON UNIVERSITY OF MICHIGAN, ANN ARBOR
university musical society
ums
Winter 09 University of Michigan Ann Arbor
P2 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)

FROM THE U-M PRESIDENT
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 www.umich.edu.
Sincerely,
Mary Sue Coleman
President, University of Michigan
FROM THE UMS PRESIDENT
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 kenfisch@umich.edu or call me at 734.647.1174.
And thanks again for coming to this event.
Very best wishes,
Kenneth C. Fischer UMS President
FROM UMS CHAIRMAN, CARL HERSTEIN
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.
Sincerely,
Carl W. Herstein
Chair, UMS Board of Directors
Leadership
CORPORATE AND FOUNDATION LEADERS
James G. Vella
President, Ford Motor Company Fund and Community Services 'Through music and the arts, we are inspired to broaden our horizons, bridge differences among cultures, and set our spirits free. We are proud to support the University Musical Society and acknowledge the important role it plays in our community."
Douglas L LaFleur
Managing Director, Global Power Group "We at TAQA New World, Inc. are proud to lend our support to 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 -
"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."
FOUNDATION AND GOVERNMENT SUPPORT
UMS gratefully acknowledges the support of the following foundations and government agencies:
$100,000 or more
Doris Duke Charitable Foundation
W.K. Kellogg Foundation
Michigan Council for Arts and Cultural Affairs
The Power Foundation
$50,000-599,999
Anonymous
Doris Duke Foundation for Islamic Art DTE Energy Foundation Esperance Family Foundation National Endowment for the Arts
$20,000-$49,999
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
$10,000-519,999
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
$1,000-$9,999
Consulate General of The Netherlands in New York Mohamed and Hayat Issalssa Foundation Sarns Ann Arbor Fund Target
S250-S999
Thomas and Joann Adler Family Foundation
UNIVERSITY MUSICAL S 0 C I E T Y of the University of Michigan
UMS BOARD OF DIRECTORS
Carl W. Herstein,
Chair James C. Stanley,
Wee Chair Kathleen Benton,
Secretary Michael C. Allemang,
Treasurer Wadad Abed Carol L. Amster Lynda W. Berg
D.J. Boehm Charles W. Borgsdorf Robert Buckler Mary Sue Coleman Martha Darling Junia Doan Al Dodds Aaron P. Dworkin Maxine J. Frankel Patricia M. Garcia Chris Genteel
Anne Glendon David J. Herzig Christopher Kendall Melvin A. Lester Robert C. Macek Joetta Mial Lester P. Monts Roger Newton Todd Roberts A. Douglas Rothwell Edward R. Schulak
John J. H. Schwarz Ellie Serras Joseph A. Sesi Anthony L. Smith Cheryl L. Soper Michael D. VanHemert Masayo Arakawa,
Board Fellow Marcus Collins,
Board Fellow
UMS NATIONAL COUNCIL
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 S. Berger Maurice S. Binkow Lee C. Bollinger Janice Stevens
Botsford Paul C. Boylan Carl A. Brauer William M. Broucek Barbara Everitt Bryant Letitia J. Byrd Kathleen G. Charla Leon S. Cohan Jill A. Corr Peter B. Corr Ronald M. Cresswell
Hal Davis
Sally Stegeman DiCarlo Robert F. DiRomualdo Cynthia Dodd James J. Duderstadt David Featherman Robben W. Fleming David J. Flowers George V. Fornero Beverley B Geltner William S. Hann Randy J. Harris Walter L. Harrison Deborah S. Herbert Norman G. Herbert Peter N. Heydon Toni Hoover Kay Hunt
Alice Davis Irani Stuart A. Isaac Thomas E. Kauper David B. Kennedy Gloria James Kerry Thomas C. Kinnear Marvin Krislov F. Bruce Kulp Leo A. Legatski Ear! 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
UMS ADVISORY COMMITTEE
Phyllis Herzig, Chair Janet Callaway, Vice Chair Elizabeth Palms, Secretary Sarah Nicoli, Treasurer
Ricky Agranoff MariAnn Apley Lorie Arbour Barbara Bach Rula Kort Bawardi Francine Bomar Luciana Borbely Mary Breakey Mary Brown Betty Byrne
Heather Byrne Laura Caplan Cheryl Cassidy Patricia Chapman Cheryl Clarkson Wendy Comstock Norma Davis Mary Dempsey Mary Ann Faelh Michaelene 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 Kelch
Meg Kennedy Shaw Pam Krogness Mary LeDuc Joan Levitsky Eleanor Lord Jane Maehr Jennifer J. Maisch
Joanna McNamara Liz Messiter Robin Miesel Natalie Mobley Kay Ness Thomas Ogar Allison Poggi Lisa Psarouthakis Swanna Saltiel Agnes Moy Sams Penny Schreiber Bev Seiford Aliza Shevrin Alida Siherman Loretta Skewes
Andrea Smith Becki Spangler Nancy Stanley Carlin C. Stockson Karen Stutz Eileen Thactcer Janet Torno Louise Townley Amanda Uhle Dody Viola Enid Wasserman Ellen Woodman Mary Kate Zelenock
UMS STAFF
AdministrationFinance
Kenneth C. Fischer, President Luciana Borbely,
Assistant to the President John B. Kennard, Jr.,
Director of Administration Beth Gilliland,
Gift ProcessorIT Assistant Patricia Hayes, Senior Accountant John Peckham,
Information Systems Manager
Choral Union
Jerry Blackstone,
Conductor and Music Director Jason Harris, Assistant Conductor Kathleen Operhall, Chorus Manager Nancy K. Paul, Librarian Jean Schneider, Accompanist Scott VanOrnum, Accompanist Donald Bryant, Conductor Emeritus
Development
Susan McClanahan, Director Susan Bozell, Manager of
Corporate 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 lames P. Leija, Public Relations
Manager
Mia Milton, Marketing Manager Stephanie Normann, Marketing
Coordinator
Production
Douglas C. Witney, Director Emily Avers, Production
Operations Director Jeffrey Beyersdorf,
Technical Manager
Programming
Michael J. Kondziolka, Director Mark Jacobson,
Programming Manager Carlos Palomares,
Artist Services Coordinator Liz Stover, Programming
Coordinator
Ticket Services
Jennifer Graf, Ticket Services
Manager
Sally A. Cushing, Ticket Office Associate Suzanne Davidson, Assistant Ticket
Services Manager Adrienne Escamilla,
Ticket Office Associate Sara Sanders, Front-of-House
Coordinator
Karen Zobel, Group Sales Coordinator Dennis Carter, Bruce Oshaben,
Brian Roddy, Head Ushers
Students
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
UMS CORPORATE COUNCIL
Doug Rothwell,
Chair Albert Berriz
Bruce Brownlee Bob Buckler Jim Garavaglia
Rob Gruen Steve Hamp Carl Herstein
Bob Kelch Mary Kramer Sharon Rothwell
Mike Staebler Jim Vella
UMS TEACHER ADVISORY COMMITTEE
Abby Alwin Fran Ampey Robin Bailey Greta Barfield Joey Barker Alana Barter Judy Banhweil Rob Bauman Brita Beitler Eli Bleiler Ann Marie Borders
David Borgsdorf Sigrid Bower Marie Brooks Susan Buchan Deb Clancy Carl Clark Ben Cohen Julie Cohen Leslie Criscenti Orelia Dann Saundra Dunn
Johanna Epstein Susan Filipiak Katy Fillion Delores Flagg Joey Fukuchi Jeff Gaynor Joyce Gerber Barb Grabbe Joan Grissing Linda Jones Jeff Kass
Rosalie Koemg Sue Kohfeldt Laura Machida Fran Marroquin Jose Mejia Kim Mobley Eunice Moore Michelle Peet Anne Perigo Rebeca Pietrzak Cathy Reischl
Jessica Rizor Vtcki Shields Sandra Smith Gretchen Suhre Julie Taytor Cayla Tchalo Dan Tolly Alex Wagner Barbara Wallgren Kimberley Wright Kathryn Young
UMSlnfo
GENERAL INFORMATION
Barrier-Free Entrances
For persons with disabilities, all venues have barrier-free entrances. Wheelchair locations vary by venue; visit www.ums.orgtickets or call 734.764.2538 for details. Ushers are available for assistance.
Listening Systems
For hearing-impaired persons, Hill Auditorium, Power Center, and Rackham Auditorium are equipped with assistive listening devices. Earphones may be obtained upon arrival. Please ask an usher for assistance.
Lost and Found
For items lost at Hill Auditorium, Lydia Mendelssohn Theatre, Power Center, or Rackham Auditorium, please call University Productions at 734.763.5213. For the Michigan Theater, call 734.668.8397. For St. Francis of Assisi, call 734.821.2111.
Parking
Please allow plenty of time for parking as the campus area may be congested. Parking is available in the Church Street, Maynard Street, Thayer Street, Fletcher Street, and Fourth Avenue structures for a minimal fee. Limited street parking is also available. Please allow enough time to park before the performance begins. UMS donors at the Patron level and above ($1,000) receive 10 complimentary park?ing passes for use at the Thayer Street or Fletcher Street structures in Ann Arbor.
UMS offers valet parking service for Hill Auditorium performances in the 0809 Choral Union series. Cars may be dropped off in front of Hill Auditorium beginning one hour before
each performance. There is a $20 fee for this service. UMS members at the Concertmaster level ($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
Refreshments are available in the lobby during intermissions at events in the Power Center, in the lower lobby of Hill Auditorium (beginning 75 minutes prior to concerts--enter through the west lobby doors), and in the Michigan Theater. Refreshments are not allowed in the seating areas.
Smoking Areas
University of Michigan policy forbids smoking in any public area, including the lobbies and restrooms.
Start Time
UMS makes every effort to begin concerts at the published time. Most of our events take place in the heart of central campus, which does have limited parking and may have several events occurring simultaneously in different theaters. Please allow plenty of extra time to park and find your seats.
Latecomers
Latecomers will be asked to wait in the lobby until seated by ushers. Most lobbies have been outfitted with monitors andor speakers so that atecomers will not miss the performance.
The late-seating break is determined by the artist and will generally occur during a suitable repertory break in the program (e.g., after the first entire piece, not after individual movements of classical works). There may be occasions where latecomers are not seated until intermis?sion, as determined by the artist. UMS makes every effort to alert patrons in advance when we know that there will be no late seating.
UMS tries to work with the artists to allow 3 flexible late-seating policy for family perform?ances.
UMS TICKETS
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 umsgroupsales@umich.edu.
Classical Kids Club
Parents can introduce their children to world-renowned classical music artists through the Classical Kids Club. For more information please see page P33.
NETWORK Tickets
Members of the UMS African American Arts Advocacy Committee receive discounted tickets to certain performances. For more information please see page P29.
Student Tickets
Discounted tickets are available for University students and teenagers. Information on all UMS University Student Ticketing programs can be found on page P34. Teen Ticket infor?mation can be found on page 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 www.ums.org.
Retums
If you are unable to attend a concert for which you have purchased tickets, you may turn in your tickets up to 15 minutes before curtain time by calling the Ticket Office. Refunds are not available; however, you will be given a receipt for an income tax deduction.
Ticket Exchanges
Subscribers may exchange tickets free of charge. Non-subscribers may exchange tickets for a $6 per ticket exchange fee. Exchanged tickets must be received by the Ticket Office (by mail or in person) at least 48 hours prior to the performance. The value of the tickets
may be applied to another performance or will be held as UMS Credit until the end of the season. You may also fax a copy of your torn tickets to 734.647.1171. Lost or misplaced tickets cannot be exchanged. UMS Credit for this season must be redeemed by April 26, 2009.
HOW DO I BUY TICKETS
In Person:
League Ticket Office
911 North University Ave.
Hours:
Mon-Fri: 9am-5pm
Sat: 10am-1pm
By Phone:
734.764.2538
Outside the 734 area code, call toll-free 800.221.1229
By Internet:
www.ums.org
By Fax: 734.647.1171
By Mail:
UMS Ticket Office Burton Memorial Tower 881 North University Ave. Ann Arbor, Ml 48109-1011
On-site ticket offices at performance venues open 90 minutes before each performance.
UMSAnnals
UMS HISTORY
Through a commitment to presentation, education, and the creation of new work, the University Musical Society (UMS) serves Michigan audiences by bringing to our community an ongo-ng series of world-class artists, who represent ;he diverse spectrum of today's vigorous and 3xciting live performing arts world. Over the past 130 years, strong leadership coupled with a devoted community has placed UMS in a eague of internationally recognized performing arts presenters. Today, the UMS seasonal program is a reflection of a thoughtful respect for this rich and varied history, balanced by a commit?ment to dynamic and creative visions of where the performing arts will take us in this new nnillennium. Every day UMS seeks to cultivate, nurture, and stimulate public interest and oarticipation in every facet of the live arts.
UMS grew from a group of local university and townspeople who gathered together for "he study of Handel's Messiah. Led by Professor Henry Simmons Frieze and conducted by 3rofessor Calvin Cady, the group assumed the name The Choral Union. Their first perform?ance of Handel's Messiah was in December of 1879 and this glorious oratorio has since been performed by the UMS Choral Union annually.
As many Choral Union members also oelonged to the University, the University Musical Society was established in December, 1880. UMS included the Choral Union and Jniversity 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.
UMS VENUES AND
BURTON MEMORIAL TOWER
Hill Auditorium
After an 18-month $38.6-million dollar renova?tion overseen by Albert Kahn Associates, Inc. and historic preservation architects Quinn EvansArchitects, Hill Auditorium re-opened to the public in January 2004. Originally built in 1913, renovations have updated Hill's infra?structure and restored much of the interior to its original splendor. Exterior renovations include the reworking of brick paving and stone retaining wall areas, restoration of the south entrance plaza, reworking of the west barrier-free ramp and loading dock, and improvements to landscaping.
Interior renovations included the creation of additional restrooms, the improvement of barrier-free circulation by providing elevators and an addition with ramps, 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.
f BFIH
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 23 through Saturday, February 7, 2009
Gilgamesh 5
Friday, January 23, 7:00 pm and 9:00 pm
Saturday, January 24, 7:00 pm
Biomedical Science Research Building Auditorium
Richard Goode 9
Sunday, January 25, 4:00 pm Hill Auditorium
Chanticleer 15
Thursday, January 29, 8:00 pm St. Francis of Assisi Catholic Church
Michigan Chamber Players 21
Saturday, January 31, 8:00 pm Rackham Auditorium Complimentary admission
Lawrence Brownlee and 29
Martin Katz
Saturday, February 7, 8:00 pm Hill Auditorium
Fall 2008
1
September
10-14 Wed-Sun Complicite: A Disappearing Number
19-20 Fri-Sat Mark Morris Dance Group
27 SatWayne Shorter Quartet and the Imani Winds
October
4 SatThe Art of the Oud featuring Omar Bashir, Rahim AlHaj, and Farida and the Iraqi Maqam Ensemble 12 Sun Sphinx Orchestra
12 Sun Tokyo String Quartet with
Sabine Meyer, clarinet
15 IVed-Compagnie Heddy Maalem: The Rite of Spring
17 FriSoweto Gospel Choir
18 SatMilton Nascimento and the Jobim Trio
19 Sun Camerata Salzburg with
Anne-Sophie Mutter, violin 24 Fri Andras Schiff: Beethoven Concert 5
26 Sun Andras Schiff: Beethoven Concert 6
27 Mon Michigan Chamber Players
November
7 Fri Joe Lovano "Us Five" Quintet and Jason Moran
8 SatEmanuel Ax and Yefim Bronfman, pianos
13 Thu Estonian Philharmonic Chamber Choir
16 Sun Jerusalem Symphony Orchestra with Robert
McDuffie, violin
December
6-7 Sat-Sun Handel's Messiah
January
9-11 Fri-Sun Rubberbandance Group 11 SunGuarneri String Quartet 16 Fri Tord Gustavsen Trio
23-24 Fri-SatGilgamesh: Kinan Azmeh, clarinet and Kevork Mourad, MaxMSP
24 SatFord Honors Program honoring the Royal
Shakespeare Company, Michael Boyd, and Ralph Williams
25 Sun Richard Goode, piano 29 Thu Chanticleer
31 SatMichigan Chamber Players
February
7 SatLawrence Brownlee, tenor with
Martin Katz, piano 12 Thu Sweet Honey in the Rock 13fr7-Kodo 14-15 Sat-Sun Batsheva Dance Company
March
7-8 Sat-Sun New York Philharmonic
10 Tue Wynton Marsalis and Jazz at Lincoln Center
Orchestra
11 Wed Brentano 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 Wed -Altenberg Trio Vienna
22 Sun Zakir Hussain, tabla with
Pandit Shivkumar Sharma, santoor 26 Thu The Romeros 29 Sun Dan Zanes & Friends
April
1 Wed-John Williams, guitar
2 Thu St. Louis Symphony Orchestra with
Anssi Karttunen, cello 4 Sat Chick Corea and John McLaughlin:
Five Peace Band
9 Thu Andras Schiff: Beethoven Concert 7 11 SatAndras Schiff: Beethoven Concert 8
16 Thu Kurt Elling Sings the ColtraneHartman
Songbook
17 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 February 7, 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 www.ums.org or contact the UMS education department at 734.647.6712 or umsed@umich.edu.
Gilgamesh
PREP: 77e Epic of Gilgamesh
Friday, January 23 and Saturday, January 24, 5:30 pm
Biomedical Science Research Building Seminar Room, 1st Floor, 109 Zina Pitcher Place
The Babylonian epic poem, The Epic of Gilgamesh, is the inspiration for performance by Kinan Azmeh on clarinet with live projected drawings by SyrianArmenian painter Kevork Mourad. Piotr Michalowski, George G. Cameron Professor of Ancient Near Eastern Languages and Civilizations at the University of Michigan, hosts a pre-performance lecture on the history and context of The Epic of Gilgamesh, preceding this exciting new multimedia work.
A collaboration with the U-M Department of Near Eastern Studies.
Chanticleer
Master Class: Chanticleer and the U-M Men's Glee Club
Thursday, January 29, 1:00 pm
Stamps Auditorium, U-M Walgreen Drama
Center, 1226 Murfin Avenue
Members of the all-male chorus Chanticleer conduct a master class with the U-M Men's Glee Club. Open to the public for observation.
A collaboration with the U-M Men's Glee Club and the U-M School of Music, Theatre & Dance.
Lawrence Brownlee and Martin Katz
Master Class: Lawrence Brownlee
Friday, February 6, 2:30 pm
Britton Recital Hall, U-M School of Music, Theatre
& Dance, Earl V. Moore Building, 1100 Baits Avenue
Internationally renowned tenor Lawrence Brownlee conducts a master class with voice students from the U-M School of Music, Theatre & Dance. Open to the public for observation.
A collaboration with the U-M School of Music, Theatre & Dance.
presents
The Epic of Gilgamesh
Kinan Azmeh, Composer, Clarinet Kevork Mourad, Live Illustrations, Visuals
Friday Evening, January 23, 2009 at 7:00 and 9:00
Saturday Evening, January 24, 2009 at 7:00
Biomedical Science Research Building Auditorium Ann Arbor
Tonight's performance runs approximately 52 minutes without intermission.
30th, 31st, and 32nd Performances of the 130th Annual Season
UMS Global: Performing Arts of the Arab World
The photographing or sound and video recording of this performance or possession of any device for such recording is prohibited.
The Performing Arts of the Arab World series is sponsored by TAQA New World, Inc.; The Mosaic Foundation, Washington, DC; and the Community Foundation for Southeast Michigan and Bustan al-Funun Foundation for Arab Arts.
The Friday performances are sponsored by Gil Omenn and Martha Darling.
Funded in part by the National Endowment for the Arts, which believes that a great nation deserves great art.
Made possible in part by the U-M Program in Armenian Studies.
Additional funding provided by the Penny W. Stamps Distinguished Visitors Program of the U-M School of Art and Design.
Media partnership provided by The Arab American News, ArabDetroit.com, and Between the Lines.
Special thanks to the U-M School of Art and Design, the Penny Stamps Distin?guished Visitors Program, Chrisstina Hamilton, Piotr Michalowski, and the U-M Department for Near Eastern Studies for their participation in this residency.
Large print programs are available upon request.
The Epic of Gilgamesh
The current unrest in the seat of the world's oldest civilization inspired us to explore the most ancient epic we have in writing today. The Epic of Gilgamesh is a lush story, rich in meaning, in romance, and humor.
We have chosen to explore this epic through the art forms of music and painting, using them in tandem as vehicles for storytelling. With original composition on the clarinet (with the use of Max Msp software as a compositional extension) both inspiring and working off of the visual artist's projected illustration, the world's oldest known epic will be brought to life in the present through new musical forms and through a new form of visual art exploring the permanence of lines on paper in the impermanence of projection.
The artists have chosen a few of the most vivid parts of The Epic of Gilgamesh to present in musicalvisual form. After presenting an image of a Sumerian tablet like those on which the epic was recorded, they delve into the story:
Gilgamesh: The King of Uruk, part god, part human, is restless and oppresses people. The gods decide to create a counterpart to rival him.
Enkidu: Violent, half-human and half-beast, he has an insurmountable appetite and an inherent wildness.
Improvisation: The artists create their vision of the landscape, civilization, and future of the kingdom of Uruk.
Taming of Enkidu: The people of the town hear that a half-beast is coming to the city and might destroy it. They send the most famous harlot of Uruk to seduce Enkidu. He learns about wine and sex, in which he indulges for seven days and seven nights.
Dream: Gilgamesh's dreams, according to his mother, symbolize that he'll soon meet someone of enormous strength who will become very close to him, and who will help Gilgamesh accomplish great things.
Friendship: Enkidu enters the city of Uruk for the first time during a celebration, and at his entrance, he and Gilgamesh dance; the dance becomes a huge fight, after which they become the closest of friends.
Cedar Forest Enkidu and Gilgamesh decide to embark on an adventure together, in which they attempt to go and cut down all the trees of the Cedar Forest. They succeed in doing this, after killing Humbaba, the Demon of the Forest. But before expiring, Humbaba has cast a curse on Enkidu.
Enkidu's Demise: Enkidu, on whom the gods have decided to take vengeance for the pair's destruction of Humbaba and the forest, dies after suffering intensely for 12 days.
Flower of Immortality: Gilgamesh, upset at the death of his friend and the prospect of his own mortality, goes in search of immortality. After various adventures, he finds the only two immortals on earth who allow him to take a flower of immortality, but the plant is soon eaten by a snake in a moment of inattention, and Gilgamesh cries at the futility of all his efforts.
Today: At the end of the original epic, Gilgamesh stands before the gates of Uruk, admiring the greatness of his city. In the artists' version, they introduce a new tablet that represents the culture that now inhabits the land that was Uruk. And with Gilgamesh, we look upon the fate of that land.
Described as "engagingly flamboyant" by the Los Angeles Times and "a virtuosic, unique sound" by The Daily Star, clarinetist Kinan Azmeh is gaining the reputation of being one of Syria's new rising stars. Born in Damascus in 1976, Mr. Azmeh became the first Arab to take first prize at the Nicolay Rubinstein International Competition in Moscow in 1997. He studied with Shurky Shawki, Nicolay Viovanof, and Anatoly Moratof at The Juilliard School, and is currently working towards his doctoral degree at the City University of New York under Charles Neidich.
Mr. Azmeh has appeared worldwide as soloist and composer, including performances at the Opera Bastille in Paris, Tchaikovsky Conservatory Grand Hall in Moscow, the Mozarteum in
Kinan Azmeh
Salzburg, Carnegie and Alice Tully Halls in New York, Royal Albert Hall in London, Teatro Col6n in Buenos Aires, the Berlin Philharmonic Hall, The Kennedy Center in Washington, DC, and the Damascus Opera House, for its opening concert. His recordings include three albums with the ensemble HEWAR (which he founded with oudist Issam Rafea in 2003) and several soundtracks for film and dance. He has shared the stage with Mari Kimura, Marcel Khalife, Daniel Barenboim, Elliott Sharp, Katia Tchemberdji, Kani Karaca, and Kevork Mourad. His compositions include several works for film, live visual artist, solo clarinet, orchestra, chamber ensemble, and electronics. Mr. Azmeh is also the Artistic Director of the Damascus Festival Chamber Ensemble, which he founded in 2008.
Kevork Mourad, an artist of Armenian origin, was born in 1970 in Aleppo, Syria. After his education in Syria, he was accepted to the Yerevan Institute of Fine Arts in Armenia, where he received his MFA in 1996. He has exhibited widely in Armenia and in the US. Early on, he developed a technique of spontaneous painting, in which he shares the stage with musicians; his art created in counterpoint to their music. His first performance of live drawing was at the Gyumri
Biennial in 1997 with trombonist David Minassian. Since then, his collaborations have included a live performance with Djivan Gasparyan at Cooper Union in April 2001 and a benefit show for the Coalition to Ban Land mines at Grace Cathedral in San Francisco, in tandem with George Winston. He performed at Juilliard at the "Machine and Beyond" Festival with Kinan Azmeh, in a project based on The Epic of Gilgamesh. The same piece was also performed at the Chelsea Museum of Art in New York. In 2004 he performed with the Latin Jazz Band SYOTOS at the Brooklyn Museum of Art. Later appearances include the Tenri Cultural Center and at Angel Orensantz with members of the Silk Road Ensemble. In spring 2005, he joined Yo-Yo Ma's Silk Road Ensemble, with which he has performed at the Rhode Island School of Design, Harvard University, and most recently, the Nara Museum, in Nara, Japan. In March 2006, he performed with the percussion group Tambuco in Morelia, Mexico, where he was the featured artist at the Morelia Chess Festival, and is currently collaborating with composer Ken Ueno and violist Kim Kashkashian. For further information, please visit www.kevorkmourad.com.
This weekend's performances mark the UMS debuts of both Kinan Azmeh and Kevork Mourad.
and
Donald L. Morelock
present
Richard Goode
Piano
Program Sunday Afternoon, January 25, 2009 at 4:00 Hill Auditorium Ann Arbor
Johann Sebastian Bach French Suite No. 5 in G Major, BWV 816 Allemande Bourree Courante Loure Sarabande Gigue Gavotte
Frederic Chopin Mazurkas
Scherzo No. 3 in c-sharp minor, Op. 39
Barcarolle in F-sharp Major, Op. 60
INTERMISSION
Bach Three Preludes and Fugues from Das wohltemperirte Clavier, BWV 846-893
Chopin Nocturne in F-sharp Major, Op. 15, No. 2
Nocturne in D-flat Major, Op. 27, No. 2
Waltz in c-sharp minor, Op. 64, No. 2
Waltz in A-flat Major, Op. 64, No. 3
Valse brillante in F Major, Op. 34, No. 3
Polonaise-fantasie in A-flat Major, Op. 61

34th Performance of the 130th Annual Season
The photographing or sound and video recording of this recital or posses?sion of any device for such recording is prohibited.
This afternoon's performance is sponsored by Donald L. Morelock.
Media partnership provided by WGTE 91.3 FM, Observer S Eccentric Newspapers, and WRCJ 90.9 FM.
Special thanks to Tom Thompson of Tom Thompson Flowers, Ann Arbor, for his generous contribution of floral art for this afternoon's recital.
The Steinway piano used in this afternoon's recital is made possible by William and Mary Palmer and by the Steinway Piano Gallery of Detroit.
Special thanks to Steven Ball for coordinating the pre-concert music on the Charles Baird Carillon.
Mr. Goode appears by arrangement with Frank Salomon Associates, New York, NY.
Large print programs are available upon request.
Now that you're in your seat...
Bach and Chopin have more in common than one may realize. At first glance, the composers lived in different ages and countries; one was all encompassing in the range of genres he cultivated while the other largely restricted himself to one favorite medium. Yet they were both virtuosic performers on keyboard instruments and each had a defining influence on the art of playing those instruments. We know that Bach was Chopin's favorite composer; the Polish master cherished, in particular, the Well-Tempered Clavier, which inspired him to write his own set of 24 preludes in all major and minor keys.
Many of Mr. Goode's selections tonight are dances--another predilection that unites the two composers on the program, both of whom found endless inspiration in the dance forms of their day. Bach's suites, like Chopin's mazurkas, waltzes, and polonaises, took conventional dances and invested them with highly individual characteristics, turning them into vehicles of personal expression. Through this program, two great composers meet and engage in a dialogue with each other; one is tempted to imagine the Thomaskantor listening with great joy to the music of his distant artistic descendant.
French Suite No. 5 in G Major, BWV 816 (1721) Johann Sebastian Bach Born March 21, 1685 in Eisenach, Germany Died July 28, 1750 in Leipzig
Snapshot of History...
(During the years of Bach's artistic maturity, 1717-1750) 1683-1725: Peter the Great is Czar of Russia 1717: Antoine Watteau paints Embarkation for the
Isle of Cythera
1718: New Orleans is founded 1719: Defoe publishes Robinson Crusoe 1721: Montesquieu publishes Persian Letters 1731: The abbe Prevost publishes his novel Manon
Lescaut
1733-35, 1737-38: Wars of the Polish Succession 1733: Pergolesi's La sena padrona, one of the first
and most successful comic operas, is performed
in Naples
1737-38: Linne develops his classification of plants 1740: Frederick the Great becomes King of Prussia 1742: Faneuil Hall built in Boston 1742: Handel's Messiah performed in Dublin 1746: Benjamin Franklin begins his experiments with
electricity 1749: Jean-Jacques Rousseau writes his Discourse on
the Arts and Sciences
The suite, or sequence of dances, played a very important part in J.S. Bach's work; he wrote about 45 of them, mostly for keyboard but some also for orchestra, as well as unaccompanied violin and
cello. In a sense, all of his suites are "French," since they are all based on the same French court dances. As a young man, Bach became familiar with the keyboard suites of many French composers of the late 17th century and immediately began composing similar works. During the six years he spent at the Cothen court (which, being Calvinist, needed very little sacred music), Bach concentrated on instrumental genres; the six "English" and six "French" suites date mostly from this time. (The main difference between the two is that the English suites contain opening Preludes while the French suites do not. Incidentally, neither name comes from Bach himself.)
Five of the six French suites can be found, in early versions, in the notebook Bach compiled for his second wife, Anna Magdalena, soon after their marriage on December 3, 1721. There are four dances that are present in every suite: Allemande, Courante, Sarabande, and Gigue. Between the last two. Bach inserted some additional, "optional" movements, which vary from case to case. In the G-Major suite there are three "extra" movements: a Gavotte, a Bourree, and a Loure. Collectively, these were often referred to as Galanterien-pieces in a simpler, more clear-cut style with fewer ornamental figurations and ancestors of the "gallant" style that the generation coming after Bach would develop. The Loure--a kind of "slow gigue"--deserves special mention as this is one of only two instances that Bach ever used this form (the other Loure is in the E-Major partita for
unaccompanied violin).
The four core movements are presented with all their customary attributes, worked out with the rich harmonies and elaborate textures that distinguish Bach's keyboard music. The "Allemande" is the least dance-like of the set; in fact, it takes on some characteristics of the absent prelude; its careful motivic work and harmonic sophistication almost turn it into a "proto-sonata." The same is true of the "Courante," though the faster tempo and lighter tone preserve more of the original dance character. Slow and dignified, the "Sarabande" is complete with elegant melodic ornaments. Finally, the name "Gigue" conceals, in this instance, a full-fledged fugue for three voices in gigue tempo--or rather, two fugues, for the second half of the movement is a new fugue whose theme is an inversion of the theme of the first half, with all the intervals turned upside down.
Mazurkas
Scherzo No. 3 in c-sharp minor. Op. 39 (1839)
Barcarolle in F-sharp Major, Op. 60 (1845-46)
Frederic Chopin
Born March 7, 1810 in Zelazowa Wola, nr.
Warsaw, Poland Died October 17, 1849 in Paris
Snapshot of History...
(During the years of Chopin's artistic maturity, 1830-1849) 1830: Revolution in Paris. End of Bourbon rule; Louis-Philippe, the Duke of Orleans, is the "citizen king" 1830-31: The Poles revolt against Russian rule and
are defeated
1832: Goethe dies at age 82 1835: Bellini's opera puritani performed in Paris 1837: Berlioz's Requiem performed in Paris 1837: Samuel Morse develops his telegraph and the
Morse code in the US
1837: Queen Victoria ascends the English throne 1837: Michigan becomes a state 1838: Kansas City is founded 1842: E. A. Poe's The Raven is published 1844: Charles Dickens publishes 77ie Life and
Adventures of Martin Chuzzlewit 1845: Mendelssohn's Violin Concerto performed in
Leipzig
1845: Wagner's Tannhauser performed in Dresden 1848: Revolution in Paris. Louis-Philippe is ousted and the republic is proclaimed
In Chopin's hands, the mazurka, that popular Polish dance, became a highly personal and extremely diverse character piece, embracing many different emotions and accommodating many different melodic shapes. One constant feature is the typical mazurka rhythm, in 34 time, with two shorter notes on the first beat and two longer ones on the second and third; another is the A-B-A form, with a contrasting middle section providing variety before the return of the opening music. The mazurka accompanied Chopin throughout his career: he wrote about 60 of them. The earliest ones date from his teenage years in Poland, and the last piece of music he ever wrote before his death was likewise a mazurka.
Before Chopin, the word scherzo (literally, "joke") referred to a movement in a longer symphonic or chamber work, which had taken the place of the 18th-century minuet. It was always in A-B-A form and almost always in 34 time; it also abounded in harmonic surprises and other playful effects. In his four scherzos written between 1831 and 1843, Chopin gave the term a whole new meaning; his scherzos are free-standing, independent pieces that retain the outline of the scherzo form yet are more serious than playful in tone (with the possible exception of No. 4).
Scherzo No. 3 was begun on the island of Mallorca, where Chopin and his lady friend George Sand spent several months in 1838-39; after a violent flare-up of his tuberculosis, the couple left for Marseille, where the scherzo was finished in the spring of 1839. It begins with a passage of considerable tonal and rhythmic ambiguity; there are four notes to the beat instead of three, and the c-sharp minor tonality takes an exceptionally long time to establish itself. When the key is finally reached, we hear a stormy theme played in parallel octaves that becomes more and more agitated as it develops. As a total contrast, a second theme (the equivalent of the "trio" section in a classical scherzo) combines a soft, hymn-like melody with a shimmering virtuoso figure of inimitable charm and grace, moving nimbly downwards from the highest register of the piano. Both sections are then repeated, adopting the extended scherzo design Beethoven had used, for instance, in his A-Major Cello Sonata, Op. 69. With Chopin, however, the repeat of the second theme does not lead into a third statement of the opening material but rather into a tempestuous coda in which the original ideas are fundamentally transformed to
achieve maximum intensity and dramatic power.
The characteristic rocking rhythm of the barcarola--the traditional song of the Venetian gondolieri-inspired Chopin to write a work massive in size and completely original in its formal conception. A lilting accompaniment and a sweet melody (with a particularly ingratiating little tag played in parallel sixths) grow together to reach a powerful climax. Enriched by the new thematic material of a middle section in a new key, the music attains a state of near-ecstasy, until its melodies are all but buried underneath a cascade of runs and figurations.
Three Preludes and Fugues from
Das wohltemperirte Clavier, BWV 846-893
Bach
Bach probably got the idea to write a prelude and a fugue in each of the 12 major and 12 minor keys from Johann Kaspar Ferdinand Fischer, who had followed a similar plan in his Ariadne musica (1702). But Fischer's collection contains only 20 preludes and fugues, omitting some of the most "difficult" keys. Bach, however, did not only compose 24 pairs of movements for his collection called Das wohltemperirte Clavier (The Well-Tempered Clavier), but--many years after completing the project--repeated the entire exercise and revisited the same 24 keys for a second time, producing Book II. The resulting body of music--often referred to simply as the "48"--has been the daily bread of pianists for more than 200 years; there is nothing in the entire literature of music that can be compared to it in terms of technical perfection, emotional richness, and variety of characters within a closely circumscribed form.
To understand the title Well-Tempered Clavier, we must know that the more "difficult" keys-those with more than four flats or sharps in their key signature--could not be played in tune on most keyboard instruments of Bach's time because in the unequal tuning systems that were most currently used, some of the intervals, which did not come into play in the "simple keys," sounded woefully impure. The equal temperament made all the half-steps exactly alike, and thus enabled composers and performers to build a major or minor scale on any pitch they wanted. It was this system of tuning that Bach must have had in mind when he
wrote his preludes and fugues (although he was familiar with an alternative solution proposed by the theorist Andreas Werckmeister).
Bach worked on both books of the Well-Tempered Clavier for several years; Book I was completed in 1722, Book II in or about 1742.
Nocturne in F-sharp Major, Op. 15, No. 2 (1833) Nocturne in D-flat Major, Op. 27, No. 2 (1835) Waltz in c-sharp minor. Op. 64, No. 2 (1846-47) Waltz in A-flat Major, Op. 64, No. 3 (1846-47) Valse brillante in F Major, Op. 34, No. 3 (1838) Polonaise-fantasie in A-flat Major, Op. 61 (1846) Chopin
Chopin inherited the nocturne as a genre from Irish composer John Field (1782-1837), yet he made it thoroughly his own from the beginning of his career. All nocturnes are in slow tempo and A-B-A form; their soaring melodies are inspired by bel canto singing and are usually accompanied by broken chords. Yet each nocturne also possesses an individual physiognomy.
One of the most popular nocturnes, Op. 15, No. 2, opens with a melody of perfect beauty, adorned with the most lavish embellishments. The middle section, faster and more agitated, offers contrast, after which the opening melody retums.
Op. 27, No. 2 is one big, uninterrupted melody, consisting of two alternating musical phrases. The first of these phrases is in major and has only one melodic voice, while the second is in minor and has two voices, moving in parallel thirds. It is like an operatic area alternating with a duet. The "aria," which appears three times, is played softly at first and even softer the second time; at the last repeat, however, it appears in a triple fortissimo. Chopin introduces a new melodic idea just before the end; those sensuous chromatic shifts add a further element of magic to this magnificent piece.
In his youth, Chopin was an avid and, by all accounts excellent, ballroom dancer. According to one document that has recently come to light, he received the honor of leading the opening dance at a ball in Warsaw when he was only 15. He also loved playing for dancers; when his illness made it impossible for him to dance, he would still sit at the piano, improvising waltzes and mazurkas for hours on end even as late as 1847, two years before his death.
Chopin clearly had dance in his blood. It has recently been shown that, in his waltzes, he followed the dancers' motions more closely than any other composer; his melodic tums closely correspond to the characteristic twirls of the dance.
In any event, the three late waltzes published as Op. 64, while eminently danceable, were clearly meant to be listened to more than danced to. They contain too many melodic and harmonic subtleties and too much poignant and wistful feeling that would be lost in the ballroom. (The middle section of the c-sharp minor waltz could easily be mistaken for a nocturne!) The earlier "Grande Valse brillante," on the other hand, takes us back to the world of the elegant soirees of Warsaw and Paris society. The three separate waltz strains clearly indicate that this music was conceived with choreography in mind. Yet the elaborate modulations, and especially the sophisticated "hemiola" rhythm of the principal strain (where "one-two-three, one-two-three" becomes "one-two, one-two, one-two"), are clear signs of a transition from the dance floor to the music salon.
Like the mazurka, the polonaise is a Polish national dance in 34 time, but its character is completely different. If the mazurka is lyrical, the polonaise is majestic and grandiose. Chopin wrote six magnificent polonaises earlier in his life, but in his Polonaise-fantaisie, his last work in the genre, he transcended the original scope of the dance form in many ways. This work is less a polonaise dance than a meditation on its melodic and rhythmic patterns. The suspenseful arpeggios of the beginning gradually lead into the section where the polonaise theme unfolds, but the exuberance of the earlier polonaises is now tempered by reflection, even--perhaps--a tinge of nostalgia. The range of tonalities employed is much wider than elsewhere, with the initial A-flat Major yielding to distant keys long before we reach the Piu lento (slower) middle section where such modulations would normally be expected. This middle section starts as a quiet quasi-nocturne, but halfway into it, the polonaise rhythm retums, only to be interrupted by the meditative arpeggios from the beginning. There is no recapitulation in the strict sense of the word; instead, the polonaise theme develops into a brilliant coda. Just before the end, however, we are reminded of the mysterious side of the composition by a few introspective
measures, with a few soft harmonies in the low register and a series of rumbling trills in the bass.
Program notes by Peter Laki.
A native of New York, pianist Richard Goode has been hailed for music making of tremendous emotional power, depth, and expressiveness. His ability to enter and illuminate the different worlds of each composer he plays has inspired one critic to remark, "You'd swear the composer himself was at the keyboard, expressing musical thoughts that had just come into his head."
One of today's most admired artists, Mr. Goode was honored in recent seasons by both Carnegie Hall in New York and the South Bank Centre in London with multiple-event residencies that vividly demonstrated the remarkable breadth of his artistry. Performances with orchestra, recitals, vocal evenings (including Schoenberg's "Hanging Gardens" with Dawn Upshaw), chamber music concerts, and master classes offered audiences a fascinating perspective of the discoveries and insights of Mr. Goode's distinguished career.
Richard Goode
Sascha Gusov
This season, Mr. Goode will be heard in recital at Carnegie Hall in New York, in Chicago, Cleveland, at the Krannert Center of the University of Illinois, for the Cliburn Concerts in Ft. Worth, in Denver, Portland, at Cal Performances in Berkeley, in Kansas City, New Orleans, Philadelphia, for the Orange Country Philharmonic Society, the University Musical Society in Ann Arbor, and the Washington Performing Arts Society. Orchestral engagements include the Boston Symphony with Herbert Blomstedt, St. Louis Symphony with David Robertson, the London Symphony under Sir Colin Davis, the Bayerische Staatsorchester Munich with Kent Nagano, and the Tonhalle Orchester-Zurich. His eagerly awaited first recording of the complete Beethoven Piano Concertos with the Budapest Festival Orchestra under Ian Fischer will be issued in January 2009 by Nonesuch Records.
Mr. Goode studied with Elvira Szigeti and Claude Franks, Nadia Reisenberg at the Mannes College of Music, and with Rudolf Serkin at the Curtis Institute. He has been serving with Mitsuko Uchida as co-Artistic Director of the Marlboro Music School and Festival since 2000, and resides in New York with his wife, Marcia.
UMS ARCHIVES
This afternoon's recital marks Richard Goode's sixth appearance under UMS auspices. Mr. Goode made his UMS debut in February 1969 in a Music from Marlboro chamber music concert of The Marlboro Music Festival at Rackham Auditorium. He most re?cently appeared as piano soloist with the Orpheus Chamber Orchestra in a concert featuring Mozart concerti in November 1997 at Hill Auditorium.
presents
Chanticleer
Joseph H. Jennings, Artistic Advisor Matthew Oltman, Music Director
Program
Traditional Appalachian, Adapted by J. Jennings
Traditional, Adapted by Jennings
William Billings, Adapted by Jennings
A.M. Cagle, Adapted by Jennings
Juan Gutierrez de Padilla Juan de Lienas
P. D. Q. Bach, Edited (with feeling) by Peter Schickele
Samuel Barber
Thursday Evening, January 29, 2009 at 8:00
St. Francis of Assisi Catholic Church Ann Arbor
Wondrous Free
Guide Me, O Thou Great Jehovah
Jefferson (Glorious Things of Thee Are Spoken)
The Original Sacred Harp (excerpt) David's Lamentation
Soar Away
II
Circumdederunt me dolores mortis
Credidi +
Two Madrigals, from The Triumphs of Thusnelda, S. 1601
The Queen to Me a Royal Pain Doth Give My Bonnie Lass She Smelleth
IV
Reincarnations, Op. 16
Mary Hynes
Anthony O'Daly
The Coolin' (The Fair Haired One)
Brent Michael Davids
David Conte
Eric Whitacre
Stephen Foster, Arr. Donald Moore
Foster,
Arr. Robert Shaw
and Alice Parker
Foster,
Arr. Jack Halloran
Night Chant
INTERMISSION
VI
The Homecoming
In memoriam Martin Luther King, Jr.
Paradise Lost: Shadows and Wings (excerpt) Sleep, My Child
VII
Hard Times Come Again No More
Gentle Annie
Nelly Bly +
Vlll
Folk and Popular Song
A selection of folk songs, popular songs, and spirituals to be announced by the artists from the stage.
These works are published in the Silver Jubilee Anthology
35th Performance of the 130th Annual Season
The photographing or sound and video recording of this performance or posses?sion of any device for such recording is prohibited.
Media partnership provided by WRCJ 90.9 FM.
Special thanks to U-M Men's Glee Club and the U-M School of Music, Theatre & Dance for their participation in this residency.
Chanticleer recordings are available on the Warner Classics and Chanticleer Records labels. Musical Resources is the printed-music source for Chanticleer.
Chanticleer appears by arrangement with Opus 3 Artists, Ltd.
Large print programs are available upon request.
Chanticleer
Soprano
Dylan Hostetter, Michael McNeil, Gregory Peebles
Alto
Cortez Mitchell, Alan Reinhardt, Adam Ward
Tenor
Brian Hinman, Matthew Oltman, Todd Wedge
Baritone and Bass
Eric Alatorre, Gabriel Lewis-O'Connor, Jace Wittig
Wondrous Free
My days have been so wondrous free, the little birds that fly with careless ease from tree to tree were but as blest as I.
Ask gliding waters if a tear of mine increased their stream. And ask the breathing gales if e'er I lent a sigh to them.
To mark the 250th anniversary of the earliest surviving American secular composition, "My Days Have Been So Wondrous Free" (words by Doctor Parnell), written by Francis Hopkinson, a friend of George Washington and a signer of the Declaration of Independence, Chanticleer lends its signature sound to a program demonstrating the diversity of song in America.
American song reflects its geography and its histories; it is neither a singular path nor a story of a single people, but instead is a flowing, ever-evolving stream of peoples and stories that weave together much like the tributaries of the Mississippi. And like that river, it is broad, awe-inspiring, and always changing in its course.
I
In its traditional form, "Guide Me, O Thou Great Jehovah" was and still is a popular hymn sung widely throughout the world. It first appeared in a hymnal published by William Williams in Bristol, England, in 1745. Here, the original text by Williams is set to a plaintive traditional Appalachian melody.
"Jefferson" is the epitome of the Colonial spirit--it is both patriotic and sacred, with its text based on Revelation 3:12. John Newton wrote the poem at the height of the Revolutionary War in 1779, and the musical setting first appeared in the Missouri Harmony of 1827.
William Billings was a monumental figure in American music history who has the distinction of being the first American composer to publish a book of entirely original works, the New England Psalm Singer (Boston, 1746). "David's Lamentation" appeared first in Billings' Singing Master's Assistant (Boston, 1770) but it is the inclusion of this gem in The Original Sacred Harp that assured its widespread dissemination across the continent. It is a "fuging" tune (an American psalm or hymn tune that involves textual overlap), a genre that was the rage in Britain and the US in the 18th century.
A.M. Cagle's "Soar Away" first appeared in the 1930s in the Denson revision of the The Original Sacred Harp. Although a "new" work, Cagle has captured the essential features of the older shape-note style. It, too, is a fuging tune like the preceding Billings creation.
II
The establishment of sophisticated music-making in the Spanish regions of the Americas predates the English regions by over a century. As early as 1523 Pedro de Gante had established a school for the Native Americans in Texcuco, and his compatriot Juan Caro was instructing Native Americans in four-part harmony by 1526. By 1530, Native American choirs in Mexico were regularly singing polyphony at Sunday Mass.
One dominant figure in American music making in the early 1600s was Juan Gutierrez de Padilla. Born in Malaga, Spain, he moved to Puebla, Mexico, in the early stages of his career and played a central role in defining the style that was to be adopted by his contemporaries. Tonight's work, Circumdederunt me dolores mortis, shows the solemn, formalized reverence of his Latin-text works, which include huge numbers of Mass settings. Vespers and Matins Psalms, Responsories, Lamentations, and a Passion on the Gospel of Matthew.
Another great American composer to spring from this rich choral tradition was Don Juan de Lienas, who was associated with the Convento del Carmen in Mexico City and the Convento de
Nuestra Senora de la Encarnaci6n in the first half of the 1600s.
Credidi, one of Lienas' finer compositions, is a setting of Psalm 115 for eight parts arranged in two choirs. It is multi-sectional with many changes in meter, and each section builds in intensity and fervor until the final climax in the Doxology, "Gloria Patri et Filio__"
III
During the Golden Age of the English madrigal, around the year 1600, it was not uncommon for a number of pieces by different composers to be published together under a single title such as The Triumphs of Oriana, to name one of the most famous collections. It was this practice that inspired an 18th-century nobleman. Count Pointercount, to launch a similar collection of his own as a tribute to his wife Thusnelda, a singer who had recently triumphed over earthly cares by holding a high note so long that she died of asphyxiation, complicated by a lack of sufficient oxygen. The project's hopes of success, however, grew dimmer and dimmer as, one by one, Europe's leading composers refused to contribute, each of them pointing out to the Count (with varying degrees of tact) that the madrigal was dead as an art form--indeed, that it had been dead for almost 200 years. Obviously, the only chance of getting any pieces at all in the collection lay in finding a composer who was too dumb to know what was au courant and what was passe. Thus it is that the sole contributor to The Triumphs of Thusnelda was P.D.Q. Bach (1807-1742) the last and least of the 20-odd children of the great Johann Sebastian Bach, and certainly the oddest of the lot.
The two madrigals, Schickele, No. 1601, were written during the final period of the composer's life, the Contrition Period, when P.D.Q. was trying to make amends for the previous 29 years (the Soused Period) by writing in a style that seemed to him purer and more uplifting than the hybrid and down-letting style of some of this earlier works, e.g., the Serenude and the Gross Concerto.
--Pefer Schickele
IV
Pennsylvania-born composer Samuel Barber became interested in music at a very early age and was a triple-prodigy of voice, composition, and piano. Barber had a long history with the Curtis Institute of Music in Philadelphia, beginning at age 14. While there, he won a Pulitzer travel
scholarship for composition (1935-36), toward the end of which, while in the Tyrol with his partner Gian Carlo Menotti, he wrote the slow movement of his String Quartet in b minor, Op. 11, finishing in mid-September 1936. The Adagio for Strings is Barber's adaption of this slow movement. He wrote in many types of musical forms--opera, symphony, concerto, song--but it is for this one early work that he is most known, partly because of having had the good fortune of having Arturo Toscanini, the most famous conductor of the era, feature the Adagio on the NBC Symphony Orchestra broadcast in 1938, as well as taking it on tour to South America and Europe. Nonetheless, his compositions for voices are a significant part of his work.
Unlike most of the composers who reached their maturity between the World Wars (such as Copland, Blitzstein, Harris, Thomson), Barber's training and temperament led him to write music that was primarily lyrical, expressive, with long, soaring, often elegiac lines; in effect, using conventional forms and techniques, such as counterpoint, and fleshing them out with extended 19th-century harmonies.
Barber's Reincarnations--three poems set by James Stephens "after the Irish of Rafferty"--were composed in 1940 during the period when the young composer, just turned 30, was teaching at Curtis. Despite their widely contrasting moods, these pieces share a deeply felt lyrical insight, expressed in the rich neo-Romantic style at which Barber excelled.
"Mary Hynes" (whose title is rumored to be derived from one of the most beautiful women to have ever lived in Ireland) is filled with the breathless exuberance of young love, softened at its conclusion into dreamy contemplation. The mournful dirge for "Anthony O'Daly" (an Irish resistance martyr hanged in 1820) gives vent to its unbearable tragedy and sorrow by means of an ostinato (repeated note) drone, first in the bass, later in the treble voices. "The Coolin'" (referring to a very special curl or "cooleen" that grows exactly in the middle of the back of the neck of a young girl and alternately came to mean "sweetheart" in Gaelic) is a warm gentle idyll, appealing in its unhurried certainty and rapture of a mutual love.
V
Written in anticipation of a night of love. Night Chant is both a love song and a nighttime song reminiscent of night chants of some Native
American ceremonies. The lyrics of Night Chant are both Mohican words and Native American "vocables." Native American "vocables" form an intertribal way of communicating feelings in songs. Night Chant is written using both an operatic sound quality as well as a more nasal sound quality produced by indigenous singers. In one section of the work, nose flutes accompany the voices for an interesting melodic effect similar to the high falsetto quality of some traditional night chants. In addition, a "walking chant" is composed into the work, for the chorus to enter and exit the performance.
--Brent Michael Davids
VI
John Stirling Walker shared his poem "The Homecoming" with me soon after he wrote it in 2003, with the idea that I might do a musical setting sometime before the 40th anniversary of Martin Luther King's death. As the time approached, I decided to send the poem to Joseph Jennings. I was moved and gratified when he responded with the invitation to compose the work for Chanticleer. Throughout the composition of The Homecoming, Joe and I continued our now decades-long conversation about matters of race, society, education, and the subtleties of choral composition, which contributed to my work on The Homecoming.
Before beginning any setting of a text, I ask myself the following questions: Who is the speaker, and to whom are they speaking What kind of change does the speaker go through in the course of the poem, and where are the climaxes of realization of these changes The answer to these questions guides me in choosing every aspect of the musical materials of the piece, including the tempo, meter, tonality, texture, and formal shape.
In The Homecoming, the speaker is one of the souls that Mr. Walker refers to in his note above, a soul who is restless and angry that the justice Dr. King dreamed of has not yet come to pass This soul is speaking to Dr. King, who I envisioned as continuing to reside in a kind of spiritual jail, because people are not listening to his message. The speaker is addressing Dr. King, to inspire him and to affirm that he will "be home" when people stop ignoring what he said. The work begins in an impassioned c minor, and moves through many tonalities and choral textures before arriving at its climax at the words "and set you free," and finally
sinking to rest in a calm C Major on the words "and call you home."
--David Conte
I originally wrote "Sleep, My Child" in 2003 as an Act II set piece for my musicalopera Paradise Lost: Shadows and Wings, and scored it for two sopranos, mezzo-soprano, cello, and ambient electronica. From the moment I first heard it performed live I knew that I wanted to one day transcribe it for Chanticleer, one of my all-time favorite a cappella groups. I sent a recording of the original version to Joe Jennings and was overjoyed when he agreed to commission and premiere this version, written especially for his magnificent singers.
--Eric Whitacre
VII
Charles Hamm, in his historic book Music in the New World, observes that folk music played an enormously important role in the early-American experience, largely because people of the time prized the oral tradition as much or more than a literary one. The citizens of this new land were farmers, laborers, indentured servants, sailors, workmen, criminals shipped to the backwaters of America, and refugees who were fleeing poverty or political and religious oppression. Stephen Foster is one of America's great songwriters, so much so that his music is mistakenly thought of as traditional folk music. His songs were among the most popular ever written, making Foster's name forever synonymous with American folk music.
Called "the world's reigning male chorus," by The New Yorker magazine, and named 2008 "Ensemble of the Year" by Musical America, Chanticleer will perform more than 100 concerts in the current season, the Grammy Award-winning ensemble's 31st season. Chanticleer will tour to 27 states across the US this season, including appearances at Walt Disney Concert Hall under the auspices of the Los Angeles Philharmonic, New York's Metropolitan Museum of Art, and Chicago, for the Chicago Symphony. The ensemble will make its debut in the People's Republic of China in May 2009. Highlights of fall 2008 are the release of 77ie Mission Road, a CD and DVD set featuring music from California's vibrant mission period, and Chanticleer's induction into the American Classical Music Hall of Fame in Cincinnati.
Chanticleer
Chanticleer, based in San Francisco, has developed a remarkable reputation for its vivid interpretations of vocal literature, from Renaissance to jazz, and from gospel to venturesome new music. With its seamless blend of 12 male voices, the ensemble has earned international renown as "an orchestra of voices."
Since 1994, Chanticleer's recordings have been made available worldwide by Warner Classics. Most recently Let it Snow, a new collection of Christmas music, was on the Billboard charts for 12 weeks. Colors of Love won the Grammy Award in 2000 for "Best Small Ensemble Performance (With or Without Conductor)" and the "Contemporary A Cappella Recording Award for Best Classical Album." The world-premiere recording of Sir John Tavener's Lamentations and Praises was released in January 2002 to critical acclaim and garnered two Grammy Awards for "Classical Best Small Ensemble Performance (with or without Conductor)" and for "Best Classical Contemporary Composition."
UMS ARCHIVES
This evening's concert marks Chanti?cleer's sixth appearance under UMS auspices. The ensemble made their UMS debut in October 1989 at Rackham Auditorium. Chanticleer returned to Ann Arbor to perform in the Hill Auditorium Re-Opening Celebration concert on Janu?ary 17, 2004.
Lisa Kohler
With the help of individual contributions and foundation and corporate support, the group brings the gift of singing to young people by conducting an extensive education program including in-school clinics and workshops, Chanticleer Youth Choral Festivals in the Bay Area and around the country, master classes for university students nationwide, and the Chanticleer in Sonoma summer workshop for adult choral singers.
Chanticleer's long-standing commitment to commissioning and performing new works was recognized in 2008 by the inaugural Dale Warland Commissioning Award and the ASCAPChorus America Award for Adventurous Programming for the 0607 season in which the group premiered 10 new works.
Named for the "clear-singing" rooster in Geoffrey Chaucer's Canterbury Tales, Chanticleer was founded in 1978 by tenor Louis Botto, who sang with the group until 1989 and served as Artistic Director until his death in 1997.
Chanticleer is a non-profit organization, governed by a volunteer Board of Trustees, administered by a professional staff with a full-time professional ensemble, and is a recipient of funding from the National Endowment for the Arts and the Grants for the ArtsSan Francisco Hotel Tax Fund.
Chanticleer Administrative Staff
Christine Bullin, President and General Director
Russ Walton, Director of Administration, and Annual Fund
Barbara Hirst, Director of Capital Campaign
Curt Hancock, Director of Operations, Touring, and
Merchandise
Ben Johns, Director of Education Brian Bauman, Senior AccountantBudget Manager Joe Ledbetter, MarketingDevelopment and IT Systems
Manager
Barbara Bock, Administrative Associate Elizabeth Hounshell, Administrative Intern
Brian Hinman, Road Manager
Gabriel Lewis-O'Connor, Merchandise Manager
Alan Reinhardt, Adam Ward, Merchandise Sales Associates
21C Media Group, National Press Representation
Patron Technology, Inc., Website Design Services
Debra Turner, Graphic Design
Tour Arts, Travel Agent
City Box Office, Box Office Agency
Louis Botto (1951-1997), founder
For more information on Chanticleer, please visit www.chanticleer.org
presents
Michigan Chamber Players
Faculty Artists of the University of Michigan School of Music, Theatre & Dance
Richard Aaron, Cello Rebecca Albers, Viola Yehonatan Berick, Violin and Viola Aaron Berofsky, Violin Gabriel Bolkosky, Violin Alicia Doudna, Violin Anthony Elliott, Cello
Dan Gilbert, ClarinetBass Clarinet Carmen Pelton, Soprano Daniel Pesca, Piano Amy Porter, FlutePiccolo Mary Ann Ramos, Cello Yizhak Schotten, Viola
Program
Arnold Schoenberg
Saturday Evening, January 31, 2009 at 8:00 Rackham Auditorium Ann Arbor
A Season to Create: CreatingMusical Landmarks
Pierrot lunaire. Op. 21
Parti
Mondestrunken (Moon-drunk)
Colombine
Der Dandy (The Dandy)
Eine blasse Wascherin (A Faded Laundress)
Valse de Chopin (Waltz of Chopin)
Madonna
Der kranke Mond (The Sick Moon)
Part II
Nacht (Passacaglia) (Night)
Gebet an Pierrot (Prayer to Pierrot)
Raub (Theft)
Rote Messe (Red Mass)
Galgenlied (Gallows Song)
Enthauptung (Beheading)
Die Kreuze (The Crosses)
Felix Mendelssohn
Part III
Heimweh (Homesick)
Gemeinheit! (Mean Trick!)
Parodie (Parody)
Der Mondfleck (The Moonfleck)
Serenade
Heimfahrt (Journey Home) (Barcarole)
O Alter Duft (0 Old Perfume)
Ms. Pelton, Ms. Porter, Mr. Berick, Mr. Elliott, Mr. Gilbert, Mr. Pesca
INTERMISSION
Octet in E-flat Major, Op. 20
Allegro moderato con fuoco
Andante
Scherzo
Presto
Mr. Berofsky, Mr.Berick, Mr. Bolkosky, Ms. Doudna, Mr. Schotten, Ms. Albers, Mr. Aaron, Ms. Ramos
36th Performance of the 130th Annual Season
The photographing or sound and video recording of this concert or posses?sion of any device for such recording is prohibited.
Special thanks to Amy Porter for her leadership and coordination of this evening's concert.
Large print programs are available upon request.
Pierrot lunaire, Op. 21 (1912)
Arnold Schoenberg
Born September 13, 1874 in Vienna
Died July 13, 1951 in Los Angeles, California
Nearly 100 years after its composition, Arnold Schoenberg's Pierrot lunaire remains one of the most shockingly original and hauntingly imaginative works of the 20th century. First performed in 1912 by an actress and a group of five instrumentalists conducted by the composer, the work's distinctive sprechgesang--a vocal delivery by the narrator singer which hovers between speaking and singing--takes the composition out of the normal confines of chamber music and lends it a uniquely theatrical flavor.
The work's bizarre texts, originally written in French, are German translations of 21 poems by the Belgian poet Albert Giraud (1860-1929). Ranging from the dreamily fantastical to the horrific and macabre, the poems center on the commedia-del-arte character, Pierrot. The figure is at times lunatic clown, suffering artist, egotistical dandy, and modern poet. A kind of poetic offspring of Baudelaire's flaneur, who wandered through the streets of Paris, we find here a flaneur of the interior world.
Schoenberg structured the work in three sections of seven brief movements each. The first movement of each section, respectively "Moon-drunk," "Night," and "Homesick," signals the dominant mood to follow. We descend into darkness, with the most frightening section at the work's center, and then are led back out again towards light.
Where does it come from, this strange musical masterpiece, with its bizarre vocal line neither spoken nor sung and an invented instrumental ensemble neither orchestra nor traditional chamber group With hallucinatory texts by an obscure Belgian poet set in a musical language proven to be beyond analysis We look back nearly 100 years to the birth of the modernist movement and find this work that continues to challenge, surprise, and disturb. When Schoenberg himself looked back an equivalent number of years at the time of Pierrot lunaire's composition, he confronted the historical moment that offered the last works of Beethoven and Schubert.
But Schoenberg never discarded the past; he transformed it. Pierrot lunaire, despite its iconoclastic surface, abounds with references to
traditional musical forms. The work's creation is deeply rooted in both Viennese cultural history and the fin-de-siede moment in which Schoenberg came of age.
What is more emblematic of Viennese culture than the waltz Johann Strauss's Kaiserwalzer acts as our overture. Schoenberg arranged the popular "Emperor's Waltz" for a tour of Pierrot lunaire in 1925. With no changes to Strauss's familiar harmonic language, we are introduced to the instrumental mix of flute, clarinet, strings, and piano that retums in Pierrot. Pierrot lunaire's instrumentation of flute, clarinet, violin, cello, and piano has become a standard of contemporary music, and lacking a simple name like "string quartet," it is often referred to as the "Pierrot" ensemble. Schoenberg expands the coloristic possibilities of these five instruments further by having the musicians double on piccolo, bass clarinet, and viola. He then invents different combinations of instruments for each of the 21 movements, with no single combination ever repeated.
In the 19th century, a popular art form was that of the melodrama--poetic recitation declaimed with musical accompaniment. It was with this form in mind that the retired actress Albertine Zehme approached Arnold Schoenberg with poems of Giraud, expecting a work for speaker and piano. Schoenberg expanded the project with his request for additional instruments, and with the radical move to invent a way to notate theatrical speech.
When reflecting on the composition of Pierrot lunaire, Schoenberg referred to his upbringing in "the Brahmsian culture." His late essay, "Brahms the Progressive" (1947), sought to dispel Brahms's reputation as a conservative traditionalist. This simplistic view had pitted Brahms against the revolutionary Wagner, forcing musicians to choose sides. But Schoenberg's own development owed a great deal to both composers, and he celebrated the innovative aspects of Brahms.
The early piano pieces of 1894 are rare examples of Schoenberg writing in a completely Brahmsian language, with no signal of things to come. The performance of these works and subsequent unfinished piano pieces, up to the "Little Piano Pieces" of 1911, allows us to follow the astounding development of an individual talent, almost as if one were to watch a time-lapsed film of a butterfly emerging from its chrysalis. The large romantic statements move toward intense
concentration, distillation; yet expressive gestures remain recognizable, as romanticism transfigured becomes modernism. (Schoenberg once commented, "I have not discontinued composing in the same style and in the same way as at the very beginning. The difference is only that now I do it better than before.")
The final miniatures are masterpieces of abstraction. We are led towards the world of the interior imagination, where dreams overtake reality, where absurdity and satire overlap with nightmare, where shadow and image are one: the surreal and fantastical world of Arnold Schoenberg's Pierrot lunaire.
Program note by Sarah Rothenberg.
Octet in E-flat Major for Strings, Op. 20
(1825)
Felix Mendelssohn
Born February 3, 1809 in Hamburg, Germany
Died November 4, 1847 in Leipzig
(February 3, 2009: 200th anniversary of Mendelssohn's birth)
Mendelssohn wrote his Ocfef in 1825, the same year Beethoven composed his String Quartet in B-flat Major (Op. 130) which originally ended with the Great Fugue. At 55, Beethoven was nearing the end of his career; the 16-year-old Mendelssohn was just starting his. Much ink has been spilled over who was "modern" and who was "conservative," who was "Classical" and who was "Romantic." Mendelssohn never tried to explode Classical forms the way Beethoven did in his late quartets, with unconventional movement sequences and dramatic interruptions. Yet the younger composer infused those Classical forms with a new energy in ways that were absolutely unheard of. He invented a whole new genre with his Ocfef, which calls for what can be considered either a large chamber group or a very small orchestra. Mendelssohn noted in his manuscript:
This Ocfef must be played by all instruments in symphonic orchestral style. Pianos and fortes must be strictly observed and more strongly emphasized than is usual in pieces of this character.
Yet there were really no other "pieces of this character" to speak of! True, Louis Spohr had written some works for eight string players, but those were double quartets, conceived as dialogs between two separate groups. Mendelssohn, on the other hand, treated his eight players as a single, integrated unit, which was a totally unprecedented procedure.
As for the young prodigy's melodic style, one need only compare the Octet's opening with Haydn's String Quartet in B-flat Major from Op. 76, known as the "Sunrise" on account of its gently ascending first theme. Mendelssohn was apparently inspired by that opening, but Haydn's theme is to Mendelssohn's what a sunrise would be to a solar flare. The Ocfef begins with a true stroke of genius, with a continuation that is in every way worthy of that exceptional opening.
In all four movements, Classical gestures are similarly magnified and expanded upon. The second movement, in c minor, is full of Romantic feeling. It begins and ends in a gentle pianissimo, evoking a nocturnal mood, but there are some extremely powerful emotional outbursts in between. The third movement is the first in a long line of Mendelssohnian scherzos in a very fast tempo and of a light and impish character. It is cast in a modified sonata form and is, therefore, not really a scherzo, structurally speaking. Felix didn't take the time to relax in a contrasting trio section as one might have expected in a scherzo. In the concluding "Presto," finally, the young composer pulled out all the stops. He wrote a brilliant fugue, partly as a bow to the music of the Baroque which he had already begun to study and which would play such an important role in his life later on. The quote from Handel's Messiah ("And He shall reign for ever and ever") cannot be missed. But there is also plenty of playfulness in the movement, along with some harmonic surprises that would have made Handel--and probably Beethoven, too--raise his eyebrows in disbelief mixed with admiration.
Program note by Peter Laki.
Richard Aaron (Cello) has traveled extensively, giving master classes in Madrid, Spain; Manheim, Germany; Seoul, Korea; Matsumoto, Japan; and Paris, France. He has presented master classes in the US at many leading schools, including Rice, Eastman, Michigan, and Oberlin. During summers, he has taught at the Aspen Music Festival, Indiana University String Academy, Calgary Music Bridge, Aria, Innsbruck, the Chautauqua Festival, and Idyllwild. Mr. Aaron's students have won numerous national and international competitions and have performed as soloists with prestigious orchestras, including the Cleveland, Philadelphia, Pittsburgh, and Seattle Symphonies. Award-winning quartets, including the Biava, Fry Street, and American, include his students. He is a member of the Elysian Trio, in residence at Baldwin-Wallace College. Mr. Aaron served on the faculty at the Cleveland Institute of Music and ENCORE School for Strings faculties for 14 years prior to his appointment at the University of Michigan.
This evening's performance marks Richard Aaron's UMS debut.
Rebecca Albers (Viola) has performed across North America, Western Europe, and Asia. Her performances have been seen on national television in the US and China and heard on National Public Radio and French National Radio. Ms. Albers currently resides in Ann Arbor as the violist of the Phoenix Quartet and a recent addition to U-M's viola faculty. She also tours extensively with the Albers Trio, a string trio formed with her sisters Laura and Julie Albers, and with fiddler Mark O'Connor's Appalachia Waltz Trio. Ms. Albers received her Bachelor and Master of Music degrees from The Juilliard School where she studied with and served as a teaching assistant to Heidi Castleman and Hsin-Yun Huang.
This evening's performance marks Ms. Albers' second appearance under UMS auspices.
A prizewinner at the 1993 Naumburg competition and a recipient of the 1996-97 Prix Opus, Yehonatan Berick (Violin and Viola) is in high demand internationally as soloist, recitalist, chamber musician, and pedagogue. Mr. Berick studied violin at the Tel Aviv University's Music Academy and completed his studies at the College-Conservatory of Music at the University of Cincinnati. One of the brightest talents of Israel,
Mr. Berick won several Clairemont Awards, and received yearly stipends from the America-Israel Cultural Foundation. Mr. Berick has performed with ensembles including the Quebec, Winnipeg, Windsor, and Jerusalem Symphonies. He has collaborated with notable artists such as Louis Lortie, David Soyer, Peter Wiley, Stephen Isserlis, Wolfgang Meyer, and Julius Baker. Mr. Berick also participates as a performer and teacher in prestigious national and international music festivals including Bowdoin Music Festival, Keshet Eilon Mastercourse in Israel, Domaine Forget in Canada, and the JMC Young Players' Unit in Israel. Prior to his appointment as Professor of Violin at the University of Michigan, Yehonatan Berick was on the faculties of McGill University and the Eastman School of Music.
This evening's performance marks Yehonatan Behck's fifth appearance under UMS auspices.
Aaron Berofsky (Violin) has toured extensively throughout the US and abroad, gaining wide recognition as a soloist and chamber musician. He has appeared in such renowned venues as Carnegie Hall, Alice Tully Hall, the Corocoran Gallery, L'Octogone, and the Museo de Bellas Artes. Mr. Berofsky has been featured on NPR's Performance Today and on the Canadian Broadcasting Company. He has been the first violinist of the Chester String Quartet since 1992, which has taken him throughout the Americas and Europe. An alumnus of The Juilliard School, Mr. Berofsky was a scholarship student of Dorothy DeLay. Mr. Berofsky is known for his commitment to teaching and is Professor of Violin at the University of Michigan and visiting Professor at the Hochschule fur Muisk in Detmold, Germany. Mr. Berofsky's interest in early music led him to perform with the acclaimed chamber orchestra Tafelmusik on period instruments, and he has recorded with them for the Sony label. With a strong dedication to new music as well, he has worked extensively with many leading composers of the 20th and 21 st centuries. Mr. Berofsky is the concertmaster of the Ann Arbor Symphony. He performs frequently with the Camerata Adriatica as soloist and continues to appear regularly in recital and at festivals throughout North America and Europe.
This evening's performance marks Aaron Berofsky's fifth appearance under UMS auspices.
Gabriel Bolkosky (Violin) is Executive Director of The Phoenix Ensemble, an Ann Arbor-based non-profit arts organization dedicated to helping artists and the educational community. His debut solo album, This and That, was released in 2005 to critical acclaim and features both jazz and classical music. Other recordings include explorations of klezmer with Into the Freylakh (The Shape of Klez to Come), of the nuevo tango music of Astor Piazzolla (The Oblivion Project Live), children's folk music with the children's music group Gemini (The Orchestra Is Here to Play), and contemporary music of composers such as Xenakis and Boulez with his former group Non Sequitur. In May 2008, Mr. Bolkosky made his debut at Carnegie Hall with Opus 21. Throughout the current season, as a member of the Phoenix String Quartet, he is guest artist-in-residence at U-M.
This evening's performance marks Mr. Bolkosky's second appearance under UMS auspices.
Alicia Doudna (Violin) has performed and taught throughout the US and abroad. She has performed with Itzhak Perlman, Paul Katz, Ronald Copes, and members of the Cavani Quartet. She has appeared at various festivals as a chamber musician, and has performed with several chamber orchestras and ensembles, including The East Coast Chamber Orchestra, The Suedama Ensemble, Radius Ensemble, and The Phoenix Ensemble. She is a member of the Phoenix Quartet, the visiting artists-in-residence at U-M. As a teacher, Ms. Doudna was the director of the Peninsula Strings in Blue Hill, Maine, and a chamber music coach at the Perlman Music Program in New York. She has a private studio in Ann Arbor of over 20 students. She holds a BM from the Cleveland Institute of Music and a MM from The New England Conservatory.
This evening's concert marks Ms. Doudna's second appearance under UMS auspices.
Anthony Elliott (Cello) is in great demand as a soloist, chamber music performer, and teacher. Anthony Elliott's studies were with two legendary figures of the cello, Janos Starker and Frank Miller. Presently he is a Professor of Music at the University of Michigan, Ann Arbor. He has given master classes at most of America's leading music programs including Cleveland Institute of Music, Eastman School of Music, and Oberlin Conservatory. He devotes most of his summer
to teaching and performing at the Aspen Music Festival. Mr. Elliott has performed most of the standard concerto repertory with such orchestras as the New York Philharmonic, the Detroit Symphony, and the Vancouver Symphony. As a soloist, his performances have been recorded and broadcast on radio and television across the US and Canada. Also in great demand as a chamber musician, he is a regular guest artist at the Seattle Chamber Music Festival, the Texas Music Festival, and New York's Bargemusic Chamber Series. He has also appeared as a member of Quartet Canada, with members of the Chamber Music Society of Lincoln Center, and with members of the Emerson, Juilliard, Cleveland, and Concord string quartets. He performs regularly with the Michigan Chamber Players in Ann Arbor.
This evening's performance marks Anthony Elliott's 16th appearance under UMS auspices.
Daniel Gilbert {Clarinet) joined the faculty at the University of Michigan as Associate Professor of Clarinet in 2007. Previously, he held the position of Second Clarinet in the Cleveland Orchestra from 1995 to 2007. Mr. Gilbert teaches at Case Western Reserve University in Cleveland and he also served as the Associate Professor of Clarinet at the Oberlin Conservatory of Music from 2000 to 2001. A native of New York City, Mr. Gilbert received a BA from Yale University and both a MM and a Professional Studies Certificate from The Juilliard School. Before joining the Cleveland Orchestra, Mr. Gilbert was active as a freelancer in New York City, appearing regularly with groups including The Metropolitan Opera, American Ballet Theater, and New Jersey Symphony. He has appeared as soloist with the Cleveland Orchestra, the Cleveland Heights Chamber Orchestra, the New Haven Symphony, Solisti New York, and the Aspen Mozart Orchestra. He is an active chamber musician, playing regularly on the Cleveland Orchestra Chamber Series, the Cleveland Museum of Art Chamber Series, and the Oberlin Chamber Music series. Mr. Gilbert's master classes and recitals have received international critical acclaim. His teachers have included David Weber, Robert Marcellus, Stanley Hasty, Richard Waller, Burt Hara, and Judith Kalin-Freeman.
This evening's performance marks Daniel Gilbert's UMS debut.
Carmen Pelton (Soprano) has appeared in a wide range of works with orchestras, opera houses, chamber music groups, Equity drama theaters, and Off-Broadway productions. Conductors have included Robert Shaw, Jeffrey Tate, Donald Runnicles, Patrick Summers, Gerard Schwarz, and Nicholas McGegan, with such diverse groups as the San Francisco Symphony, Baltimore Symphony, St. Paul Chamber Orchestra, Tulsa Opera, West German Radio Orchestra, Goodman Theater, the Smithsonian's 21st-century Consort, the New York Festival of Song, and the Library of Congress. Ms. Pelton's first success in New York City was in the unlikely role of Susan B. Anthony in Mother of Us All; she was subsequently invited to perform the final scene from the opera at the televised Kennedy Honors program for the President and Honoree, Virgil Thomson. Ms. Pelton has taught on the faculties of the University of Washington, The Eastman School of Music, Brevard Music Center, and the Aspen Music Center and School.
This evening's performance marks Carmen Pelton's fifth appearance under UMS auspices.
Daniel Pesca (Piano) completed his Master's degree in both composition and piano performance at U-M in 2007. He received his BM with highest distinction in both areas at The Eastman School of Music. He has received much recognition for his work, including Eastman's Louis Lane Prize, a commission by cellist David Ying, a commission from The Commission Project of Rochester, NY, and the Elizabeth C. Rogers commission. He has had works premiered by U-M Symphony Orchestra, Musica Nova, the Rochester Philharmonic Orchestra, and the Huntsville Symphony Orchestra. Mr. Pesca has performed in many venues across the country including the Kennedy Center and the Aspen Music Festival where he was an [Orchestral piano fellow. Mr. Pesca has participated in the Bowdoin International Music Festival, the American Conservatory in Fontainebleau, France, land the TCUCliburn Piano Institute.
77is evening's concert marks Mr. Pesca's second 'appearance under UMS auspices.
Three-time international prizewinner Amy Porter (Flute) first leapt to attention when she won the Third Kobe International Flute Competition in Japan, which led to international performance invitations. Ms. Porter has appeared as soloist
with orchestras and music centers around the world including Atlanta, Houston, New Hampshire, Carnegie Hall, The Kennedy Center, Suntory Hall, and the National Theater Concert Hall in Taipei, Taiwan. As a recording artist, she recently released Passacaglia: Music for Solo Flute in 2007 on Equilibrium. Ms. Porter has won international competitions including Paris Ville d'Avray International Flute Competition in France, combined with the Alphonse Leduc Prize for outstanding musicianship; National Flute Association Competition; Artists International; and Ima Hogg competitions. She was also awarded the 2006 Henry Russel Award from the University of Michigan for distinguished scholarship and conspicuous ability as a teacher. A native of Wilmington, Delaware, Ms. Porter is a graduate of The Juilliard School. She held the position of Associate Principal Flute in the Atlanta Symphony Orchestra for eight years before becoming Professor of Flute at the University of Michigan, Ann Arbor. She is the founder of the non-profit Southeast Michigan Flute Association.
This evening's performance marks Amy Porter's ninth appearance under UMS auspices.
Mary Ann Ramos (Cello) is the cellist of the Phoenix Quartet, which began coaching chamber music at the U-M School of Music, Theatre & Dance in Fall 2008. Ms. Ramos has appeared as soloist with several orchestras, including the Gateway Festival Orchestra, the University City Symphony, the Alton Symphony, and the Kirkwood Symphony. She holds prizes in various competitions, including the Mexican National Cello Competition and the Music Teachers National Association competition. She has participated in national and international festivals as both a performer and chamber music coach. Ms. Ramos completed her Bachelor's degree at New England Conservatory as a student of Laurence Lesser, and her Master's degree at the Cleveland Institute of Music as a student of Richard Aaron. Ms. Ramos is currently completing a Doctorate at U-M as a student of Anthony Elliott.
This evening's performance marks Ms. Ramos's second appearance under UMS auspices.
Yizhak Schotten (Viola) was brought to the US by the renowned violist William Primrose, with whom he studied at Indiana University and the University of Southern California. Professor Schotten has performed with conductors such as
Seiji Ozawa and Arthur Fiedle. He has concertized in Israel, Japan, Taiwan, Malaysia, Holland, Austria, Mexico, England, Canada, and throughout the US at Carnegie Hall, Merkin Hall, Boston's Jordan Hall, the Phillips Collection in Washington, DC, and the Cleveland Museum of Art. Mr. Schotten has also had numerous broadcasts on National Public Radio. Formerly a member of the Boston Symphony Orchestra, he has been principal violist of the Cincinnati and Houston symphony orchestras. Mr. Schotten has been on the faculties and performed with institutions including the Aspen Music Festival, Banff, Tanglewood, the Taipei Philharmonic Festival, the Festival Internacional de Musica Clasica, and the Amsterdam Kamermuzik Festival. He is also Music Director of the Maui Classical Music Festival in Hawaii, Strings in the Mountains Festival in Steamboat Springs, Colorado, and SpringFest in Ann Arbor. Mr. Schotten was the Artistic Director of the XIV International Viola Congress and has been a featured artist at six other international Congresses.
This evening's performance marks Yizhak Schotten's 23rd appearance under UMS auspices.
presents
Lawrence Brownlee
Tenor
Martin Katz
Piano
Program Saturday Evening, February 7, 2009 at 8:00 Hill Auditorium Ann Arbor
Wolfgang Amadeus Mozart Misero, o sogno o son desto, K. 431
Henri Duparc II Chanson triste Extase Le manoir de Rosemonde Soupir Phidyle
Gioacchlno Rossini III L'ltaliana in Algeri (excerpt) Languir per una bella
INTERMISSION

Franz Liszt
Caetano Donizetti
John Carter
IV
3 Sonnetti di Petrarca
Pace non trovo
Benedetto sia'l giorno
I vidi in terra angelici costumi
La fille du regiment (excerpt) Ah, mes amis, quell jour de fete!
VI Cantata
Prelude
Rondo
Recitative
Air
Toccata
Please withhold applause until the end of each set of songs throughout tonight's program.
37th Performances of the 130th Annual Season
130th Annual Choral Union Series
The photographing or sound and video recording of this recital or possession of any device for such recording is prohibited.
Special thanks to George Shirley, Joseph Edgar Maddy Distinguished University Emeritus Professor of Voice, U-M School of Music, Theatre & Dance, for partici?pating in tonight's Prelude Dinner.
Media partnership provided by WGTE 91.3 FM, Observer & Eccentric Newspapers, and Michigan ChronicleFront Page.
Special thanks to Tom Thompson of Tom Thompson Flowers, Ann Arbor, for his generous contribution of floral art for this evening's recital.
The Steinway piano used in this evening's recital is made possible by William and Mary Palmer and by the Steinway Piano Gallery of Detroit.
Special thanks to Steven Ball for coordinating the pre-concert music on the Charles Baird Carillon.
Special thanks to the U-M School of Music, Theatre & Dance for their participation in this residency.
Mr. Brownlee appears by arrangement with Mirshak Artists Management.
Large print programs are available upon request.
Now that you're in your seat...
Tonight's program spans two centuries of composition, and includes works--in three languages--for the opera house, the salon, and the concert hall. It is interesting to trace the bel canto tradition through the three aria composers, and to compare two different brands of 19th-century romantic outpouring, in both French and Italian. Finally, with Carter's work, it is fascinating to monitor how an arrangement significantly affects how a traditional folksong is heard and understood emotionally.
For much more than a century, from Handel to the first operas of Verdi, operas were constructed of distinct, separate pieces: arias, duets, choruses, and recitatives. A quick glance at the first pages of any score composed during this period, one discovers a table of contents reminiscent of a non-fiction reference work which clearly shows this tradition of separate numbers. This holds true regardless of the language or national origin of the opera. Indeed, all three arias to be performed on this program are excerpted from operas composed in this style. While it was probably not a composer's original intention, this system nevertheless allowed for pieces to be transferred from one opera to another quite easily. Obviously this did not provide the cohesion we are accustomed to today in large through-composed works, but it was abundantly practical, allowing for rapid production of "new" operas from busy, prolific composers. More importantly, this facilitated a celebrated divo or diva interpolating a showpiece, tailor-made to individual virtuosic abilities, be they technical or expressive. These alternate arias might be from the composer of the evening, or quite often, even music from a different composer's pen would be substituted, without apology or justification. A singer might commission an aria, and perform it in tragedies, comedies, translate it into another language, or even transpose its key, using it rather like a versatile and personal fashion accessory today.
This is not at all to suggest that these alternate arias were inferior compositions; quite the opposite is often true. The dramatic situation might be generic or a cliche, but music and text might prove to be far more inspired that the original aria deleted from the performance. Eventually a rich body of these pieces was created, some of which were inserted into operas, but many of which were
composed for their own sake, transcending the origin of the genre, and intended from the outset to stand alone. Today we call these concert arias, and no one equals Mozart for quantity and quality in this genre. The majority of these splendid and impressive pieces are for soprano, but other voice types also commissioned and inspired the composer. Several arias feature the added attraction of a solo instrumental obligato (piano, violin, clarinet or even double bass), tending to place them outside the opera house and more securely in the concert hall.
There are six of these Mozartian gems for tenor, tonight's aria being the last, composed in 1783, in the same period as the C minor Mass and just shortly before Nozze di Figaro. This aria, perhaps better called a scene, is composed along the traditional scheme of recitative--slow, expressive cantilena--and a fast, agitated finale. Mozart's choice of key (E-flat) inevitably promises a rich, majestic color; one thinks of the Countess' "Porgi, amor" or Tamino's "Dies Bildniss ist bezaubernd schon" which share this tonality. The opening recitative is particularly theatrical, as the tenor experiences a wide range of conflicting emotions before realizing he is not to see his beloved again. The ensuing invocation to the breezes to carry his farewell is among Mozart's most poignant cantabiles, featuring the unusual and rather romantic device of duple and triple rhythms occurring simultaneously in the voice and orchestra. The consistent quality of this scene shows us how important the genre of the concert aria had become in this period.
II
How often can a singer offer a group of five selections and say he is fully presenting one-third of the composer's work to his audience With the songs of Henri Duparc, Mr. Brownlee can make
this claim easily and without risk. Rarely has the reputation of a composer rested on a body of music which can fit on a single CD with plenty room to spare, and yet, with Duparc, 16 songs are all the composer chose to leave to us. Duparc's name will probably be unknown to all except singers, accompanists, and fans of French melodie, and yet these songs have established a permanent position in the repertoire since they were published.
Duparc's story is a sad one: he published his first songs at age 20, and put his pen down for good at 35. He was to live another 50 years, however, under a cloud of depression and mental instability. Completely aware of his condition, he decided quite consciously and firmly not to compose again. Even during his productive years, the seeds of this malady produced such an intense hypercritical streak in the composer that many works were withdrawn from publication and destroyed.
The music of Duparc avoids the paths of impressionism well established by his compatriots Debussy and Ravel. Nor does it share much with the Parnassian, economical style embraced by Faure. With Cesar Franck as his first piano teacher, Duparc was naturally to gravitate to the Wagnerian branch of the French tree, along with C hausson and occasionally Chabrier. Indeed, the composer made several trips to Weimar and had the opportunity to meet the creator of Tristan on several occasions. Rather than avoiding intense emotion, Duparc's credo was to demand it, and he helped himself liberally to Wagner's fertile chromaticism to ensure this for his audience. At the same time, however, Duparc selected texts of such elegance and quality that the songs never fall victim to generic melodrama or sloppy sentimentality.
"Chanson triste" is Duparc's first published song and immediately shows us his gift for lyrical vocal lines and flowing accompaniments. The optimistic text surely belies the song's title; this is an expression of gratitude and hope for the future. "Extase" might actually have been written by Wagner. The preponderance of ninth-chords and the falling appoggiatura figure in the piano part are first cousins to "Traume," the final song in Wagner's Wesendoncklieder, written a decade earlier. The atmosphere of amorous fatigue is perfectly captured here, and as the lovers fall asleep, a final tonic chord is never heard. One of Duparc's most violent songs, "Le manoir de Rosemonde" presents a wounded, arrogant, and defensive figure who has wasted his life in a vain search for
something that may not even exist. He gallops into our midst via the piano's dotted, syncopated rhythms, and rides off at the song's conclusion to tell his tale again. The text of "Soupir" may initially strike the reader as a self-pitying lovesong, but in fact, this song is dedicated to Duparc's mother who had died just months before it was composed. It uses only one motive, but heard in constantly shifting harmonies over a stable pedal point. Finally with "PhydileV' this group closes with one of the vocal repertoire's greatest anthems to sensuous love. The accompaniment here is as orchestral as a keyboard part can be, with quasi-operatic tremolos sustaining the entire final section of the song. While the original piano versions are clearly preferable, the composer did orchestrate eight of his songs.
When a tenor possesses the twin gifts of comfort in his extended high range and virtuosic agility, it is a certainty that music by Rossini will occupy a major position in his career; Mr. Brownlee is no exception to this long-standing rule. Ann Arbor heard him not many seasons ago in Tancredi, and the role of Almaviva in Barbiere di Siviglia has provided this singer with the perfect vehicle for debuts in such esteemed venues as the Metropolitan Opera, La Scala Milan, and the National Theatre of Tokyo. L'ltaliana in Algeri, an excerpt of which we hear on tonight's program, was recently recorded by the tenor for Naxos, and this writer is proud to be his keyboard partner in a handful of Rossini songs which were recorded for EMI as part of a bel canto album.
Written in 1813, the tragedy of Tancredi is generally considered Rossini's first success, delighting public and critics alike to such an extent that it was performed 20 times in its first 30 days of existence. Only three months later, the premiere of Rossini's first comedy, L'ltaliana, created a new standard for what opera buffa could achieve, and saw 11 productions throughout Europe in its first year. Today, we hear Barbiere far more often; Figaro's "Largo" is as ubiquitous as the overture to William Tell. But in 1816 Barbiere was simply an encore to the enormous triumph of L'ltaliana three years earlier. So many delicious ingredients come together in this romp of an opera: an exotic locale allowing for non-European sets and costumes and unusual instrumentation; a character in the title role who is without doubt the first and possibly
the finest example of confident feminism ever to appear in opera; a rescue engineered with the aid of Italian cuisine. The finale to act one is still unsurpassed for zany, Marx brothers, controlled chaos.
The tenor's role, Lindoro, serves mainly as a foil to all this humor, highlighting the buffo antics of his colleagues by way of his heartfelt seriousness. "Languir per una bella" is his first appearance in the opera. The aria conforms to the conventional form of this bel canto period: slow and expressive (cavatina) followed by athletic virtuosity and speed (cabaletta). There is no introductory recitative, but instead an extended prelude for solo horn, and the aria's two halves are joined with a brief transition section as Lindoro's hopelessness is dispelled by sudden optimism. Throughout the scene, the singer is confronted with unrelieved high-register writing, challenging long phrases, and finally cascades of fast notes written in a distinctly instrumental fashion. It is clear that Rossini had the vocal and musical equivalent of Olympic athletes at his disposal.
IV
The world of song is full of texts describing unrequited love. This hapless state seems to inspire poets to consistently reach beyond themselves, to articulate the pain of conflict and the joy of adoration unlike any other ordinary utterances. We can find the zenith of these literary expressions of the Unattainable and its effects in the sonnets of Francesco Petrarca. The poet saw his beloved Laura for the first time in 1326. There is no record of their ever having actually met or spoken, but nevertheless he became instantly obsessed with her and wrote sonnets to her and about her for the next 50 years, nonstop. Petrarca not only wrote sonnets; he invented a whole new form of sonnet that bears his name today. In each of the more than 300 poems, the first eight lines state the conflict, and the following six attempt to resolve it or at least come to terms with its reality. The rhyme scheme is fixed for each of these two sections, and the final line inevitably sums up the situation.
Five-hundred years later, a composer romantic enough to match the poignancy and drama of Petrarca's feelings for Laura decided to create musical settings for three of the sonnets, Nos. 134, 61, and 156. Franz Liszt began these compositions in 1839 initially as piano solos, but three years
later turned them into songs, although a more appropriate name for them might be tone-poems, arias, or rhapsodies, given their length, range, and extended demands for both performers.
Other composers have set Petrarca's texts: in the 16th century, Italian madrigalists were continually drawn to them; Schubert wrote two Petrarchlieder; Respighi and Pizzetti were also inspired by their compatriot's words. But no musical settings can rival this trio of songs by Liszt; his exaggerated romanticism fuses perfectly with Petrarca's, and once having become acquainted with the songs, it is difficult to imagine the texts clothed in any other music of any era.
Liszt begins each of the three sonnets with the piano stating what will much later become the last vocal phrase, the final summarizing line of the 14. Thus, the poem is "pre-encapsulated" for us without words; the voice enters, adding the supporting evidence, and the experience concludes with the vocal version of the piano's introduction. Occasionally there are problems with the prosody and inflection, for despite his extensive travels, Liszt was not fluent in Italian. These few insignificant issues are easily solved, however, by tiny adjustments to the printed score by the performers.
V
At exactly the same time Liszt was composing his Petrarca sonnets, Gaetano Donizetti was writing his second opera for Paris, La Fille du Regiment. Thus, while the Hungarian virtuoso immersed himself in antique Italian poetry, the Bergamo native worked to invent music both bet canto and military for a French libretto. By 1840, Donizetti had no less than 69 operas to his credit, all of them grand, and all tragedies with the single exception of L'Elisir d'Amore. The trilogy of Tudor queens and Scott's Lucia di Lamermoor were several years old by now, so the composer was no stranger to non-Italian subjects.
What was unusual for Donizetti was a young heroine raised in the mountains entirely by soldiers. This story required an all-male chorus, trumpet calls, a battery of percussion, and rowdy and seemingly unsophisticated brigade songs. Donizetti came up with just the right mixture of operetta, opera buffa, and folk-like tunes to create the irrepressible joy of regimental life. When the libretto tums temporarily serious, and Marie is forced to bid her many "fathers" adieu, Donizetti
retums to his accustomed heroic, long-lined lyricism which had made so many of his tragic operas highly successful. He was, after all, the natural successor to the bel canto style of Rossini and Bellini, and the young Verdi was to benefit greatly from Donizetti's expansion of this genre.
Our tenor hero, Tonio, falls instantly in love with Marie upon their first meeting. The only way to be near her is to enlist in the military, and enlist he does. He must then gain the consent of the entire regiment if he is to have Marie's hand in marriage. The aria performed tonight, "Ah mes amis, quel jour de fete!" begins with Tonio's asking for group approval and ends in an infectious waltz as the dual joys of soldier and husband are celebrated. As is the case with most bel canto tenor roles, Tonio is challenging in terms of range. This aria, however, poses the unique additional demand of nine detached high C's (you may hear more tonight!) throughout its final section. Compare these tenor demands with those of La Boheme or Faust where a single high C suffices for the entire evening!
VI
Today's audiences are well accustomed to enjoying arrangements of African-American spirituals on recital programs. Cantata of John Carter, composed in 1964, offers an interesting departure from the norm. The composer has cleverly devised a suite of four well-known spirituals, performed without pause. In addition, he has created an unusual context for these tunes through the use of polytonality, mixed rhythms, unusual meters (54 and 74, for example) and, for folksongs, an audacious useof dissonance in the accompaniment. The final effect is fresh and arresting, and because of their new disguises, we seem to hear these old favorites for the first time.
Mr. Carter, a native of St. Louis, was educated at Oberlin College and greatly aided by grants from ASCAP and the Rockefeller Foundation. In 1968 he was appointed composer-in-residence with the National Symphony in Washington, DC. He remained active as both a composer and a brilliant pianist until his untimely death in 1989.
Program notes by Martin Katz.
The remarkable Lawrence Brownlee has proven himself to be one of the most prominent bel canto tenors on the international scene. He is lauded continually for the beauty of his voice, his seemingly effortless technical agility, and his dynamic and engaging dramatic skills. His schedule regularly comprises a varied array of debuts and return engagements at renowned music centers for appearances with the world's pre-eminent opera companies, orchestras, and presenting organizations.
Mr. Brownlee's current season finds him firmly ensconced in the bel canto music for which he is so admired, adding a trio of new characters to his repertoire--two by Rossini and one by Donizetti. His first engagements are performing what has become his calling-card role, II Conte Almaviva in barbiere di Siviglia at three of Germany's leading houses: Dresden's Sachsische Staatsoper, Berlin's Staatsoper Unter den Linden, and, for his first time, Festspielhaus Baden-Baden. He joins a starry roster at The Richard Tucker Music Foundation's Annual Lincoln Center Gala, followed by a re-engagement with The Opera Company of Philadelphia, where he appears as Lindoro in L'italiana inAlgeri, conducted by one of his mentors, Company Music Director Corrado Rovaris.
The tenor starts off the new year with three recitals, all accompanied by his long-time collaborator, pianist Martin Katz: his first time on the Spivey Hall Series at Clayton State University (outside of Atlanta, Georgia); a joint-recital with soprano Sarah Coburn at the Kennedy Center's Terrace Theater; and with the University Musical Society in Ann Arbor, Michigan. In Europe, Mr. Brownlee sings another trio of Barbieres for his return to the Wiener Staatsoper, and reprise runs at the Unter den Linden and the Staatsoper Hamburg. A role debut follows, Giannetto in Rossini's La gazza ladra, for his re-engagement at Bologna's Teatro Comunale. He is heard at the Metropolitan Opera, appearing as Don Ramiro in La Cenerentola, reuniting him with his debut conductor, Maurizio Benini. The tenor rejoins the Teatro Verdi in Trieste for Lindoro in L'italiana in Algeri, led by Bruno Campanella. He repeats a run of Barbieres in Hamburg before concluding the season in the US, first with triple debuts: his first booking at the Caramoor Festival in New York, where he is heard in two new roles, Nemorino in L'elisir d'amore and Idreno in Semiramide, both helmed by bel canto specialist Will Crutchfield.
He later appears with the Boston Symphony, at their Tanglewood summer home, in Orff's Carmina burana with Rafael Friihbeck de Burgos on the podium.
Mr. Brownlee's professional stage debut took place in 2002 as Almaviva in barbiere di Siviglia with The Virginia Opera. Among his other memorable engagements have been Cenerentola in Milan, Dresden, Trieste, Houston, and Philadelphia; L'italiana in Algeri in Milan, Dresden, Boston, and Seattle; Tancredi with the Detroit Symphony Orchestra and on tour with L'Orchestre des Champs-FJysees; and the world premiere of Lorin Maazel's 7984 at Covent Garden. In the orchestral arena, he has been heard in the Bach Magnificat in Cincinnati; Messiah in Houston, San Francisco, Detroit, Baltimore, and Indianapolis; Israel in Egypt in Cleveland; the Mozart Mass in c minor in Chicago and Baltimore; the Rossini Stabat Mater in Lausanne; Carmina Burana in Berlin, Los Angeles, Washington, and Toulouse; and highlights from Porgy and Bess with the New York Philharmonic (including a Live From Lincoln Center telecast). Among Mr. Brownlee's many recitals have been ones offered at the Kennedy Center, in Tokyo, and others around the US under the auspices of the Marilyn Home Foundation.
The current season also sees the release of two of Mr. Brownlee's most recent CDs, both centered around the works of Rossini: on Naxos,
L'italiana in Algeri conducted by Alberto Zedda, a live performance at Rossini in Wildbad; and on Opera Rara, an exploration of the composer's song output, where he is joined by colleagues Mireille Delunsch, Jennifer Larmore, Catharine Wyn-Rogers, Mark Wilde, and Brindley Sherratt, with Malcolm Martineau at the piano. Among Mr. Brownlee's earlier CD releases are a live recording of Carmina Burana with Sir Simon Rattle leading the Berliner Philharmoniker, released by EMI Classics.
Mr. Brownlee, most recently named the Seattle Opera's 2008 "Artist of the Year" and the Opera Company of Philadelphia's 2007 Alter Award for Artistic Excellence, was the winner of both the 2006 Marian Anderson and Richard Tucker Awards, a feat never before achieved by any artist in the same year. Previously, he was honored with a 2003 ARIA Award, a 2003 Richard Tucker Music Foundation Career Grant, and was a 2001 winner of the Metropolitan Opera National Council Auditions. He participated in young artist programs at both the Seattle and Wolf Trap Operas. The Ohio-born Mr. Brownlee received a BA from Anderson University, a MM from Indiana University, and is a member of Kappa Alpha Psi Fraternity, Inc.
Martin Katz must surely be considered the dean of collaborative pianists," said the Los Angeles Times. One of the world's busiest collaborators, he has been in constant demand by the world's most celebrated vocal soloists for four decades. In addition to Mr. Brownlee, he has appeared and recorded regularly with Marilyn Home, Frederica von Stade, David Daniels, Jose Carreras, Cecilia Bartoli, Karita Mattila, Kiri Te Kanawa, Kathleen Battle, and Sylvia McNair. Season after season, the world's musical capitals figure prominently in his schedule.
Mr. Katz is a native of Los Angeles, where he began piano studies at the age of five. He attended the University of Southern California and studied the field of accompanying with its pioneer teacher, Gwendolyn Koldofsky. While yet a student, he was given the unique opportunity of accompanying the master classes and lessons of such luminaries as Lotte Lehmann, Jascha Heifetz, Pierre Bernac, and Gregor Piatigorsky. Following his formal education, he held the position of pianist for the
Lawrence Brownlee
Dale Pickett
US Army Chorus for three years, before moving to New York where his busy international career began in earnest in 1969.
In more recent years, conducting has played a more significant role in Mr. Katz's career. He has partnered several of his soloists on the podium for orchestras of the B.B.C., Houston, Washington, DC, Tokyo, New Haven, and Miami. His editions of Handel and Rossini operas have been presented by the Metropolitan, Houston Grand Opera, and the National Arts Centre in Ottawa. He has also been pleased to conduct several staged productions for U-M's Opera Theatre, the Music Academy of the West, and most recently, San Francisco Opera's prestigious Merola program.
The professional profile of Martin Katz is completed with his commitment to teaching. Since 1984, Ann Arbor has been his home, where he has been chair for the School of Music, Theatre & Dance's program in collaborative piano, and has played an active part in operatic productions. He has been a pivotal figure in the training of countless young artists, both singers and pianists, who are working all over the world. The University has recognized this work, making him the first Arthur Schnabel Professor of Music. In addition to his work here, he is a regular guest at Santa Fe Opera, San Francisco Opera, Chicago College of Performing Arts, and the New National Theatre of Tokyo. Mr. Katz is the author of a comprehensive guide to accompanying, The Complete Collaborator, to be published by Oxford University Press in the spring.
UMS ARCHIVES
his evening's recital marks Lawrence Brownlee's second appearance un?der UMS auspices. Mr. Brownlee made his UMS debut as Argirio in UMS's concert presentation of Rossini's Tancredi with the Detroit Symphony Orchestra and Men of the UMS Choral Union conducted by Maestro Alberto Zedda in March 2006 at Hill Auditorium.
This evening's recital marks Martin Katz's 32nd appearance under UMS auspices. Mr. Katz made his UMS debut in a recital with bass-baritone Justino Diaz in Novem?ber 1976 at Hill Auditorium.
UMSExperience
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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 www.ums.org 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 umsed@umich.edu, or call the numbers listed below.
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utts
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.
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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.
WINTER 2009 NETWORK PERFORMANCES
Rubberbandance Group
Lawrence Brownlee Martin Katz
Sweet Honey In The Rock
Jazz at Lincoln Center Orchestra with Wynton Marsalis
UMS YOUTH, TEEN, AND FAMILY EDUCATION
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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.
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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
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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.
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K-12 Arts Curriculum Materials
UMS creates teacher curriculum packets, CDs, and DVDs for all of the schools participating in LJMS'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 www.ums.org for March events!
School FundraisersGroup Sales
Raise money for your school and support the arts. UMS offers a wide range of fundraising opportunities and discount programs for schools. It is one of the easiest and most rewarding ways to raise money. For information contact UMS Group Sales at umsgroupsales@umich.edu or 734.763.3100.
Teacher Advisory Committee
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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.
JMS 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 www.ums.org for a complete list of family-friendly performances.
The 0809 Family Series is sponsored by XO I O I A
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Health System U-M Office of the Senior Vice
Provost for Academic Affairs U-M Office of the Vice
President for Research Wallace Endowment Fund
UMS STUDENT PROGRAMS
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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.
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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
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.
udent Advisory Committee
As an independent council drawing on the diverse membership of the University of Michigan community, the UMS Student Advisory Committee works to increase student interest and involvement in the various pro?grams offered by UMS by fostering increased communication between UMS and the student community, promoting awareness and accessi?bility of student programs, and promoting the student value of live performance. For more information or to participate on the Committee, please call 734.615.6590.
UMSSupport
There are many ways to support the efforts of UMS, all of which are critical to the success of our season. We would like to welcome you to the UMS family and involve you more closely in our exciting programming and activities. This can happen through corporate sponsorships, business advertising, individual donations, or through volunteering. Your financial investment andor gift of time to UMS allows us to continue connecting artists and audiences, now and into the future.
CORPORATE SPONSORSHIP AND ADVERTISING
Advertising
When you advertise in the UMS program book you gain season-long visibility among ticket buyers while enabling an important tradition of providing audiences with the detailed program notes, artist biographies, and program descrip?tions that are so important to the performance experience. Call 734.764.6833 to learn how your business can benefit from advertising in the UMS program book.
Sponsorship
As a UMS corporate sponsor, your organization comes to the attention of an educated, diverse, and growing segment 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.
INDIVIDUAL DONATIONS
We could not present our season without the invaluable financial support of individual donors. Ticket revenue only covers half of the cost of our performances and educational events. UMS donors help make up the differ?ence. If you would like to make a gift, please fill out and mail the form on page P40 or call 734.647.1175.
UMS VOLUNTEERS
UMS Advisory Committee
The UMS Advisory Committee is an 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 fohums@umich.edu.
ANNUAL FUND SUPPORT
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.
DIRECTOR
$100,000 or more
Anonymous
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
SOLOIST
$50,000-$99,999 Doris Duke Foundation for Islamic Art Esperance Family Foundation National Endowment for the Arts TAQA New World, Inc.
MAESTRO
$20,000-$49,999
Anonymous
Brian and Mary Campbell
Cairn Foundation
Charles H. Gershenson Trust
DTE Energy Foundation
Maxine and Stuart Frankel Foundation
Lillian A. Ives
KeyBank
Robert and Pearson Macek
Masco Corporation Foundation
Natalie Matovinovic
THE MOSAIC FOUNDATION (of R. & P. Heydon)
Mosaic Foundation, Washington, DC
National Dance Project of New England
Foundation For The Arts National Endowment for the Arts Gilbert Omenn and Martha Darling Laurence and Beverly Price Jane and Edward Schulak Dennis and Ellie Serras Toyota University of Michigan Office of the
Vice President for Research
VIRTUOSO
$10,000-$! 9,999
Michael Allemang and Janis Bobrin
Arts at Michigan
Beverly Franzblau Baker
Emily Bandera and Richard Shackson
Bank of Ann Arbor
Linda and Maurice Binkow Philanthropic Fund
Borders
Carl and Isabelle Brauer Fund
Bustan al-Funun Foundation for Arab Arts
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 Cohn
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
CONCERTMASTER
$7,500-$9,999
Amgen Foundation
Rachel Bendit and Mark Bernstein
Comerica Bank
Carl and Charlene Herstein
Miller, Canfield, Paddock and
Stone, P.L.C. Pfizer Foundation Herbert and Ernestine Ruben Loretta M. Skewes Barbara Furin Sloat
PRODUCER
$5,000-$7,499 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
LEADER
$3,500-$4,999
Jerry and Gloria Abrams Bernard and Raquel Agranoff Anonymous
Kathy Benton and Robert Brown Raymond and Janet Bernreuter Suzanne A. and Frederick J. Beutler Edward and Mary Cady Sara and Michael Frank Susan and Richard Gutow H. David and Dolores Humes Martin Neuliep and Patricia Pancioli M. Haskell and Jan Barney Newman Virginia and Gordon Nordby Eleanor and Peter Pollack Duane and Katie Renken Kenneth J. Robinson and
Marcia Gershenson John J. H. Schwarz MD Craig and Sue Sincock Rick and Sue Snyder Lois A. Theis Dody Viola
Robert 0. and Darragh H. Weisman Keith and Karlene Yohn
PRINCIPAL
$2,500-$3,499
Jim and Barbara Adams Barbara A. Anderson and
John H. Romani Janet and Arnold Aronoff Bob and Martha Ause Paulett Banks DJ and Dieter Boehm Gary Boren
Charles and Linda Borgsdorf Jeannine and Robert Buchanan 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
Muaiad and Aida Shihadeh
Lewis and Judy Tann
Target
Jim Toy
Don and Carol Van Curler
Don and Toni Walker
Elise Weisbach
PATRON
$1,000-$2,499
Roger Albin and Nili Tannenbaum
Robert and Katherine Aldrich
Susan and Alan Aldworth
Michael and Suzan Alexander
Anastasios Alexiou
Dr. and Mrs. David G. Anderson
Anonymous
Dr. and Mrs. Rudi Ansbacher
Harlene and Henry Appelman
Jonathan Ayers and Teresa Gallagher
Laurence R. and Barbara K Baker
Dr. Lesli and Mr. Christopher Ballard
Norman E. Barnett
Robert H. and Wanda Bartlett
Bradford and Lydia Bates
Dr. Astrid B. Beck
Linda and Ronald Benson
Ruth Ann and Stuart Bergstein
Anne Beaubien and Philip Berry
Naren and Nishta Bhatia
John Blankley and Maureen Foley
Howard and Margaret Bond
Laurence and Grace Boxer
Dr. and Mrs. Ralph R. Bozell
Dale E. and Nancy M. Briggs
Barbara Everitt Bryant
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
!vo 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 Kirkpatnck
Drs. Paul and Dana Kissner
Philip and Kathryn Klintworth
Carolyn and Jim Knake
Michael J. Kondziolka and Mathias-Philippe Florent Badin
Melvyn and Linda Korobkin Bud and Justine Kulka Scott and Martha Larsen Wendy and Ted Lawrence Melvin A. Lester MD Richard LeSueur Myron and Bobbie Levine Carolyn and Paul Lichter Jean E. Long
John and Cheryl MacKrell Cathy and Edwin Marcus Ann W. Martin and
Russ Larson
Claude and Marie Martin Marilyn Mason and
William Steinhoff Mary and Chandler Matthews Judythe and Roger Maugh Raven McCrory Griff and Pat McDonald 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. Wisgerhof II Charles Witke and
Aileen Gatten
BENEFACTOR
$500-$999
3Point Machine, Inc. Fahd Al-Saghir and Family Richard and Mona Alonzo
Family Fund
Helen and David Aminoff Anonymous Penny and Arthur Ashe J. Albert and Mary P. Bailey Reg and Pat Baker Nancy Barbas and Jonathan Sugar David and Monika Barera Frank and Lindsay Tyas Bateman James K. and Lynda W. Berg Ramon Berguer MD L.S. Berlin
Jack Billi and Sheryl Hirsch William and llene Birge Jerry and Dody Biackstone 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
Mary C. Crichton
Jean Cunningham and
Fawwaz Ulaby
Roderick and Mary Ann Daane Mr and Mrs.
Robert L. Damschroder Timothy and Robin Damschroder Norma and Peter Davis Jean and John Debbink Ellwood and Michele Derr Linda Dintenfass and Ken Wismski Steve and Judy Dobson Cynthia M. Dodd Bill and Marg Duntfon Eva and Wolf Duvernoy Dr. Alan S. Eiser Stefan and Ruth Fajans Harvey and Elly Falit Margaret and John Faulkner Carol Fmerman 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 Gilhs 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 Huntzicker Maha Hussain and Sal Jafar Eugene and Margaret Ingram Invia Medical Imaging Solutions Stuart and Maureen Isaac Rebecca S. Jahn Jim and Dale Jerome Drs. Kent and Mary Johnson Paul and Oiga 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. De Lay David Lebenbom Richard LeSueur Ken and Jane Lieberthal Marilyn and Martin Lindenauer Mark Lindley and Sandy Talbott Rod and Robin Little Julie M. Loftin E. Daniel and Kay Long Frances Lyman Brigitte and Paul Maassen Pamela MacKintosh Martin and Jane Maehr Manpower, Inc. of Southeastern
Michigan Carole 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 Metzler Don and Lee Meyer Joetta Mial James M. Miller and
Rebecca H. Lehto Myrna and Newell Miller Bert and Kathy Moberg Lewis and Kara Morgenstern Kay and Gayl Ness Randolph and Margaret Nesse 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 RE. Reichert
Richard and Edie Rosenfeld Margaret and Haskell Rothstein 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 J. Sklenar Andrea and William Smith Gregory and Margaret Smith Shelly Soenen and Michael Sprague Mrs. Gretchen Sopcak Gus and Andrea Stager Gary and Diane Stahle Naomi and James Starr Virginia and Eric Stein James Christen Steward Eric and Ines Storhok Timothy W. Sweeney Manuel Tancer John and Geraldine Topliss Fr. Lewis W. Towler Louise Townley Claire and Jerry Turcotte Doug and Andrea Van Houweling Steven and Christina Vantrease Drs Bill Lee and Wendy Wahl David C. and Elizabeth A. Walker Liina and Bob Wallin Shaomeng Wang and Ju-Yun Li Jo Ann Ward
Arthur and Renata Wasserman Gary Wasserman
Zachary B. Wasserman
Angela and Lyndon Welch
Iris and Fred Whitehouse
Leslie C. Whitfield
Nancy Wiernik
Rev. Francis E. Williams
Robert J. and Anne Marie Willis
I.W. and Beth Wmsten
Dr. Lawrence and Mary Wise
Frances A. Wright
Jeanne and Paul Yhouse
ASSOCIATES
$250-$499
Judith Abrams
Chris and Tena Achen
Oorit Adler
Thomas and Joann Adler Family
Foundation
Martha Agnew and Webster Smith Dr. Diane M Agresta James and Catherine Allen Doug Anderson and Peggy McCracken Catherine M. Andrea Anonymous Arboretum Ventures Bert and Pat Armstrong 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 Erlmg 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 Borbery 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 Caddell Brent and Valerie Carey Jim and Lou Carras Dennis J. Carter Albert C.Cattell
Andrew Caughey and Shelly Neitzel Samuel and Roberta Chappell Charles Stewart Mott Foundation Joan and Mark Chesler Andy and Dawn Chien Kwang and Soon Cho Reginald and Beverly Ctokajlo 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 Powrie Davidge Ed and Ellie 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 DiCarto
Mark and Beth Dixon
Elizabeth A. Doman
Michael and Elizabeth Drake
Elizabeth Duell
Peter and Grace Duren
Swan Dutta
Jane E. Dutton
Kim and Darlene Eagle
Morgan and Sally Edwards
The Equisport Agency
Mary Ann Faeth
Dr. and Mrs. S.M. Farhat
inka and David Felbeck
Phil and Phyllis Fellm
James and Flora Ferrara
Sidney and Jean Fine
Herschel and Adnenne Fink
C. Peter and Beverly A. Fischer
Dr. Lydia Fischer
Jessica Fogel and Lawrence Weiner
Scott and Janet Fogler
David Fox and Paula Bockenstedt
Howard and Margaret Fox
Philip and Renee Frost
Carol Gagltardi 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 Grkhtx
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 Grzymala-Busse and
Joshua Berke Ken and Margaret Guire George and Mary Haddad M. Peter and Anne Hagtwara Yoshiko Hamano Martys 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 Mabel le Hsueh
Dr. Howard Hu and Ms. Rani Kotha Hubert and Helen Huebl Robert B. Ingling Mr. and Mrs. Eugene O. Ingram ISCIENCES, L.L.C. John H. and Joan L. Jackson Mel and Myra Jacobs
Beverly P. Jahn Elizabeth Jahn Jerome Jehnek Harold R Johnson Mark and Linda Johnson Mary and Kent Johnson The Jonna Companies Jack and Sharon Kalbfleisch Irving and Helen Kao Arthur A Kaselemas MO Morns 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 Marilynn Kokoszka Alan and Sandra Kortesoja Barbara and Ronald Kramer Donald and Doris Kraushaar Mary and Charles Krieger Dorothea Kroell and
Michael Jonietz Bert and Geraldine Kruse Kathy and Timothy Laing Lucy and Kenneth Langa 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 Usull Dr. Daniel Little and
Dr. Bernadette Lintz Gail Solway Little Dr. and Mrs. Lennart Lofstrom Bill and Lois Lovejoy Charles and Judy Lucas Claire and Richard Malvin Melvm and Jean Manis Michael and Pamela Marcovitz Nancy and Philip Margohs Milan Marich W. Harry Marsden Irwin and Fran Martin H.LMason Regent Olivia Maynard and
Olof Karlstrom
Martha Mayo and Irwin Goldstein Laurie McCauley and Jessy Grizzle Margaret and Harris McClamroch James and Mary E. McConville Liam T. McDonald Eileen Mclntosh and
Charles Schaldenbrand 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 Gabrielle M. Meyer Shirley and Bill Meyers Leo and Sally Miedler George Miller and Deborah Webster Kitty and Bill Moeller Olga Moir
William G. and Edith O. Moller Mr. and Mrs. Michael Morgan Frieda H. Morgenstern Sean Morrison and Theodora Ross Mark and Lesley Mozola Thomas and Hedi Mulford Douglas Mullkoff and Kathy Evaldson Drs. Louis and Julie Jaffee Nagel Gerry and Joanne Navarre Laura Nitzberg Chnster and Outi Nordman Arthur S. Nusbaum Kathleen t. Opeihall 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 Plantinga
Allison and Gregory Poggi
Pomeroy Financial Services. Inc.
Bill and Diana Pratt
Ann Preuss
Richard and Mary Price
The Produce Station
Peter Railton and Rebecca Scott
Stephen and Agnes Reading
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 Sayed Betina Schlossberg David and Marcia Schmidt Matthew Shapiro and Susan Garetz David and Elvera Shappino 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 Jan Smith David and Renate Smith Robert W. Smith Doris and Larry Sperling Jim Spevak Jeff Spindler Judy and Paul Spradlin David and Ann Staiger Rick and Lia Stevens James L Stoddard 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 J. Thomas Nigel and Jane Thompson Dr. Hazel M. and Victor C. Turner, Jr. AJvan 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 Win and John Glynn Charlotte A Wolfe Bryant Wu and Theresa Chang Betty and Bob Wurtz Don and Charlotte Wyche Mary Jean and John Yablonky Richard and Kathryn Yarmain MaryGrace and Tom York Zakhour and Androulla Youssef Erik and Lineke Zuiderweg Gail and David Zuk
ENDOWMENT FUND SUPPORT July 1, 2007-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
$50,000-599.999
Anonymous
llene H. Forsyth
Estate of Lillian G. Ostrand
$20,000-549,999
Anonymous
Bernard and Raquel Agranoff Ralph G. Conger Trust Susan and Richard Gutow David and Phyllis Herzig
$10,000-519,999
Maxine and Stuart Frankel
Foundation Toni Hoover
Richard and Carolyn Lineback Robert and Pearson Macek Dr. Robert J. and Janet M. Miller Estate of Betty Ann Peck James and Nancy Stanley
$5,000-59,999
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
$1,000-S4,999
Michael Allemang and
Janis Bobrin
Essel and Menakka Bailey Robert H. and Wanda Bartlett DJ and Dieter Boehm Jean W. Campbell Jean and Ken Casey Kathleen Crispell and Tom Porter Molly Dobson Jack and Betty Edman Charles and Julia Eisendrath Dede and Oscar Eeldman 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
S100-S999
Jerry and Gloria Abrams Mrs. Bonnie Ackley Dr. Joann Aebersoid Barbara A. Anderson and
John H. Romani Anonymous
Arts League of Michigan Lynne Aspnes Bob and Martha Ause John U. Bacon Daniel and Barbara Balbach Emily Bandera and Richard Shackson Harvey Berman and
Rochelle Kovacs Berman Inderpal and Martha Bhatia Stan and Sandra Bies Sara Billmann and Jeffrey Kuras Maurice and Linda Binkow Martha and David Bloom Blue Nile Restaurant Paul Boylan Carl A. Brauer, Jr. Dale E. and Nancy M. Briggs Jeannine and Robert Buchanan Andrew and Emily Buchholz John and Janis Burkhardt David Bury and Marianne Lockwood Letitia J. Byrd
Carolyn Carty and Thomas Haug Sue and Bill Chandler Shana Meehan Chase Dr. Kyung and Young Cho Edward M. and Rebecca Chudacoff Toby Citrin and Phyllis Blumenfeld 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 8ill 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
S1-S99
Joseph Ajlouny Friends at Alverno Arts Alliance of the
Ann Arbor Area Barbara Bach Jenny Bilfield-Friedman and
Joel Friedman Ed and Luciana Borbely Barbara Everitt Bryant Ruth Carey Simon Carrington Mark Clague
Edward S. and Ruth P. Cogen Guy L. Cooper Richard and Edith Croake
Sally Cushing Diana R. Engel Madeleine Faith Stefan and Ruth Fajans Martha Fischer and Bill Lutes Kristin Fontichiaro John N. Gardner 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 Isabella Brauer
Endowment Fund Frances Mauney Lohr Choral
Union Endowment Fund Hal and Ann Davis
Endowment Fund Doris Duke Charitable
Foundation Endowment
Fund
Ottmar Eberbach Funds Epstein Endowment Fund David and Phyllis Herzig
Endowment Fund
JazzNet Endowment Fund William R. Kinney
Endowment Fund Natalie Matovinovic
Endowment Fund NEA Matching Fund Palmer Endowment Fund Mary R. Romig-deYoung
Music Appreciation Fund Prudence and Amnon
Rosenthal K-12 Education
Endowment Fund Charles A. Sink Endowment
Fund Catherine S. Arcure
Herbert E. Sloan
Endowment Fund University Musical Society
Endowment Fund The Wallace Endowment Fund
Burton Tower Society
The Burton Tower Society recognizes and honors those very special friends who have included UMS in their estate plans. UMS is grateful for this important support, which will continue the great traditions of artistic excellence, educational opportunities, and community partnerships in future years.
Bernard and Raquel Agranoff Carol and Herb Amster Mr. Neil P. Anderson Dr. and Mrs.
David G. Anderson Catherine S. Arcure 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. Kmnear 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 Pattridge
Gwen and Emerson Powrie
Gail W. Rector
Steffi Reiss
Margaret E. Rothstein
Eric H. Rothstein
Nona Schneider
Barry Sloat
George E. Smith
Edith Marie Snow
James Stanley
Robert Strozier
Virginia W. Stuart
Sonja Astrid Stutz
Dr. and Mrs. E. Thurston Thieme
Charles R. Tieman
Francis V. Viola III
Elea C. and Alexandra Vlisides
Martha J. Whitney
Clayton Wilhite
Carl H. Wilmot '19
Maria Wolter
Peter Holderness Woods
Stanley Wrobel
Gifts In-Kind
16 Hands
4 Seasons Perfume and
LingerieAllure Boutique Wadad Abed Abracadabra Jewelry
Gem Gallery Acme Mercantile Benjamin Acosta-Hughes Bernie and Ricky Agranoff Alice Lloyd Residence Hall Carol and Herb Amster Blair Anderson Ann Arbor Art Center Ann Arbor Art Center
Gallery Shop
Ann Arbor Aviation Center Ann Arbor District Library Ann Arbor Framing Ann Arbor Hands-On Museum Ann Arbor Public Schools Ann Arbor Tango Club Ann Arbor's t07one 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 8lackstone
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
Manachi 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 Saville and Rusty Fuller
Schakolad Chocolate Factory
Michael Schoenfeldt
Penny Schreiber
Ruth Scodel
SeloShevel Gallery
Sesi Lincoln Mercury Volvo Mazda
Seva Restaurant
Rabia Shafie
Shaman Drum Bookshop
Nelson Shantz Piano Service
Bright Sheng
George Shirley
John Shultz Photography
Silkmoons
Susan Silver-Fink
Loretta Skewes
Tim and Marie Slottow
Andrea Smith
Mandisa Smith
Elizabeth Southwick
Cynthia Sowers
The Spa at Liberty
Peter Sparling
Rick Sperling
Sphinx Organization
Jim and Nancy Stanley
St. Anne's Church in Detroit
Bennett Stein
Stonebridge Golf Club
Cindy Straub
Ed and Natalie Surovell
Edward Surovell Realtors Sweet Gem Confections Swing City Dance Studio Ten Thousand Villages Tom Thompson Flowers Liz Toman Trader Joe's
Travis Pointe Country Club Sue Ullrich
LJ-M Alumni Association U-M Arts of Citizenship U-M Arts on Earth U-M Arts at Michigan U-M Black Arts Council U-M Center for Afroamerican
and African Studies U-M Center for Chinese Studies U-M Center for Latin American
and Caribbean Studies
U-M Center for Middle Eastern
and North African Studies U-M Center for Russian and
East European Studies U-M Department of Dance U-M Department of Internal
Medicine U-M Department of Musical
Theatre
U-M Gifts of Art U-M Golf Course U-M Hatcher Graduate Library U-M Honors Program U-M Institute for the
Humanities
U-M International Institute U-M Museum of Art U-M Office of New Student
Programs
U-M Residential College U-M School of Art and Design U-M School of Education U-M School of Law U-M School of Music,
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
UMS ADVERTISERS
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, DOS 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
Collaboration18 Performance Network 25 Red Hawk 32 Schakolad-16
Stacey M. Washington, Attorney 16 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
MEMBER ORGANIZATIONS
UMS is proud to be a member of the following organizations:
Ann Arbor Area Convention & Visitors Bureau
Ann Arbor Chamber of Commerce
Arts Alliance of the Ann Arbor Area
ArtServe Michigan
Association of Performing Arts Presenters
Chamber Music America
DanceUSA
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
V.'I

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