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UMS Concert Program, Thursday Feb. 12 To Mar. 08: University Musical Society: Winter 2009 - Thursday Feb. 12 To Mar. 08 --

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Rights Held By
University Musical Society
OCR Text

Season: Winter 09
University Of Michigan, Ann Arbor

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

Welcome to this University Musical Society (UMS) performance. We at the University of Michigan are proud of UMS and of the world-class artists and ensembles that it brings each season to the University and southeast Michigan. As UMS marks its 130th continuous season, making it the oldest university-related presenter in the United States, we are also cele?brating the outstanding educational programs it offers to people of all ages and the new works in dance, theater, and music it commissions.
When I consider which UMS events best exemplify the melding of artistic performance and education, I point to the three-week residencies of the Royal Shakespeare Company (RSC) that we have enjoyed in 2001, 2003, and 2006, two of which were US exclusive presentations attracting audiences from 39 states and five countries.
I am pleased UMS has chosen to celebrate the partnership between the RSC, UMS, and U-M at this year's 14th Ford Honors Program. At the heart of this unique partnership has been the extraordinary artist-scholar relation?ship between the RSC's Olivier Award-winning Artistic Director Michael Boyd and U-M's beloved Professor Ralph Williams, both of whom will be honored at the program. This year's Ford Honors Program, usually held in May, will take place Saturday, January 24, 2009, so that students who have participated in the RSC residencies or who have had Professor Williams in class will be able to attend. Professor Williams will retire from U-M at the end of this academic year, and I hope you will join me at this very special event.
This UMS winter season also brings us multi-day performances combined with numerous educational opportunities when the New York Philharmonic visits on March 7 and 8, and when Yo-Yo Ma brings his Silk Road Project to campus March 13 and 14.
Audience members also have a chance to delve into the rich diversity of cultural expressions from the Arab world, as UMS completes its Performing Arts of the Arab World series this term. I encourage you to attend Gilgamesh in January, Aswat: Celebrating the Golden Age of Arab Music in March, and Mohammed Bennis and the Hmadcha Ensemble in April along with the educational programs surrounding them.
There are many other UMS events as well as performances, exhibitions, and cultural activities offered by our faculty and students in U-M's many other units. To learn more about arts and culture at Michigan, including the March 21 performance commemorating the 25th anniversary of U-M's acclaimed musical theater program and the March 28 grand re-opening of the restored and expanded U-M Museum of Art, please visit the University's website at
Mary Sue Coleman
President, University of Michigan
Welcome to this UMS performance. Thank you for supporting UMS through your attendance, especially during these challenging times. The entire UMS family of Board, Senate, and Advisory Committee members; staff colleagues; Choral Union members; ushers; and hundreds of other volunteers are grateful that you're here and hope that you'll enjoy the experience and attend more UMS events during this second half of our 130th season. You'll find all of our remaining performances listed on page 2 of your program insert.
At UMS, we try to make sure that our events offer a chance to learn something new, to look at the world through a different lens, or even to change lives. You'll find much to choose from as solo artists and ensembles from all over the world visit our community and engage with our audiences in many ways. Artists can lift the spirit, challenge perceptions, provide comfort, and deepen understanding. So whether it's the Guarneri Quartet's Farewell Tour concert; the New York Philharmonic's residency; Simon Shaheen's Aswat production; Yo-Yo Ma's two Silk Road events; Chick Corea and John McLaughlin's reunion; or our 2009 Ford Honors Program celebrating the Royal Shakespeare Company, its Artistic Director Michael Boyd, and U-M Professor Ralph Williams, we hope you'll find meaning and value as we connect you with our artists for uncommon and engaging experiences.
I have had the pleasure over the past two years of working in partnership with UMS Board Chair Carl Herstein, who has provided outstanding lay leader?ship to UMS. His term comes to an end in June. Be sure to read his letter on P5 of this program book, and you'll get a sense of how we've benefited from his knowledge of our history, his understanding of the power of the arts, and his deep appreciation of each member of the UMS family who attends our per?formances, donates to our organization, or volunteers their services. Thanks for your dedicated service, Carl.
Feel free to get in touch with me if you have any questions, comments, or problems. If you don't see me in the lobby, send me an e-mail message at or call me at 734.647.1174.
And thanks again for coming to this event.
Very best wishes,
Kenneth C. Fischer UMS President
In these times of economic uncertainty and unease about the future, the power of the arts reminds us of enduring values. In its 130 years, UMS and its numerous generations of patrons and audiences have seen many times of anxiety and turmoil, each of which was unprecedented in its day. Throughout that time, great artists performing important works helped the UMS community come to grips with the world. In some cases this occurred because the perform?ance of a classic work brought a sense of reassurance, harmony, and peace. In others, a modern work challenged the audience to come to terms with unsettling new realities. The best of these performances were transformative events, helping to shape the emotional and intellectual response of each audience member to contemporary events.
We are immensely fortunate that an appreciation of this powerful legacy led these audiences to steward UMS safely through the vicissitudes of world wars, global depression, demographic and cultural changes, and intellectual and sci?entific revolutions. The arts which UMS has presented and fostered have remained an indispensable part of our common ability to make sense of a world that never ceases to amaze, surprise, and sometimes frighten us. Succeeding generations have bequeathed to us a legacy of involvement and support so that we too are able to enjoy the sustenance and inspiration that is the gift of great art.
It is, therefore, critically important that we do our part to cherish and preserve the legacy that our community is so fortunate to enjoy. By bringing friends to performances, becoming involved with the UMS Advisory Committee, partici?pating in educational events, supporting youth performances, and providing the ever-critical financial support that makes the work of UMS possible, you are continuing the work of bringing the power of the arts to us all at a time when it is very much needed. We want to thank all of you who have participated in this work with your support of the UMS Difference Campaign, which has been a success due to the commitment not merely of a few, but of 4,279 of you who believe that what UMS does makes a real difference in the life of our community. If you are one of those 4,279, you have our deepest thanks and our encourage?ment to continue to be a vital part of the UMS family; if you have not yet con?tributed, please consider deepening your engagement with us. We think you will find, as so many others have before you, that it will make your UMS experience more meaningful, more personal, and will have the added benefit of making it more accessible to others who have not yet enjoyed the experiences that have been so important to you and to us.
Thank you for coming to this performance. Whether you have come a hun?dred times before or for the first time today, please know that you are always welcome in the UMS family; a group which gathers strength from its diversity, honors its extraordinary past, and works for a future of excellence no matter what transient challenges we may face.
Carl W. Herstein
Chair, UMS Board of Directors

James G. Vella
President, Ford Motor Company Fund 1 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 f
"The people at The Ann Arbor News are honored and pleased to partner with and be supportive of the University Musical Society, which adds so much depth, color, excite?ment, and enjoyment to this incredible community."
Hoda Succar
President, American Syrian Arab Cultural Association
"ASACA is a proud sponsor of the UMS 0809 season.
We applaud UMS's effort to diversify and globalize its
programs to reach different communities in the US."
Timothy G. Marshall
President and CEO, Bank of Ann Arbor "A commitment to the community can be expressed in many ways, each different and all appropriate. Bank of Ann Arbor is pleased to continue its long term support of the University Musical Society by our sponsorship of the 0809 season."
Habte Dadi
Manager, Blue Nile Restaurant "At the Blue Nile, we believe in giving back to the community that sustains our business. We are proud to support an organization that provides such an important service to Ann Arbor."
George Jones
President and CEO, Borders Group, Inc. "Borders embraces its role as a vital, contributing member of the community that reaches out to connect with people. We know that what our customers read, listen to, and watch is an integral part of who they are and who they aspire to be. Borders shares our community's passion for the arts and we are proud to continue our support of the University Musical Society."
Claes Fornell
Chairman, CFI Group, Inc.
"The University Musical Society is a marvelous magnet for attracting the world's finest in the performing arts. There are many good things in Ann Arbor, but UMS is a jewel. We are all richer because of it, and CFI is proud to lend its support."
Bruce Duncan
Ann Arbor Regional Bank President, Comerica Bank "Comerica is proud to support the University Musical Society and to sponsor the presentation of the world-renowned Tokyo String Quartet. UMS continues to enrich the local community by bringing the finest performing arts to Ann Arbor, and we're pleased to continue to support this long?standing tradition."
Fred Shell
Wee President, Corporate and Government Affairs, DTE Energy
"The DTE Energy Foundation is pleased to support exemplary organizations like UMS that inspire the soul, instruct the mind, and enrich the community."
Edward Surovell
President, Edward Surovell Realtors
"Edward Surovell Realtors and its 300 employees and sales asso?ciates are proud of our 20-year relationship with the University Musical Society. We honor its tradition of bringing the world's leading performers to the people of Michigan and setting a standard of artistic leadership recognized internationally."
Leo Legatski
President, Elastizell Corporation of America "Elastizell is pleased to be involved with UMS. UMS's strengths are its programming--innovative, experimental, and pioneering--and its education and outreach programs in the schools and the community."
Kingsley P. Wootton
Plant Manager, GM Powertrain Ypsilanti Site "Congratulations on your 130th season! Our community is, indeed, fortunate to have an internationally renowned musical society. The extraordinary array of artists; the variety, breadth, and depth of each season's program; and the education and community component are exceptional and are key ingredients in the quality of life for our community, region, and state. It is an honor to contribute to UMS!"
Carl W. Herstein _
Partner, Honigman Miller Schwartz and Cohn LLP J
"Honigman is proud to support non-profit organizations in the communities where our partners and employees live and work. We are thrilled to support the University Musical Society and commend UMS for its extraordinary programming, com?missioning of new work, and educational outreach programs."
Mark A. Davis
President and CEO, Howard & Howard "At Howard & Howard, we are as committed to
enriching the communities in which we live and work as we are to providing sophisticated legal services to businesses in the Ann Arbor area. The performing arts benefit us all, and we are proud that our employees have chosen to support the cultural enrichment provided by the University Musical Society."
Mohamad Issa
Director, Issa Foundation
"The Issa Foundation is sponsored by the Issa family, which has been established in Ann Arbor for the last 30 years, and is involved in local property management as well as area pub?lic schools. The Issa Foundation is devoted to the sharing and acceptance of culture in an effort to change stereotypes and promote peace. UMS has done an outstanding job bringing diversity into the music and talent of its performers."
Bill Koehler
District President, KeyBank
"KeyBank remains a committed supporter of the performing arts in Ann Arbor and we commend the University Musical Society for its contribution to the community. Thank you, UMS. Keep up the great work!"
Dennis Serras
Owner, Mainstreet Ventures, Inc. "As restaurant and catering service owners, we consider ourselves fortunate that our business provides so many opportunities for supporting the University Musical Society and its continuing success in bringing internationally acclaimed talent to the Ann Arbor community."
Sharon J. Rothwell Wee President, Corporate Affairs and Chair, Masco Corporation Foundation "Masco recognizes and appreciates the value the performing arts bring to the region and to our young people. We applaud the efforts of the University Musical Society for its diverse learning opportunities and the impact its programs have on our communities and the cultural leaders of tomorrow."
Scott Merz
CEO, Michigan Critical Care Consultants, Inc. (MC3) "MC3 is proud to support UMS in recognition of its success in creating a center of cultural richness in Michigan."
Erik H. Serr
Principal, Miller, Canfield, Paddock and Stone, P.LC "Miller Canfield proudly supports the University Musical Society for bringing internationally-recognized artists from a broad spectrum of the performing arts to our community, and applauds UMS for offering another year of music, dance, and theater to inspire and enrich our lives."
Michael B. Staebler
Senior Partner, Pepper Hamilton LLP 'The University Musical Society is an essential part of the great quality of life in southeastern Michigan. We at Pepper Hamilton support UMS with enthusiasm."
Joe Sesi
President, Sesi Lincoln Mercury Volvo Mazda "The University Musical Society is an important cultural asset for our community. The Sesi Lincoln Mercury Volvo Mazda team is delighted to sponsor such a fine organization."
Thomas B. McMullen
President, Thomas B. McMullen Co., Inc. "I used to feel that a U-M-Ohio State football ticket was the best ticket in Ann Arbor. Not anymore. UMS provides the best in educational and artistic entertainment."
Robert R. Tisch
President, Tisch Investment Advisory "Thank you, Ann Arbor, for being a wonderful community in which to live, raise a family, and build a successful business."
Tom Thompson
Owner, Tom Thompson Flowers
"Judy and I are enthusiastic participants in the UMS family. We appreciate how our lives have been elevated by this relationship."
Shigeki Terashi
President, Toyota Technical Center "Toyota Technical Center is proud to support UMS, an organization with a long and rich history of serving diverse audiences through a wide variety of arts programming."
Jeff Trapp
President, University of Michigan Credit Union "Thank you to the University Musical Society for enriching our lives. The University of Michigan Credit Union is proud to be a part of another great season of performing arts."
UMS gratefully acknowledges the support of the following foundations and government agencies:
$100,000 or more
Doris Duke Charitable Foundation
W.K. Kellogg Foundation
Michigan Council for Arts and Cultural Affairs
The Power Foundation
Doris Duke Foundation for Islamic Art DTE Energy Foundation Esperance Family Foundation National Endowment for the Arts
Cairn Foundation
Maxine and Stuart Frankel Foundation Charles H. Gershenson Trust The Mosaic Foundation, Washington DC National Dance Project of the New England Foundation for the Arts
Bustan al-Funun Foundation for Arab Arts Community Foundation for Southeast Michigan Eugene and Emily Grant Family Foundation Martin Family Foundation THE MOSAIC FOUNDATION (of R. & P. Heydon) Performing Arts Fund
Consulate General of The Netherlands in New York Mohamed and Hayat Issalssa Foundation Sarns Ann Arbor Fund Target
Thomas and Joann Adler Family Foundation
UNIVERSITY MUSICAL SOCIETY of the University of Michigan
Carl W. Herstein,
Chair James C. Stanley,
Wee Chair Kathleen Benton,
Secretary Michael C. Allemang,
Treasurer Wadad Abed Carol L. Amster Lynda W. Berg
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
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 5. Binkow Lee C. Bollinger Janice Stevens
Botsford Paul C. Boylan Carl A. Brauer William M. Broucek Barbara Everitt Bryant Letitia J. Byrd Kathleen G. Charla Leon S. Cohan Jill A. Corr Peter B. Corr Ronald M. Cresswell
Hal Davis
Sally Stegeman DiCarlo Robert F. DiRomualdo Cynthia Dodd James J. Duderstadt David Featherman Robben W. Fleming David J. Flowers George V. Fornero Beverley B. Geltner William S. Hann Randy J. Harris Walter L. Harrison Deborah S. Herbert Norman G. Herbert Peter N. Heydon Toni Hoover Kay Hunt
Alice Davis Irani Stuart A. Isaac Thomas E. Kauper David B. Kennedy Gloria James Kerry Thomas C. Kinnear Marvin Krislov F. Bruce Kulp Leo A. Legatski Earl Lewis Patrick B. Long Helen B. Love Judythe H. Maugh Paul W. McCracken Rebecca McGowan Barbara Meadows Alberto Nacif Shirley C. Neuman
Jan Barney Newman Len Niehoff Gilbert S. Omenn Joe E. O'Neal John 0. Paul Randall Pittman Philip H. Power John Psarouthakis Rossi Ray-Taylor John W. Reed Richard H. Rogel Prudence L. Rosenthal Judy Dow Rumelhart Maya Savarino Ann Schriber Erik H. Serr Harold T. Shapiro George I. Shirley
John 0. Simpson Herbert Sloan Timothy P. Slottow Carol Shalita Smokier Jorge A. Solis Peter Sparling Lois U. Stegeman Edward D. Surovell James L. Telfer Susan B. Ullrich Eileen Lappin Weiser B. Joseph White Marina v.N. Whitman Clayton E. Wilhite Iva M. Wilson Karen Wolff
Phyllis Herzig, Chair Janet Callaway, Wee Chair Elizabeth Palms, Secretary Sarah Nicoli, Treasurer
Ricky Agranoff MariAnn Apley Lone Arbour Barbara Bach Rula Kort Bawardi Francine Bomar Luciana Borbely Mary Breakey Mary Brown Betty Byrne
Heather Byrne Laura Caplan Cheryl Cassidy Patricia Chapman Cheryl Clarkson Wendy Comstock Norma Davis Mary Dempsey Mary Ann Faeth Michaelene Farrett 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 Jeri Keith
Meg Kennedy Shaw Pam Krogness Mary LeDuc Joan Levitsky Eleanor Lord Jane Maehr Jennifer J. Maisch
Joanna McNamara Liz Messiter Robin Miesel Natalie Mobley Kay Ness Thomas Ogar Allison Poggi Lisa Psarouthakis Swanna Saltiel Agnes Moy Sarns Penny Schreiber Bev Seiford Ahza Shevrin Alida Silverman Loretta Skewes
Andrea Smith Becki Spangler Nancy Stanley Carlin C. Stockson Karen Stutz Eileen Thadcer Janet Torno Louise Townley Amanda Uhle Dody Viola Enid Wasserman Ellen Woodman Mary Kate Zelenock
Kenneth C. Fischer, President Luciana Borbely,
Assistant to the President John B. Kennard, Jr.,
Director of Administration Beth Gilliland,
Gift ProcessorIT Assistant Patricia Hayes, Senior Accountant John Peckham,
Information Systems Manager
Choral Union
Jerry Blackstone,
Conductor and Music Director Jason Harris, Assistant Conductor Kathleen Operhall, Chorus Manager Nancy K. Paul, Librarian Jean Schneider, Accompanist Scott VanOrnum, Accompanist Donald Bryant, Conductor Emeritus
Susan McClanahan, Director Susan Bozell, Manager of
Corporate Partnerships Rachelle Lesko,
Development Assistant Lisa Michiko Murray,
Manager of Foundation and
Government Grants M. Joanne Navarre, Manager of
Annual Giving Marnie Reid, Manager of
Individual Support
Lisa Rozek, Assistant to the Director of Development
Cynthia Straub, Advisory Committee and Events Coordinator
EducationAudience Development
Claire C. Rice, Interim Director Bree Juarez, Education and
Audience Development Manager Mary Roeder,
Residency Coordinator Omari Rush, Education Manager
MarketingPublic Relations
Sara Billmann, Director James P. Leija, Public Relations
Mia Milton, Marketing Manager Stephanie Normann, Marketing
Douglas C. Witney, Director Emily Avers, Production
Operations Director Jeffrey Beyersdorf,
Technical Manager
Michael J. Kondziolka, Director Mark Jacobson,
Programming Manager Carlos Palomares,
Artist Services Coordinator Liz Stover, Programming
Ticket Services
Jennifer Graf, Ticket Services
Sally A. Cushing, Ticket Office Associate Suzanne Davidson, Assistant Ticket
Services Manager Adrienne Escamilla,
Ticket Office Associate Sara Sanders, Front-of-House
Karen Zobel, Group Sales Coordinator Dennis Carter, Bruce Oshaben,
Brian Roddy, Head Ushers
Catherine Allan Gabriel Bilen Greg Briley Tyler Brunsman Allison Carron Shannon Deasy Vinal Desai Rebecca Dragonetti Kelsy Durkin Daniel Erben Carrie Fisk Natalie Freilich Charlie Hack Dana Harlan Jennifer Howard Andy Jones Bryan Langlitz Francesca Lollini Brooke Lundin Alejandro Manso Mary Martin Michael Matlock Bryan McGivern
Ashley McNees Michael Michelon Grace Morgan Paula Muldoon Leonard Navarro Jack O'Connell Stephanie Overton Andrew Smith Cahill Smith Trevor Sponseller Catherine Tippman Julie Wallace Sarah Wilbur Sophia Zhuo
Doug Rothwell,
Chair Albert Berriz
Bruce Brownlee Bob Buckler Jim Garavaglia
Rob Gruen Steve Hamp Carl Herstein
Bob Kelch Mary Kramer Sharon Rothwell
Mike Staebler Jim Vella
Abby Alwin Fran Ampey Robin Bailey Greta Barfield Joey Barker Alana Barter Judy Barthwell Rob Bauman Brita Beiller Eli Bleiler Ann Marie Borders
David Borgsdori Sigrid Bower Marie Brooks Susan Buchan Deb Clancy Carl Clark Ben Cohen Julie Cohen Leslie Cnscenti Ort'h.i Dann Saundra Dunn
Johanna Epstein Susan Filiptak Katy Fillion Delores Flagg Joey Fukuchl Jeff Gaynor Joyce Gefber Barb Grabbe Joan Gnssing Linda Jones Jeff Kass
Rosalie Koenig Sue Kohfeldt Laura Machida Fran Marroquin Jose Mejia Kim Mobley Eunice Moore Michelle Peet Anne Perigo Rebeca Pietrzak Cathy Reischl
Jessica Rizor Vkki Shields Sandra Smith Gretchen Suhre Julie Taylor Cayla Tchalo Dan Tolly Alex Wagner Barbara Wallgren Kimberley Wnght Kathryn Young
Barrier-Free Entrances
For persons with disabilities, all venues have barrier-free entrances. Wheelchair locations vary by venue; visit www.ums.orgtickets or call 734.764.2538 for details. Ushers are available for assistance.
Listening Systems
For hearing-impaired persons, Hill Auditorium, Power Center, and Rackham Auditorium are equipped with assistive listening devices. Earphones may be obtained upon arrival. Please ask an usher for assistance.
Lost and Found
For items lost at Hill Auditorium, Lydia Mendelssohn Theatre, Power Center, or Rackham Auditorium, please call University Productions at 734.763.5213. For the Michigan Theater, call 734.668.8397. For St. Francis of Assisi, call 734.821.2111.
Please allow plenty of time for parking as the campus area may be congested. Parking is available in the Church Street, Maynard Street, Thayer Street, Fletcher Street, and Fourth Avenue structures for a minimal fee. Limited street parking is also available. Please allow enough time to park before the performance begins. UMS donors at the Patron level and above ($1,000) receive 10 complimentary park?ing passes for use at the Thayer Street or Fletcher Street structures in Ann Arbor.
UMS offers valet parking service for Hill Auditorium performances in the 0809 Choral Union series. Cars may be dropped off in front of Hill Auditorium beginning one hour before
each performance. There is a $20 fee for this service. UMS members at the Concertmaster level ($7,500) and above are invited to use this service at no charge.
Other recommended parking that may not be as crowded as on-campus structures: Liberty Square structure (formerly Tally Hall), entrance off of Washington Street between Division and State; about a two-block walk from most per?formance venues, $2 after 3 pm weekdays and all day SaturdaySunday. Maynard Street struc?ture, entrances off Maynard and Thompson between Willliam and Liberty, $.80hr, free on Sunday.
For up-to-date parking information, please visit www.ums.orgparking.
Refreshments are available in the lobby during intermissions at events in the Power Center, in the lower lobby of Hill Auditorium (beginning 75 minutes prior to concerts--enter through the west lobby doors), and in the Michigan Theater. Refreshments are not allowed in the seating areas.
Smoking Areas
University of Michigan policy forbids smoking in any public area, including the lobbies and restrooms.
Start Time
UMS makes every effort to begin concerts at the published time. Most of our events take place in the heart of central campus, which does have limited parking and may have several events occurring simultaneously in different theaters. Please allow plenty of extra time to park and find your seats.
Latecomers will be asked to wait in the lobby until seated by ushers. Most lobbies have been outfitted with monitors andor speakers so that latecomers will not miss the performance.
The late-seating break is determined by the artist and will generally occur during a suitable repertory break in the program (e.g., after the first entire piece, not after individual movements of classical works). There may be occasions where latecomers are not seated until intermis?sion, as determined by the artist. UMS makes every effort to alert patrons in advance when we know that there will be no late seating.
UMS tries to work with the artists to allow a flexible late-seating policy for family perform?ances.
Group Tickets
Treat 10 or more friends, co-workers, or family members to an unforgettable performance of live music, dance, or theater. Whether you have a group of students, a business gathering, a college reunion, or just you and a group of friends, the UMS Group Sales Office can help you plan the perfect outing. You can make it formal or casual, a special celebration, or just friends enjoying each other's company. The many advantages to booking as a group include:
Reserving tickets before tickets go on sale to the general public
Discounts of 15-25 for most performances
Accessibility accommodations
No-risk reservations that are fully refundable up to 14 days before the performance
1-3 complimentary tickets for the group organizer (depending on size of group). Complimentary tickets are not offered for performances without a group discount.
For more information, please contact 734.763.3100 or e-mail
Classical Kids Club
Parents can introduce their children to world-renowned classical music artists through the Classical Kids Club. For more information please see page P33.
Members of the UMS African American Arts Advocacy Committee receive discounted tickets to certain performances. For more information please see page P29.
Student Tickets
Discounted tickets are available for University students and teenagers. Information on all UMS University Student Ticketing programs can be found on page P34. Teen Ticket infor?mation can be found on page P33.
Gift Certificates
Available in any amount and redeemable for any of more than 60 events throughout our season, delivered with your personal message, the UMS Gift Certificate is ideal for weddings, birthdays, Christmas, Hanukkah, Mother's and Father's Days, or even as a housewarming pres?ent when new friends move to town.
UMS Gift Certificates are valid for 12 months from the date of purchase. For more information, please visit
If you are unable to attend a concert for which you have purchased tickets, you may turn in your tickets up to 15 minutes before curtain time by calling the Ticket Office. Refunds are not available; however, you will be given a receipt for an income tax deduction.
Ticket Exchanges
Subscribers may exchange tickets free of charge. Non-subscribers may exchange tickets for a $6 per ticket exchange fee. Exchanged tickets must be received by the Ticket Office (by mail or in person) at least 48 hours prior to the performance. The value of the tickets
may be applied to another performance or will be held as UMS Credit until the end of the season. You may also fax a copy of your torn tickets to 734.647.1171. Lost or misplaced tickets cannot be exchanged. UMS Credit for this season must be redeemed by April 26, 2009.
In Person:
League Ticket Office
911 North University Ave.
Mon-Fri: 9am-5pm
Sat: 10am-1pm
By Phone:
Outside the 734 area code, call toll-free 800.221.1229
By Internet:
By Fax: 734.647.1171
By Mail:
UMS Ticket Office Burton Memorial Tower 881 North University Ave. Ann Arbor, Ml 48109-1011
On-site ticket offices at performance venues open 90 minutes before each performance.
Through a commitment to presentation, education, and the creation of new work, the University Musical Society (UMS) serves Michigan audiences by bringing to our community an ongo-ng series of world-class artists, who represent the diverse spectrum of today's vigorous and exciting live performing arts world. Over the oast 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 millennium. Every day UMS seeks to cultivate, nurture, and stimulate public interest and oarticipation in every facet of the live arts.
UMS grew from a group of local university and townspeople who gathered together for the study of Handel's Messiah. Led by Professor Henry Simmons Frieze and conducted by Professor Calvin Cady, the group assumed the name The Choral Union. Their first perform?ance of Handel's Messiah was in December of 1879 and this glorious oratorio has since been performed by the UMS Choral Union annually.
As many Choral Union members also oelonged to the University, the University Vlusical Society was established in December, 1880. UMS included the Choral Union and Jniversity Orchestra, and throughout the year resented a series of concerts featuring local and visiting artists and ensembles.
Since that first season in 1880, UMS has expanded greatly and now presents the very best from the full spectrum of the performing arts--internationally renowned recitalists and orchestras, dance and chamber ensembles, jazz and world music performers, and opera and theater. Through educational endeavors, commissioning of new works, youth programs, artist residencies, and other collaborative projects, UMS has maintained its reputation for quality, artistic distinction, and innovation. UMS now hosts over 50 performances and more than 125 educational events each sea?son. UMS has flourished with the support of a generous community that this year gathers in eight different Ann Arbor venues.
The UMS Choral Union has likewise expanded its charge over its 130-year history. Recent collaborations have included the Grammy Award-winning recording of William Bolcom's Songs of Innocence and of Experience (2004), John Adams's On the Transmigration of Souls with the Detroit Symphony Orchestra (2007), and Shostakovich's Symphony No. 13 ("Babi Yar") with the Kirov Orchestra of St. Petersburg (2006).
While proudly affiliated with the University of Michigan, housed on the Ann Arbor campus, and a regular collaborator with many University units, UMS is a separate not-for-profit organi?zation that supports itself from ticket sales, corporate and individual contributions, founda?tion and government grants, special project support from U-M, and endowment income.
Hill Auditorium
After an 18-month $38.6-million dollar renova?tion overseen by Albert Kahn Associates, Inc. and historic preservation architects Quinn EvansArchitects, Hill Auditorium re-opened to the public in January 2004. Originally built in 1913, renovations have updated Hill's infra?structure and restored much of the interior to its original splendor. Exterior renovations include the reworking of brick paving and stone retaining wall areas, restoration of the south entrance plaza, reworking of the west barrier-free ramp and loading dock, and improvements to landscaping.
Interior renovations included the creation of additional restrooms, the improvement of barrier-free circulation by providing elevators and an addition with ramps, new seats to
increase patron comfort, introduction of barrier-free seating and stage access, the replacement of theatrical performance and audio-visual systems, and the complete replacement of mechanical and electrical infrastructure systems for heating, ventilation, and air conditioning. Hill Auditorium seats 3,575.
Michigan Theater
The historic Michigan Theater opened January 5, 1928 at the peak of the vaudevillemovie palace era. Designed by Maurice Finkel, the 1,710-seat theater cost around $600,000 when it was first built. As was the custom of the day, the theater was equipped to host both film and live stage events, with a full-size stage, dressing rooms, an orchestra pit, and the Barton Theater Organ. At its opening, the theater was acclaimed as the best of its kind in the country. Since 1979, the theater has been operated by the not-for-profit Michigan Theater Foundation. With broad community support, the Foundation has raised over $8 million to restore and improve the Michigan Theater. The beautiful interior of the theater was restored in 1986.
In the fall of 1999, the Michigan Theater opened a new 200-seat screening room addi?tion, which also included expanded restroom facilities for the historic theater. The gracious facade and entry vestibule was restored in 2000.
Power Center
The Power Center for the Performing Arts grew out of a realization that the University of Michigan had no adequate proscenium-stage theater for the performing arts. Hill Auditorium was too massive and technically limited for most productions, and the Lydia Mendelssohn Theatre was too small. The Power Center was built to supply this missing link in design and seating capacity.
In 1963, Eugene and Sadye Power, together with their son Philip, wished to make a major gift to the University, and amidst a list of University priorities "a new theater" was
mentioned. The Powers were immediately inter?ested, realizing that state and federal govern?ments were unlikely to provide financial support for the construction of a new theater.
Opening in 1971 with the world premiere of The Grass Harp (based on the novel by Truman Capote), the Power Center achieved the seemingly contradictory combination of providing a soaring interior space with a jnique level of intimacy. Architectural features nclude two large spiral staircases leading from :he orchestra level to the balcony and the well-Known mirrored glass panels on the exterior, "he lobby of the Power Center presently eatures two hand-woven tapestries: Modern rapestry 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 Sower Center throughout the 0809 season.
:ackham Auditorium Sixty years ago, chamber music concerts in Ann Arbor were a relative rarity, presented in m 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 "933, his will awarded the University of Michigan the funds not only to build the Horace H. Rackham Graduate School, which houses Rackham Auditorium, but also to estab?lish a $4 million endowment to further the development of graduate studies. Even more remarkable than the size of the gift is the fact that neither he nor his wife ever attended the University of Michigan.
Designed by architect William Kapp and architectural sculptor Corrado Parducci, Rackham Auditorium was quickly recognized
as the ideal venue for chamber music. In 1941, UMS presented its first chamber music festival with the Musical Art Quartet of New York per?forming three concerts in as many days, and the current Chamber Arts Series was born in 1963. Chamber music audiences and artists alike appreciate the intimacy, beauty, and fine acoustics of the 1,129-seat auditorium, which has been the location for hundreds of chamber music concerts throughout the years.
St. Francis of Assisi Catholic Church
Dedicated in 1969, St. Francis of Assisi Catholic Church has grown from 248 families when it first started to more than 2,800 today. The present church seats 1,000 people and has ample free parking. In 1994, St. Francis pur?chased a splendid three manual "mechanical action" organ with 34 stops and 45 ranks, built and installed by Orgues Letourneau from Saint Hyacinthe, Quebec. Through dedication, a commitment to superb liturgical music, and a vision to the future, the parish improved the acoustics of the church building, and the reverberant sanctuary has made the church a gathering place for the enjoyment and con?templation of sacred a cappella choral music and early music ensembles.
Burton Memorial Tower
Seen from miles away, Burton Memorial Tower is one of the most well-known University of Michigan and Ann Arbor landmarks. Designed by Albert Kahn in 1935 as a memorial to U-M President Marion Leroy Burton, the 10-story tower is built of Indiana limestone with a height of 212 feet. The carillon, one of only 23 in the world, is the world's fourth heaviest containing 55 bells and weighing a total of 43 tons. UMS has occupied administrative offices in this building since its opening, with a brief pause in the year 2000 for significant renovations.
Winter 2009 Season 130th Annual Season
General Information
On-site ticket offices at performance venues open 90 minutes before each performance.
Children of all ages are welcome at UMS Family and Youth Performances. Parents are encouraged not to bring children under the age of 3 to regular, full-length UMS performances. All children should be able to sit quietly in their own seats throughout any UMS performance. Children unable to do so, along with the adult accompany?ing them, will be asked by an usher to leave the auditorium. Please use discre?tion in choosing to bring a child.
Remember, everyone must have a ticket, regardless of age.
While in the Auditorium
Starting Time Every attempt is made to begin concerts on time. Latecomers are asked to wait in the lobby until seated by ushers at a predetermined time in the program.
Cameras and recording equipment
are prohibited in the auditorium.
If you have a question, ask your usher. They are here to help.
Please turn off your cellular phones and other digital devices so that everyone may enjoy this UMS event disturbance-free. In case of emergency, advise your paging service of auditorium and seat location in Ann Arbor venues, and ask them to call University Security at 734.763.1131.
In the interests of saving both dollars and the environment, please either retain this program book and return with it when you attend other UMS performances included in this edition or return it to your usher when leaving the venue.
Event Program Book
Thursday, February 12 through Sunday, March 8, 2009
Sweet Honey In The Rock 5
Thursday, February 12, 8:00 pm Hill Auditorium
Kodo 7
Friday, February 13, 8:00 pm Hill Auditorium
Batsheva Dance Company
Saturday, February 14, 8:00 pm 11
Sunday, February 15, 4:00 pm 15
Power Center
New York Philharmonic
Saturday, March 7, 8:00 pm 19
Sunday, March 8, 7:00 pm 27
Hill Auditorium
Fall 2008
10-14 Wed-Sun Complicite: A Disappearing Number
19-20 Fri-Sat Mark Morris Dance Group
27 Sat Wayne Shorter Quartet and the Imani Winds
4 Sat The Art of the Oud featuring Omar Bashir, Rahim AlHaj, and Farida and the Iraqi Maqam Ensemble 12 Sun Sphinx Orchestra
12 Sun Tokyo String Quartet with
Sabine Meyer, clarinet
15 Wed Compagnie Heddy Maalem: The Rite of Spring
17 Fri Soweto 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
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
6-7 Sat-Sun Handel's Messiah
9-11 Fri-Sun Rubberbandance Group 11 Sun Guarneri String Quartet 16 Fri Tord Gustavsen Trio
23-24 Fri-Sat Gilgamesh: Kinan Azmeh, clarinet and Kevork Mourad, MaxMSP
24 SafFord Honors Program honoring the Royal
Shakespeare Company, Michael Boyd, and Ralph Williams
25 Sun Richard Goode, piano 29 Thu Chanticleer
31 SatMichigan Chamber Players
7 SatLawrence Brownlee, tenor with
Martin Katz, piano 12 Thu Sweet Honey In The Rock 13fri-Kodo 14-15 Sat-Sun Batsheva Dance Company
7-8 Sat-Sun New York Philharmonic
10 Tue Wynton Marsalis and Jazz at Lincoln Center
11 Wed Brentano String Quartet with Peter Serkin,
piano and Thomas Meglioranza, baritone
12 Thu Aswat: Celebrating the Golden Age of Arab
Music with Simon Shaheen and the Golden Age
Orchestra 13-14 fri-Sat-The Silk Road Ensemble with
Yo-Yo Ma, cello 18 WedAltenberg Trio Vienna
22 Sun Zakir Hussain, tabla with
Pandit Shivkumar Sharma, santoor 26 Thu The Romeros 29 Sun Dan Zanes & Friends
1 Wed-John Williams, guitar
2 Thu St. Louis Symphony Orchestra with
Anssi Karttunen, cello 4 Sat Chick Corea and John McLaughlin:
Five Peace Band
9 Thu Andras Schiff: Beethoven Concert 7 11 SatAndras Schiff: Beethoven Concert 8
16 ThuKurt Elling Sings the ColtraneHartman
17 FriTakacs Quartet with Marc-Andre Hamelin, piano 18-19 Sat-Sun Mohammed Bennis and the Hmadcha
Ensemble (from the Fez Festival of Sufi Culture)
23 Thu UMS Choral Union
24 FriJulia Fischer, violin with Milana Chernyavska, piano 25-26 Sat-Sun Compagnie Marie Chouinard
UMS Educational Events
through March 8, 2009
All UMS educational activities are free, open to the public, and take place in Ann Arbor unless otherwise noted. For complete details and updates, please visit or contact the UMS education department at 734.647.6712 or
Engage Off-Stage: Drums!
Friday, February 13, Pre-performance
Hill Auditorium Lower Lobby, 825 N. University Ave.
Prior to the start of the Kodo performance, visit the Hill Lower Lobby to experience a special drum exhibit that the U-M Stearns Collection of Musical Instruments has installed. The exhibit's experts are all Clague Middle School students who recently learned about the drums from local scholars and performers. Event is free and open to audience members.
A collaboration with Clague Middle School and the U-M Stearns Collection.
Sweet Honey In The Rock
Ysaye Maria Barnwell Nitanju Bolade Casel Aisha Kahlil Carol Maillard Louise Robinson Shirley Childress Saxton
Thursday Evening, February 12, 2009 at 8:00 Hill Auditorium Ann Arbor
Tonight's program will be announced by the artists from the stage and will contain one intermission.
38th Performance of the 130th Annual Season
The photographing or sound and video recording of this performance or possession of any device for such recording is prohibited.
Media partnership provided by Between the Lines, WEMU 89.1 FM, Ann Arbor's 107one, Michigan ChronicleMichigan Front Page, and Metro Times.
Sweet Honey In The Rock appears by arrangement with Opus 3 Artists, New York, NY.
Large print programs are available upon request.
Photo: Owioht Cirtf r
Founded by Bernice Johnson Reagon in 1973 at the DC Black Repertory Theater Company, Sweet Honey In The Rock", internationally renowned a cappella ensemble, has been a vital and innovative presence in the music culture of Washington DC and in communities of conscience around the world.
From Psalm 81:16 comes the promise to a people of being fed by honey out of the rock. Honey--an ancient substance, sweet and nurturing. Rock--an elemental strength, enduring the winds of time. The metaphor of sweet honey in the rock completely captures these African American women whose repertoire is steeped in the sacred music of the Black church, the clarion calls of the civil rights movement, and songs of the struggle for justice everywhere.
Rooted in a deeply held commitment to create music out of the rich textures of African American legacy and traditions, Sweet Honey In The Rock possesses a stunning vocal prowess that captures the complex sounds of blues, spirituals, traditional gospel hymns, rap, reggae, African chants, Hip Hop, ancient lullabies, and jazz improvisation. Sweet Honey's collective voice, occasionally accompanied by hand percussion instruments, produces a sound filled with soulful harmonies and intricate rhythms.
In the best and in the hardest of times. Sweet Honey In The Rock has come in song to communities across the US and around the world raising her voice in hope, love, justice, peace, and resistance. Sweet Honey invites her audiences to open their minds and hearts and think about who we are and how we treat each other, our fellow creatures who share this planet, and of course, the planet itself. The 0809 season finds Sweet Honey celebrating her 35th birthday. What a year it has been and what a year it will be!
Sweet Honey's latest release. Experience... 101 was a 2008 Grammy Award nominee. After attending the awards ceremony in Los Angeles and walking the red carpet, the group summed up the experience in one word: amazing. The excitement continued as Sweet Honey was asked to compose new material in celebration of the Alvin Ailey Dance Theater's 50th anniversary. Together these two artistic treasures of the African American experience are performing a once-in-a-lifetime collaboration throughout the US.
UMS Archives
Tonight marks Sweet Honey In The Rock's eighth appearance under UMS auspices, following the ensemble's most recent UMS performance in April 2006. In May 2004, Sweet Honey In The Rock performed at the ninth annual Ford Honors Program, where the group received UMS's Distinguished Artist Award. Sweet Honey not only has a performance history with UMS in Ann Arbor extending back to 1993, but the ensemble also performed in Washington DC prior to and in support of U-M's oral argument on affirmative action at the Supreme Court.
Takeshi Arai, Kazuki Imagai, Kazunari Abe, Masaru Tsuji, Masami Miyazaki, Yuichiro Funabashi, Mitsuru Ishizuka, Yoshie Sunahata, Yosuke Oda, Masayuki Sakamoto, Natsuki Saito, Kenta Nakagome, Tokio Takahashi, Hiroko Shimauchi
Program Friday Evening, February 13, 2009 at 8:00 Hill Auditorium Ann Arbor
One Earth Tour 2009
Leonard Eto Zoku
Tsubasa Hori Tobira
Traditional, Arr. Kodo Miyake
Shogo Yoshii Tamayura-no-Michi
Maki Ishii Monochrome
Mitsuru Ishizuka Koi-koi Fusha
Ryutaro Kaneko Jang-Gwara
Eiichi Saito Sankan-shion
Shogo Yoshii Kumo-no-Namiji
Kodo, Arr. Kodo O-daiko
Traditional, Arr. Kodo Yatai-bayashi
This evening's performance runs one hour and 40 minutes and is performed without intermission.

39th Performance of the 130th Annual Season
The photographing or sound and video recording of this performance or possession of any device for such recording is prohibited.
The 0809 Family Series is sponsored by Toyota. Media partnership provided by Ann Arbor's 107one.
Special thanks to Carol Stepanchuk, U-M Stearns Collection, and Clague Middle School for their participation in this residency.
Kodo appears by arrangement with IMG Artists, New York, NY.
Large print programs are available upon request.
Zoku(1989) Leonard Eto
Zoku means tribe, family, or clan. In this case, the tribe is the group of people who have come together to play the drums. When you hear the rhythms, your body will start to move on its own, perhaps reflecting a primal stirring within the subconscious.
Tobira (2006) Tsubasa Hori
longed to see a world beyond this one, so I searched for the door, or Tobira, that would take me there. Until I open the door, I have no idea what awaits me on the other side.
In this piece, each beat is filled with the spirit of the drummers as they imagine embarking into an unknown world.
Traditional, Arr. Kodo
Miyake Island is one of the seven volcanic islands of Izu south of Tokyo and has a festival centered
on this unique style of drumming. The drums are set very low to the ground, requiring a strenuous stance, and the men drum with relentless power, like ocean waves beating upon the island shore.
Tamayura-no-Michi (2008) Shogo Yoshii
Tamayura refers to dew resting on blades of grass. Beautiful yet fragile, it seems to speak of life itself. "Tamayura-no-Michi" (dew road) speaks of our journey through life, shining softly like the fleeting morning dew.
Monochrome (1976) Maki Ishii
Weaving constant rhythmic patterns together with highly irregular ones, "Monochrome" develops spirally to an exciting climax. The listener might interpret the sounds as those of the changing of the seasons, or perhaps even the progression of life itself. The ambitious pace greatly expands the range and power of expression of the roped shime-daiko.
Koi-koi Fusha (2008) Mitsuru Ishizuka
When this trio wanders into the spotlight, fun is bound to unfold.
Ryutaro Kaneko
Small metal cymbals are found in the Near East, Middle East, and Asia, first coming to Japan in the early days of Buddhism as religious instruments. Today, they are known as jangara, chappa, and tebira, and are used for accompaniment at festivals. In this piece, players use various techniques to show the range of rhythms and sounds that can be produced by this ancient instrument.
Sankan-shion (2008) Eiichi Saito
Sankan-shion, meaning "three cold days, four warm days," refers to a period towards the end of winter when this recurring pattern is said to occur. Through the long, severe winter, Sado is surrounded by heavy grey seas and threatening skies that make spring seem a long way off. Though they can still hear the whistling winter winds, the people of Sado begin to pray that spring really is just around the corner. Embodying that hope, this piece is played on the powerful miya-daiko.
Kumo-no-Namiji (2008) Shogo Yoshii
Kumo-no Namiji literally means "sea route through the clouds," referring to a chain of white clouds that resembles the wake of a boat. This song was modeled on "Kiyari Uta," a work song for hauling large trees and rocks. It was sung to keep workers in time and to fire up team spirit and as a way of calling out to the nature around them. Different
versions of the song still exist in several parts of Japan. "Kumo-no Namiji" expresses the Japanese people's deep-rooted sense of reverence towards nature, and a hope that the sound will linger in the sky like a path through the clouds.
Kodo, Arr. Kodo
This great drum, carved from a single tree, measures about four feet across and produces intense sounds that possess a deep tranquility. Lose yourself in the vibrations created when the power of the ancient drum and the pure drive of the drummer become one.
Traditional, Arr. Kodo
Every year on December 3 in Saitama Prefecture, an all-night festival is held featuring richly decorated two-story yatai (carts) pulled from village to village. The people hauling the yatai are urged on by the powerful beating of the taiko, concealed in the cramped first story of the carts. This gave rise to a technique of drumming while seated. Our version of the traditional "Yatai-bayashi" is played at a faster tempo, giving it a unique and fervent flavor.
Thirty-eight years ago, a small group of young people in Japan yearned for a new way to live. Disappointed with the direction of modern Japanese society and eager to rediscover traditional roots and values, they left their busy urban cultures behind and traveled north to remote Sado Island in the Sea of Japan.
They found a home in an abandoned schoolhouse by the sea and began to play the world's oldest instrument, the drum {taiko). Surrounded by Sado Island's rich performing arts traditions, they began to study other instruments
Photo: Junko Susaki
as well--the shamisen, koto, and shakuhachi. They explored dance, song, and stagecraft along with the taiko's limitless depth and range.
Years passed and the group's numbers grew. In time, Sado Island's unique culture, its four powerful seasons, and great natural beauty found expression in their art. There was a primal fierceness and determination to their work, and a playful, child?like curiosity. They called themselves Kodo, which means "heartbeat" and "children of the drum." They discovered that upon hearing the sounds of the great drum {o-daiko), carved from a single, massive tree trunk, babies fell fast asleep in their mothers' arms, lulled by the great heartbeat sound.
In ancient Japan, the taiko played a central role in most communities. It was said that the physical boundaries of a village could be defined by the farthest distance at which the taiko could be heard. When Kodo began touring the world nearly three decades ago, they discovered that the sound of the taiko had a similar effect. Wherever people heard the taiko, there was an instant sense of community, of one-ness. So the name "One Earth Tour" was born. Carried by the sound of the taiko, it has traveled the world with its message of shared humanity, environmental awareness, and peace ever since.
Kodo exploded onto the world stage at the Berlin Festival in 1981 and has delivered over 3,100 performances in more than 45 countries. The group's many recordings are available nearly everywhere.
For more about Kodo, visit
Kodo Staff
Mitsuru Ishizuka, Artistic Director Katsuhiro Kumada, Lighting Designer Jun Akimoto, Company Manager Yoshiko Ando, Assistant Company Manager Martin Lechner, Technical Director Tatsuya Dobashi, Stage Manager Masafumi Kazama, Assistant Stage Manager Mitsunaga Matsuura, Conditioning Trainer
UMS Archives
This evening's performance marks Kodo's 21st appearance under UMS auspices. The ensemble made its UMS debut in October 1982 and last appeared at the Power Center in February 2005.
Gloria and Jerry
Prue and Ami
Batsheva Dance Company
Ohad Naharin, Artistic Director and Choreographer
Yaniv Abraham, Danielle Agami, Nir Benita, Caroline Boussard, Matan David, lyar Elezra, Ariel Freedman, Shani Garfinkel, Douglas Letheren, Andrea Martini, Rachael Osborne, Michal Sayfan, Guy Shomroni, Bobbi Smith, Tom Weinberger, Adi Zlatin, Erez Zohar
Saturday Evening, February 14, 2009 at 8:00 Power Center Ann Arbor
Music by J.S. Bach, Goldberg Variations, performed by Glenn Gould
Music by Brian Eno, Neroli
Music by Chari Chari, Kid 606 + Rayon (mixed by Stefan Ferry), AGF, Fennesz, Kaho Naa...Pyar Hai, Seefeel, and the Beach Boys
By Ohad Naharin Costume Design by Rakefet Levy Lighting Design by Avi Yona Bueno Sound Design and Editing by Ohad Fishof
This evening's performance of Three is in three sections and runs 70 minutes without intermission.
40th Performance of the 130th Annual Season
18th Annual Dance Series
The photographing or sound and video recording of this performance or possession of any device for such recording is prohibited.
Tonight's performance is sponsored by Gloria and Jerry Abrams and Prue and Ami Rosenthal.
Funded in part by the National Dance Project of the New England Foundation for the Arts, with lead funding from Doris Duke Charitable Foundation. Additional funding provided by The Andrew W. Mellon Foundation, the Ford Foundation, and MetLife Foundation.
Special thanks to the Batsheva Dance Company for participating in tonight's Prelude Dinner.
Media partnership provided by Metro Times, Between the Lines, Michigan Radio 91.7 FM, and Detroit Jewish News.
Special thanks to U-M Department of Dance for their participation in this residency.
Special thanks to Eileen Freed, the Jewish Federation of Washtenaw County, the Jewish Community Center, Beth Israel Congregation, and the U-M Frankel Center for Judaic Studies for their participation in this residency.
Batsheva Dance Company appears by arrangement with David Eden Productions, Ltd.
Large print programs are available upon request.
"If you could hold one of Ohad Naharin's dances' in your hand, itAould feel smooth. Think of a polished stont looks like a piece of secret sculpture, but hurl itnd it becomes a weapon.' -Deborah )owt&dfillage Voice
Please refer to page 17 in your program book for complete company biographies and staff credits.
The Herbert and Junia
Doan Foundation
Batsheva Dance Company
Ohad Naharin, Artistic Director and Choreographer
Yaniv Abraham, Danielle Agami, Nir Benita, Caroline Boussard, Matan David, lyar Elezra, Ariel Freedman, Shani Garfinkel, Douglas Letheren, Andrea Martini, Rachael Osborne, Michal Sayfan, Guy Shomroni, Bobbi Smith, Tom Weinberger, Adi Zlatin, Erez Zohar
Sunday Afternoon, February 15, 2009 at 4:00 Power Center Ann Arbor
Deca Dance
Excerpts from works by Ohad Naharin
Bolero (2008) Max (2007) Telophaza (2006) George & Zalman (2006) Three (2005) Zachacha (1998) Anaphaza(1993) Mabul (1992) not listed in performance order
Original music composed and performed by Maxim Waratt Additional music by Maurice Ravel (performed by Isao Tomita); Kaho Naa...Pyar Hai; J.S Bach, Goldberg Variations (performed by Glenn Gould); Brian Eno; Seefeel; the Beach Boys; Habib Alia Jamal; Shama Khader; Ohad Naharin; Cha-Cha De Amor (sung by Dean Martin and Rolley Polley); Avi Belleli; and Dan Makov.
Costume Design for original works by Rakefet Levy
Costume Design for Bolero by Alia Eisenberg
Lighting Design for original works by Avi Yona Bueno and Ohad Naharin
Sound Design for original works by Frankie Lievaart
This afternoon's performance runs 70 minutes and is performed without intermission.
41st Performance of the 130th Annual Season
18th Annual Dance Series
The photographing or sound and video recording of this performance or possession of any device for such recording is prohibited.
This afternoon's performance is sponsored by The Herbert and Junia Doan Foundation.
Funded in part by the National Dance Project of the New England Foundation for the Arts, with lead funding from Doris Duke Charitable Foundation. Additional funding provided by The Andrew W. Mellon Foundation, the Ford Foundation, and MetLife Foundation.
Media partnership provided by Metro Times, Between the Lines, Michigan Radio 91.7 FM, and Detroit Jewish News.
Special thanks to U-M Department of Dance for their participation in this residency.
Special thanks to Eileen Freed, the Jewish Federation of Washtenaw County, the Jewish Community Center, Beth Israel Congregation, and the U-M Frankel Center for Judaic Studies for their participation in this residency.
Batsheva Dance Company appears by arrangement with David Eden Productions, Ltd.
Large print programs are available upon request.
"Deca Dance is not a new work. It is more about reconstruction: I like to take pieces or sections of existing works and rework them, reorganize them, and create the possibility to look at them from a new angle. It always teaches me something new about my work and composition. In Deca Dance I took sections from different works. It was like I was telling only either the beginning, middle, or ending of many stories, but when I organized it, the result became as coherent as the original, if not more."--Ohad Naharin
Batsheva Dance Company's artistic integrity and innovation have earned the company its reputation as one of the most inspirational and sought-after companies--a true champion on the global map of performing arts.
Batsheva operates throughout the year with its two companies (Batsheva Dance Company and the junior Batsheva Ensemble) and 40 dancers. With 250 annual performances in Israel and around the world, the company is considered Israel's leading cultural ambassador. Batsheva is applauded worldwide in the most prestigious theaters and festivals including Lincoln Center, BAM's Next Wave Festival, Montpellier Danse, and the Berlin Festival.
The company includes dancers from Israel and abroad who are encouraged to affirm their distinct creative gifts either in the rehearsal process or in the creation of their own works during the ongoing Batsheva Dancers Create series. Many of Batsheva's dancers developed their skills during an extensive training period in the Batsheva Ensemble. The ensemble serves as a greenhouse for the next generation of dancers and choreographers, dedicating the majority of its time to Batsheva's comprehensive outreach and education program.
The 0708 performance season brought with it an additional international cast of 16 dancers. This third Batsheva company performed Ohad Naharin's Kamuyot to audiences of school children and young adults throughout Sweden between December 2007 and May 2008. This special project was the result of a unique collaboration between the company and Sweden's National Riksteatern.
Led by Artistic Director Ohad Naharin, together with House Choreographer Sharon Eyal, the company's 65 members--dancers, technical crew, and administration--are driven by a common vision: to excel in art and to strengthen common human values through the power of creativity.
Batsheva Dance Company was founded in 1964 by Martha Graham and Baroness Batsheva De Rothschild. To learn more about Batsheva, please visit
Ohad Naharin (Artistic Director and Choreo?grapher) began his training as a dancer with the Batsheva Dance Company. He came to New York one year later at the invitation of Martha Graham to join her company and to make use of a scholarship to the School of American Ballet. After a year with the Martha Graham Dance Company, he continued his studies at The Juilliard School of Music with Maggie Black and David Howard. He then joined the Maurice Bejart Company in Brussels for one season and made his choreographic debut in 1980 in the Kazuko Hirabayashi studio in New York.
From 1980-1990 Mr. Naharin performed and worked in New York where he lived with his wife, dancer Mari Kajiwara, who died of cancer in 2001. In 1990 he was appointed Artistic Director of the Batsheva Dance Company.
Mr. Naharin has been the recipient of many awards and honors including the Chevalier de I'Ordre des Arts et des Lettres by the French government in 1998, two New York Dance and Performance (Bessie) Awards (for Naharin's Virus at the Brooklyn Academy of Music in 2002 and for Anaphaza at the Lincoln Center Festival in 2003), a Doctor of Philosophy honoris causa by the Weizmann Institute of Science in 2004, and the prestigious Israel Prize for dance in 2005.
Mr. Naharin's works are performed by many companies throughout the world including Nederlands Dans Theater, Frankfurt Ballet, Lyon Opera Ballet, Ballet Nacional d'Espana in Madrid, Cullberg Ballet in Sweden, and the Opera National de Paris.
UMS Archives
This weekend's performances mark the fourth and fifth performances of the Batsheva Dance Company under UMS auspices, following the company's UMS debut in November 1972. The company most recently appeared in Ann Arbor in March 1998.
Batsheva Dance Company Staff
Ohad Naharin, Artistic Director Naomi Bloch Fortis, Executive Director,
Co-Artistic Director Sharon Eyal, House Choreographer Yaniv Nagar, Batsheva Company Manager
and Stage Manager Luc Jacobs, Rehearsal Director Danielle Agami and Rachael Osborne,
Assistants to Rehearsal Director Roni Cohen, Technical Director Yitzhak Assulin, Chief Electrician Dudi Bell, Sound
Daniel Feinshten and Yuval Glikman, Technicians Omer Yefman, Wardrobe Martin Krahl, Physiotherapist Gadi Dagon, Photographer
International Tour Production
Iris Bovshover
International Tour Management
Dina Aldor, Aladdin Ltd.
North American Tour Producer
David Eden, David Eden Productions, Ltd.
Erica Charpentier, General Manager
Pat Kirby, Company Manager
Trevor Long, Production Coordinator
Stonie Darling and Elise-Ann Kostantin, Visa Coordinators
In Association with H-Art Management
Harold Norris, President
Batsheva Dance Company North America Tour 2009 is supported by the Israeli Ministry of Foreign Affairs.
Batsheva Dance Company wishes to thank the generosity of the American Friends of Batsheva, New York, NY.
Batsheva Dance Company celebrates with the America Israel Cultural Foundation (AICF) its 70th anniversary. They wish to congratulate AICF on its remarkable impact on Israeli culture throughout the years and to acknowl?edge AlCF's significant contribution to Batsheva's development and growth.
Brian and Mary
University of Michigan
Health System
New York Philharmonic
Lorin Maazel, Conductor
Felix Mendelssohn
Robert Schumann
Modest Mussorgsky, Arr. Maurice Ravel
Saturday Evening, March 7, 2009 at 8:00 Hill Auditorium Ann Arbor
Overture to A Midsummer Night's Dream, Op. 21
Symphony No. 4 in d minor. Op. 120
Fairly slow--Lively Romance: Fairly slow Scherzo: Lively Slow--Lively--Faster--Presto
All movements played attacca (without pause)
Pictures at an Exhibition
The Old Castle
Tuileries: Dispute between Children at Play
Ballet of the Unhatched Chicks
Samuel Goldenberg and Schmuyle
Limoges: The Marketplace
With the Dead in a Dead Language
The Hut on Fowl's Legs: Baba Yaga
The Great Gate of Kiev
The New York Philharmonic Weekend is sponsored by Brian and Mary Campbell. Tonight's performance is sponsored by the University of Michigan Health System. Credit Suisse is the Global Sponsor of the New York Philharmonic.
42nd Performance of the 130th Annual Season
The photographing or sound and video recording of this concert or possession of any device for such recording is prohibited.
Special thanks to Robert Kelch, Executive Vice President for Medical Affairs, for his continued and generous support of the University Musical Society.
Tonight's performance is hosted by Mainstreet Ventures.
Funded in part by the National Endowment for the Arts as part of American Masterpieces: Three Centuries of Artistic Genius.
Special thanks to Zarin Mehta, President and Executive Director of the New York Philharmonic, for participating in tonight's Prelude Dinner. Mr. Mehta is a member of the UMS National Council.
Media partnership provided by Detroit Jewish News, WGTE 91.3 FM, and Observer & Eccentric Newspapers.
Special thanks to Kim Osburn and the U-M School of Music, Theatre & Dance for their participation in this residency.
Special thanks to Tom Thompson of Tom Thompson Flowers, Ann Arbor, for his generous contribution of lobby art for this evening's performance.
Special thanks to Steven Ball for coordinating the pre-concert music on the Charles Baird Carillon.
Programs of the New York Philharmonic are supported, in part, by public funds from the New York State Council on the Arts, New York City Department of Cultural Affairs, and the National Endowment of the Arts.
Instruments made possible, in part, by The Richard S. and Karen LeFrak Endowment Fund.
Steinway is the Official Piano of the New York Philharmonic.
New York Philharmonic downloads for DG Concerts are available exclusively on iTunes.
Additional recordings are available on major labels including Deutsche Grammophon, CBSSony, and New York Philharmonic Special Editions.
Lorin Maazel and the New York Philharmonic appear by arrangement with Columbia Artists Management LLC.
Large print programs are available upon request.
Now that you're in your seat...
The 19th century heard many heated debates about the extent to which music could give voice to literary heroes, reproduce artistic motifs, o; express philosophical ideas. In the meantime, composers produced both "program" music, generated by extra-musical inspirations, and "absolute" music, which only seemed to make reference to itself. Today, we delight in Mendelssohn's magical evocation of Shakespeare's fairy world, as we do in Mussorgsky's brilliant sketches that can truly make us see the pictures on which they were based. On the other hand, the "abstract" motivic contrasts and transformations of a Schumann symphony can be just as deeply satisfying without an external story of any kind. In fact, Schumann's compositional strategies are really not all that abstract: his symphony communicates emotions just as strongly as any program music does, even if those emotions may be hard to verbalize. Conversely, program music wouldn't be able to get its message across if it didn't make use of motivic procedures as sophisticated as the ones found in symphonies. Therefore it is impossible to draw a rigid line between "absolute" and "program" music. All three masterpieces heard tonight are highly expressive in their different ways, and all rely on compositional technique to achieve their goals, whether or not they are "about" something other than music.
Overture to A Midsummer Night's Dream,
Op. 21(1826) Felix Mendelssohn
Born February 3, 1809 in Hamburg, Germany Died November 4, 1847 in Leipzig
Snapshot of History... In 1826:
James Fenimore Cooper publishes The Last of the Mohicans
Beethoven completes his last string quartet
Samuel Morey patents the internal combustion engine
Schubert composes a song ("Serenade") on an excerpt from Shakespeare's Cymbeline, in German translation
The last auto de fe is held in Spain
The Romantic generation felt Shakespeare to be one of its own. How could it not The Bard's works were filled with all the things the Romantics held dear: passionate love, fairytales, times long ago, and places far was at the beginning of the 19th century that Shakespeare's plays began to exert a profound influence on composers. Beethoven based the slow movement of his String Quartet Op. 18, No. 1 on the tomb scene from Romeo and Juliet. Berlioz wrote a monumental dramatic symphony on the same subject, in addition to smaller works after Hamlet and King Lear and an opera after Much Ado About Nothing.
Felix Mendelssohn started reading Shakespeare as a child during the 1820s. His family spent long hours reading through or acting out entire plays in the German translations by August Wilhelm Schlegel and Ludwig Tieck, two important Romantic literary figures. The Mendelssohn family had a strong personal connection to these translations: Felix's aunt Dorothea was married to A.W. Schlegel's brother Friedrich, one of the leading German philosophers of the time.
None of the plays captured the young Mendels?sohn's imagination more than A Midsummer Night's Dream, or Ein Sommernachtstraum, in the version he first encountered. In a letter written in mid-summer of 1826, the 17-year-old composer told his sister Fanny: "I have grown accustomed to composing in our garden; there I've completed two piano pieces in A Major and e minor. Today or tomorrow I am going to dream there the Midsummer Night's Dream. It is, however, an enormous audacity..." The overture was completed less than a month later.
Mendelssohn moved in the world of Oberon and Titania, the fairy rulers of the enchanted woods near Shakespeare's Athens, with the grace and ease of an elf. The four opening chords of the overture, played by the woodwind and horns, made history with their delicate orchestration. In each chord, some new instruments are added, gradually expanding the range. The chords are all major with the exception of the third one, which is minor; a subtle interplay between the modes is
thus introduced that will continue throughout the overture.
After this exceptional opening, we hear music that will forever be associated with Puck and the other elves and spirits in the forest. The fairy music is complemented by a more majestic, "earthly" melody, which tums out to be a quote from Carl Maria von Weber, whose own Oberon--not based on Shakespeare--was premiered the same year (1826) just two months before Weber's premature death at age 40.
A third theme invokes the "hee-haw" of Bottom, the artisan-actor who, by magic, suddenly grew a donkey's head and then proceeded to sweep fairy queen Titania off her beautiful feet. The three themes act out their own little comedy, evolving, interacting, and enchanting the listener. If we are to single out one detail, it must be the ending, where the "earthly" theme becomes absolutely celestial, played very softly and slowly by the violins as an exceptionally touching farewell gesture.
Symphony No. 4 in d minor. Op. 120
(1841, rev. 1851) Robert Schumann Born June 8, 1810 in Zwickau, Saxony
(now in Germany) Died July 29, 1856 at Endenich, near Bonn
Snapshot of History... In 1841:
Ralph Waldo Emerson publishes Self-Reliance
Russian poet Mikhail Lermontov is killed in a duel
Antonin Dvofak is born
Britain occupies Hong Kong
The city of Dallas is founded in the independent Republic of Texas
During the first decade of his artistic maturity, Schumann wrote almost exclusively for piano solo. In those years he produced many of his most celebrated works (including Carnival and the C-Major Fantasy), but his early attempt at a symphony had remained unfinished.
Then, during a trip to Vienna in 1838, Schumann discovered the manuscript of Schubert's Great Symphony No. 9 in C Major and brought it back to Leipzig, where his friend Felix Mendelssohn
premiered it with the Gewandhaus Orchestra the next year. Under the spell of Schubert's masterwork, Schumann wrote enthusiastically to his fiancee Clara Wieck: "I was supremely happy and had nothing left to wish for, except that you were my wife, and that I could write such symphonies myself."
Both wishes were to come true very soon and, indeed, there seems to be a connection between the two. It was largely at his wife's encouragement that Schumann tackled the symphonic genre and rose to its enormous challenges, producing, within the space of the single year 1841, Symphony No. 1, the Overture, Scherzo, and Finale, the first version of the Symphony No. 4 in d minor, and the Fantasy for piano and orchestra in a minor.
After Beethoven, writing symphonies was never quite the same. In the words of German musicologist Carl Dahlhaus, "Beethoven had transformed the symphony into a monumental genre...[that] manifested compositional ambitions of the highest order, the audience it addressed being no smaller than the whole of humanity." If Beethoven had based entire movements on a single and very short motif (as in the first movement of his Fifth), Schumann wanted to extend that principle to a whole work and use the same motifs in all movements. He sought to increase the work's inner cohesion even more by leading one movement into the next without a break. Beethoven had occasionally linked movements in that way, as in the last three movements of his Symphony No. 6, or in his Sonata quasi una Fantasia for piano in E-flat Major {Op. 27, No. 1). In fact, Schumann first intended to call his work in the 1851 revision "Symphonic Fantasy," before settling on "Symphony No. 4." The composition, even so, is rather fantasy-like in merging the four movements into a single uninterrupted flow of music, as well as in the considerable liberties taken with traditional musical forms. (The idea of dispensing with breaks between movements, introduced into the symphony's score in 1851, may also have been inspired by the example of Mendelssohn's "Scottish" Symphony, which had been premiered in 1842.)
The first movement opens with a slow introduction whose melodic idea will be heard throughout the symphony. It is a majestic, solemn prelude characterized by the almost uninterrupted roll of the timpani, leading gradually into a passionate and animated fast section. The first movement has a regular exposition where the
musical material is first presented, a fairly regular development section where it is transformed and broken up into small fragments, but there is no real recapitulation. Instead of repeating the beginning of the fast section in its original form, Schumann introduces new material (a march in dotted rhythm that will return in the finale) and further variations on the main theme. The variations then come to an unexpected halt, followed immediately by the second movement, called "Romanze."
The brief "Romanze" opens and ends with a beautiful melody played by solo oboe and cellos. In between, we hear two variations on the first movement's slow introduction, one of them with solo violin. The return of the oboe melody leads into the boisterous third-movement "Scherzo," marked by strong accents and a powerful rhythmic drive. In sharp contrast with the Scherzo proper, we hear a soft and gentle Trio.
Traditionally, movements of this type end with the repeat of the Scherzo section after the Trio. Beethoven in some cases repeated a Trio a second time but still closed with the Scherzo (S-T-S-T-S, as in Symphony No. 7). Schumann, on the other hand, here uses S-T-S-T, and the third statement of the Scherzo is replaced by what is arguably the high point of the symphony: a quite unexpected slow section, based on previously heard material but entirely new in character. The tremolos of the strings and timpani create unusual excitement (not unlike the parallel passage in Beethoven's Symphony No. 5), resolved by the first measures of the finale, which take up the march theme from the first movement. The music remains joyful and vigorous to the end, but there is another peculiarity in the form. Rhythmic fragments of the march tune are used throughout the movement, but the theme itself, once heard, never comes back again. Instead, a brand-new theme appears just before the end: a sweeping melody ushering in a gradual acceleration of the tempo and an exuberant presto conclusion.
Pictures at an Exhibition (1874)
Modest Mussorgsky
Born March 21, 1839 in Karevo, in the
Pskov district of Russia Died March 28, 1881 in St. Petersburg
Orchestrated in 1922 by Maurice Ravel Bom March 7, 1875 in Ciboure,
Basses-Pyrenees, France Died December 28, 1937 in Paris
Snapshot of History... In 1874:
Thomas Hardy publishes Far from the Madding Crowd
Verdi's Requiem is first performed in Milan
Johann Strauss Jr.'s operetta Die Fledermaus is first performed in Vienna
The first independent exhibition of the Impressionist painters is held in Paris
New York's Madison Square Garden opens (under the name of Barnum's Hippodrome)
Today, March 7, 2009:
Maurice Ravel's 134th birthday
"What a terrible blow!" Mussorgsky exclaimed in a letter to the critic Vladimir Stasov in 1874, and he proceeded to paraphrase a famous passage from Shakespeare's King Lear. "Why should a dog, a horse, a rat, live on, when creatures like Hartman must die" Victor Hartman, a gifted architect and painter and a close friend of Mussorgsky's, had recently died at the age of 39. A commemorative exhibit of his painting inspired Mussorgsky to pay a musical tribute to his friend by writing a piano suite based on his impressions of the paintings. The suite was not performed or published during the composer's lifetime, however, and it did not become universally known until Maurice Ravel orchestrated it in 1922.
Mussorgsky chose 10 of Hartman's pictures for musical illustration. The pictures are separated--at least in the first half of the work--by a melody called "Promenade" that portrays the visitor at the gallery strolling from picture to picture. It is fascinating to listen to the changes that the melody undergoes from one recurrence to the next: the impression left by the last picture seems to linger on as the
visitor proceeds to the next painting.
The first picture, "Gnomus," represents a toy nutcracker in the shape of a dwarf. The strange and unpredictable movements of this creature are depicted quite vividly. We hear the "Promenade" again, and are then ushered into "The Old Castle," where a troubadour (a medieval courtly singer) sings a wistful song. In Ravel's orchestration, this haunting melody is played by the alto saxophone.
The next picture--preceded again by the "Promenade"--is titled "Tuileries: Dispute between Children at Play." It is followed immediately--with no "Promenade" this time--by "Bydlo," the Polish oxcart, slowly approaching and then going away as its ponderous melody gets first louder and then softer.
A much shortened "Promenade," more lyrical in tone than before, leads the "Ballet of the Unhatched Chicks," based on the designs Hartman had made for the ballet Trilbi at the Maryinsky Theatre in St. Petersburg. In the ballet, which had music by Julius Gerber and choreography by the famous Marius Petipa, a group of children appeared dressed up as canaries; others, according to a contemporary description, were "enclosed in eggs as in suits of armor," with only their legs sticking out of the eggshells.
The next picture is titled, in the original, "'Samuel' Goldenberg und 'Schmuyle'." Hartman had painted a number of characters from the Jewish ghetto in Sandomierz, Poland, including a rich man in a fur hat and a poor one sitting with his head bent. Although Mussorgsky left no explanation of the movement, it has traditionally been understood as an argument between two Jews, one rich, the other poor. The rich Jew is represented by a slow-moving unison melody stressing the augmented second, considered an "Oriental" interval and indeed frequent in certain forms of Jewish chant and folk music with which Mussorgsky was familiar. The poor man is characterized by a plaintive theme whose repeated notes seem to be choking with emotion. Then, the two themes are heard simultaneously. In Ravel's orchestration, Goldenberg has the entire string section at his command, while Schmuyle tries to defend himself, desperately, to the sound of a single muted trumpet.
"Limoges, the Market: The Big News" portrays the hustle and bustle of an open market in France where people are busy gossiping and quarrelling.
What a contrast to go from here immediately to the "Catacombs." Hartman's watercolor shows the artist, a friend, and their guide, who is holding a lantern, examining the underground burial chambers in Paris. On the right, one can see a large pile of skulls which, in Mussorgsky's imagination, suddenly begin to glow. The "Promenade" theme appears completely transfigured, as the inscription in the score says, Cum mortuis in lingua mortua (With the dead in a dead language).
The next section, "The Hut on Fowl's Legs: Baba Yaga" evokes the witch of Russian folktales who lives in just such an edifice. Hartman had designed a clock in the form of the famous hut; its design survives only as a sketch. Mussorgsky's movement, whose rhythm has something of the ticking of a giant clock, has a mysterious-sounding middle section, after which the wilder and louder first material retums.
The "witch music" continues directly into the grand finale, "The Great Gate of Kiev," inspired by an ambitious design that was submitted for a competition but never built. For the immense architectural structure, Mussorgsky provided a grandiose melody resembling a church hymn and presented in rich harmonies. This theme alternates with a more subdued second melody, harmonized like a chorale. Near the end, the movement incorporates the "Promenade" theme; it leads directly into the magnificent final climax that, in many ways, symbolizes the grandeur of old Russia.
Program notes by Peter Laki.
Please refer to page 32 in your program book for biographies and orchestra roster.
MusiC and the ArtS are powerful tools in the healing process. That's why we created programs ranging from our Gifts of Art, which include bedside music and art galleries, to our harmonica class for pulmonary rehab patients. It's also why we support the University Musical Society. Because we value the arts and all they bring to our patients. That's the Michigan Difference,
University of Michigan Health System
Brian and Mary
New York Philharmonic
Lorin Maazel, Conductor
Hector Berlioz
Pyotr llyich Tchaikovsky
Igor Stravinsky
Sunday Evening, March 8, 2009 at 7:00 Hill Auditorium Ann Arbor
Roman Carnival Overture, Op. 9
Suite No. 3 in G Major, Op. 55
Elegie (Andante molto cantabile) Valse melancolique (Allegro moderato) Scherzo (Molto vivace) Tema con variazioni (Andante con moto)
Le Sacre du printemps
First Part: The Adoration of the Earth Introduction
The Augurs of Spring (Dances of the Young Girls) Ritual of Abduction Spring Rounds Ritual of the Rival Tribes The Adoration of the Earth The Sage Dance of the Earth
Second Part: The Sacrifice Introduction
Mystic Circles of the Young Girls Glorification of the Chosen One Evocation of the Ancestors Ritual Action of the Ancestors Sacrificial Dance (The Chosen One)
The New York Philharmonic Weekend is sponsored by Brian and Mary Campbell. Credit Suisse is the Global Sponsor of the New York Philharmonic.
43rd Performance of the 130th Annual Season
130th Annual Choral Union Series
The photographing or sound and video recording of this concert or possession of any device for such recording is prohibited.
Funded in part by the National Endowment for the Arts as part of American Masterpieces: Three Centuries of Artistic Genius.
Media partnership provided by WGTE 91.3 FM, Observer & Eccentric Newspapers, and Detroit Jewish News.
Special thanks to Kim Osburn and the U-M School of Music, Theatre & Dance for their participation in this residency.
Special thanks to Tom Thompson of Tom Thompson Flowers, Ann Arbor, for his generous contribution of lobby art for this evening's performance.
Special thanks to Steven Ball for coordinating the pre-concert music on the Charles Baird Carillon.
Programs of the New York Philharmonic are supported, in part, by public funds from the New York State Council on the Arts, New York City Department of Cultural Affairs, and the National Endowment of the Arts.
Instruments made possible, in part, by The Richard S. and Karen LeFrak Endowment Fund.
Steinway is the Official Piano of the New York Philharmonic.
New York Philharmonic downloads for DG Concerts are available exclusively on iTunes.
Additional recordings are available on major labels including Deutsche Grammo-phon, CBSSony, and New York Philharmonic Special Editions.
Lorin Maazel and the New York Philharmonic appear by arrangement with Columbia Artists Management LLC.
Large print programs are available upon request.
Now that you're in your seat...
What would music be without dance rhythms Some of the earliest purely instrumental works were dances, and even the most serious symphonic forms cannot seem to exist without at least one dance movement. The saltarello is responsible for creating a "period" feel in Berlioz's Romantic opera about a 16th-century artist; the waltz, the polonaise, and various Russian folk dances were second nature to Tchaikovsky. And modern music may be said to have been born out of the spirit of the dance in Stravinsky's epoch-making Le Sacre du printemps.
Roman Carnival Overture, Op. 9 (1844)
Hector Berlioz
Born December 17, 1803 in La Cote-Saint-Andre,
Isere, France Died March 8, 1869 in Paris
Snapshot of History... In 1844:
Alexandre Dumas writes The Three Musketeers
Verdi's Ernani premiered in Venice
Tchaikovsky is four years old
Joseph Smith, the founder of the Mormon Church, is murdered in Illinois
In France, Gustave Courbet paints a famous portrait of his younger sister, Juliette
Karl Marx and Friedrich Engels meet in Paris Today, March 8, 2009:
The 140th anniversary of Hector Berlioz's death
Berlioz's opera Benvenuto Cellini, based on the famous autobiography of the Italian Renaissance artist, was a total failure at the premiere, owing to the incomprehension and hostility of the Paris Opera House, and the conductor Habeneck in particular. After four disastrous performances, Berlioz addressed the following letter to the director of the Opera:
Sir, I have the honor to inform you that withdraw my opera Benvenuto Cellini. I am perfectly convinced that you will receive this news with pleasure.
I have the honor to be, Sir, your devoted servant, H. Berlioz.
To prove that the opera's fiasco had nothing to do with the quality of his music, Berlioz used some of the material from Benvenuto in a new overture that, conducted by Berlioz himself, had to be encored at the first performance. In his Memoirs, Berlioz later recounted how Habeneck had ruined
the saltarello dance in the opera by conducting it at half the correct tempo. After the success of the same music in the Roman Carnival Overture, Berlioz said to Habeneck: "This is how it ought to go!" to which, Berlioz noted, "he took care to make no reply."
Roman Carnival quickly became a favorite with audiences both in France and abroad. Berlioz called the work an ouverture caracteristique, a term that stood for instrumental music with a definite dramatic meaning. Berlioz used two contrasting ideas from the opera. First comes the love duet between Cellini and Teresa--a melody first played by the English horn and then by the violas. The fast section is based on the opera's carnival chorus. The love duet is preceded by a fast introduction which, after only a few bars, is suddenly interrupted by a general rest. Both themes are then developed in succession; there are numerous surprising changes of key and unexpected pianissimos where the orchestral texture suddenly thins out, only to resume its brilliance a few moments later. The overture concludes with the above-mentioned fast dance, growing ever more exuberant to the end.
Suite No. 3 in G Major, Op. 55 (1884) Pyotr llyich Tchaikovsky
Born May 7, 1840 in Kamsko-Votkinsk, Russia Died November 6, 1893 in St. Petersburg
Tchaikovsky's four orchestral suites (the last being the popular Mozartiana) are lighter cousins of the symphonies. While they don't grapple with fate as those weightier works do, they are substantial orchestral pieces, and the composer took them quite seriously indeed, as his correspondence attests.
Unlike the symphonies, the suites lack complex sonata allegros; they open instead with one of several "character movements," each of which
Snapshot of History... In 1884:
Nietzsche writes Thus Spoke Zarathustra
Robert Louis Stevenson writes The Treasure Island
Stravinsky is two years old
The Metropolitan Opera opens in New York
Catastrophic eruption of the volcano Krakatoa in Indonesia
Brahms writes his Symphony No. 3
depicts a certain musical mood. Suite No. 3--a rather hefty, 40-minute work--begins with a lyrical "Elegy," which starts out gentle and becomes increasingly passionate as it proceeds. The return of the opening melody towards the end of the movement is fashioned into a powerful fortissimo statement; the last word, following a haunting English horn solo, is once again calm and peaceful.
The second movement is a "Valse melancolique"--one of those delicious Romantic works that combine the irresistible rhythm of the waltz with a sad and brooding disposition. It is followed by a lively and colorfully orchestrated "Scherzo."
This is, however, an end-heavy work: the first three movements seem little more than introduc?tions to the grandiose theme-and-variations crowning the suite. The theme, reminiscent of a folk dance, is introduced by the violins; in the course of the 12 variations that follow, all the instruments in the orchestra are featured in turn as Tchaikovsky adds one ingenious twist after another to the basic melody. Variation five is a fugue, variation seven a chorale, variation eight a pastoral solo for English horn. At the end of the lively variation nine, a virtuosic violin cadenza appears, seemingly out of the blue. The solo violin remains in the limelight throughout the following variation, after which a relatively quiet section prepares the way for the concluding extravaganza--a polonaise of majestic proportions, preceded by a solemn introduction in which the fateful trumpet fanfares from Symphony No. 4 reappear thoroughly tamed, inviting everyone to join in the dance.
Le Sacre du printemps (The Rite of Spring)
Igor Stravinsky Bom June 17, 1882 in Oranienbaum,
near St. Petersburg, now Lornosov, Russia Died April 6, 1971 in New York City
Snapshot of History... In 1913:
New York's Grand Central Terminal opens to the public
Albert Schweitzer founds his hospital in Lambarene, French Equatorial Africa (Gabon)
Swann's Way by Marcel Proust is published
Rabindranath Tagore wins the Nobel Prize for literature
Cecil B. DeMille's The Squaw Man is the first film made in Hollywood
The first crossword puzzle and the first zipper appear
It all began like just another show for Serge Diaghilev's Paris-based company, the Ballets Russes. Diaghilev's magic formula, the combination of virtuoso dancing with the exotic appeal of far?away Russia had worked wonders with French audiences before; in addition, two of his previous productions, The Firebird and Petrushka, had revealed to the world the company's young star composer, Igor Stravinsky. But this time--maybe somewhat unexpectedly even for those involved--a few important lines were crossed, and music in the Western world was never the same again.
Russian writers and artists at the beginning of the 20th century were endlessly fascinated by the Russia of pre-Christian times. Medieval literature and contemporary peasant folklore were mined for clues about paganism, and several artists, including the poet Sergei Gorodetsky and the painter Nikolai Roerich, became noted experts on the subject.
Thus, paganism was "in," and the possibility that the ancient Russians may have engaged in human sacrifice captured the imaginations of many at the time. (Incidentally, this hypothesis was never proven, but the burning of straw effigies, documented in modern folklore, was seen as a vestige of sacrificial practices.) Therefore, the dream that Stravinsky told about in his autobiography was a very timely one indeed:
One day, when I was finishing the last pages of The Firebird in St. Petersburg, I had a fleeting vision which came to me as a
complete surprise, my mind at the moment being full of other things. I saw in imagination a solemn pagan rite: sage elders, seated in a circle, watched a young girl dance herself to death. They were sacrificing her to propitiate the god of spring.
As Richard Taruskin has shown in his monumental two-volume biography of Stravinsky, the composer provided the germinal idea for at least the last scene of the ballet, and Roerich, with his vast knowledge of ethnological and archeological writings, helped create an authentic scenario. It was to be a ballet "devoid of plot in the conventional sense, one that would not narrate its action but depict it pure, not represent it but present it....[It] would not tell a story of a pagan ritual; it would be that ritual." Stravinsky and Roerich seem to have decided together that the "Great Sacrifice" should be preceded by a celebration of the Earth, with traditional ritual games re-enacted onstage and culminating in a wild stomping dance.
In its final form, the scenario incorporates a number of allusions to ancient Russian folk rituals, and accordingly, the music relies heavily on ancient Russian folk songs taken from published collections. This is important to emphasize because in later years, anxious to project a "cosmopolitan" image, Stravinsky went to great lengths to deny the presence of any original folk material in The Rite of Spring.
The following summary of the action, apparently written by the composer himself, was published in the program for the Moscow concert premiere in 1914:
Scenes of pagan Russia, united inwardly by the mystery of the great upsurge of all the creative powers of Spring...
Part I: The Kiss of the Earth. The celebrants of Spring are seated on hills. They blow dudki (reed pipes). Youths learn the art of divination from an old woman who knows all the secrets of Nature. Young maidens, costumed and with painted faces, come from the river in single file. They dance the Spring Dance. This is followed by the Game of Abduction and the Spring Rounds, for which the youths divide into different tribes that attack each other. An opening is cleared for the Eldest and Wisest, who enters at the head of a religious procession.
The games stop and the people wait, trembling, for the blessing of the earth. The Eldest makes a sign to kiss the earth and everyone dances, stomping the earth.
Part II: The Great Sacrifice. Night. The maidens perform secret games and group themselves in circles. One of the maidens is chosen for the Sacrifice. Fate points to her twice: twice she is caught in one of the circles without an exit. The maidens dance a martial dance honoring the Chosen One. The Invocation of the Ancestors. The maidens bring the Chosen One to the Elders, and the Sacrificial Dance begins before the Eldest and Wisest.
Part I begins with a bassoon solo written in the instrument's highest register that, with its unusual tone color, immediately creates a mysterious atmosphere. The melody itself is derived from a Lithuanian folksong, but Stravinsky had totally changed the character of the original. He was obviously less interested in literal fidelity to the source than in a creative transformation of his originals into something far more profound and powerful.
The bassoon melody is answered by other woodwind instruments playing short and poignant themes. After a fortissimo climax, the bassoon solo retums, interrupted this time by some violin pizzicatos (plucked notes) that lead into the next section, "Auguries of Sping (Dances of the Young Girls)." This movement is based on a rhythmic ostinato (constantly recurring rhythmic pattern) consisting of equal eighth-notes in the violins; within the groups of four eighth-notes, however, the emphasis is constantly shifting. The result is a highly irregular and totally unpredictable rhythm, over which the winds introduce their mostly symmetrical, folksong-like melodies.
The next section, "Game of Abduction," has a pentatonic theme (playable on the piano's black keys). The notes are all of equal length but their grouping is again irregular. "Spring Rounds" starts with another pentatonic melody played by the clarinets, followed by a slow, march-like section in which a string ostinato is set against a highly expressive melody played by four solo violas (we heard it earlier on the trumpets, but note how orchestration and tempo change a melody's character!). Piccolo and E-flat clarinet add their piercing and doleful counterpoint. The melody is
repeated fortissimo by the entire orchestra, only to be interrupted by a high-pitched flute signal that announces a new tempo and an intensification of the dance. The slow clarinet melody that started the movement retums at the end.
"Games of the Rival Clans" is based on a melody that is played alternately by different groups of instruments (such as violins as opposed to horns, for example). In the midst of these relatively quick-paced melodies, a slow and ponderous theme makes its unexpected appearance in the tenor and bass tubas. It is the theme of the Eldest and Wisest, who in the next section ("Procession of the Wise Elder") takes center stage as the entire orchestra adds various ornamental figures to the solemn and austere brass melody. After four mysterious and suspenseful measures ("Adoration of the Earth-The Wise Elder"), the "Dance of the Earth" begins. Over a relentless ostinato in the bass, the rest of the orchestra strikes repeated chords in irregular groupings, gradually raising the volume to a quite literally "earth-shattering" climax, at which point the music abruptly stops.
Part II ("The Sacrifice"), like Part I, begins with a slow introduction. Against a tapestry of lush woodwind sonorities, a tenderly lyrical pentatonic theme emerges that bears a certain resemblance to the great Russian melodies of The Firebird and Petrushka. This is also the main melody of the next section, "Mystical Circles of the Young Girls," which starts with six solo violas. A new theme soon appears in the alto flute, repeated, in a quite unusual manner, in parallel sevenths. It is during this mystical slow movement that one of the girls is chosen for the sacrifice. Her selection is announced by 11 drumbeats, immediately followed by her glorification in a quick movement of great rhythmic complexity. In the "Evocation of the Ancestors," the entire wind section repeats two chords in the same rhythm, in a somewhat chorale-like fashion; the ancestors make their entrance with an eerie-sounding duo of the English horn and the alto flute to the soft rhythmic accompaniment of the strings and percussion. Musically and dramatically, this is the preparation for the grand finale, the "Sacrificial Dance," whose wild accents surpass in boldness everything heard before. The irresistible energy of this movement never lets up until the quite unexpected ending.
The Paris premiere of the Rite of Spring, on May 29, 1913, went down in history as one of the greatest scandals ever to have erupted over
a new piece of music. The performance was nearly drowned out by shouted insults, catcalls, slaps in the face, and a general pandemonium. (A detailed description of this remarkable evening may be found in Thomas F. Kelly's excellent book First Nights.) It is unclear how much of the uproar was due to the music, and how much to Nijinsky's choreography. How many people in the audience reacted to the musical and artistic revolution manifest in the work And how many were simply being manipulated and swept away in the universal brouhaha We will never know. Yet in this ballet the sounds of a brute force attacked the calm, apparently untroubled prosperity of the Parisian belle epoque like an army of barbarians. A year later, that belle epoque was shattered forever by the cannons of World War I.
After the end of the war, The Rite of Spring quickly became established in the West as a modern classic--a work whose time had indeed come. (In fact, its triumph had begun before the outbreak of the war, in April 1914, with the Paris concert premiere led by Pierre Monteux, who had also conducted the work at the ballet.) No composer could avoid the challenge of coming to terms with The Rite of Spring, one way or another, ever since. Yet Russia for a long time failed to appreciate this profoundly Russian work. Indeed, the work's vehement rejection by Russian critics precipitated the final break between Stravinsky and his native country. While Stravinsky became, in Taruskin's words, "the uncrowned king of French music," "as a 'Russian composer,' [he] was finished."
Program notes by Peter Laki.
Founded in 1842 by a group of local musicians led by American-born Ureli Corelli Hill, the New York Philharmonic is by far the oldest symphony orchestra in the US and one of the oldest in the world. It currently plays some 180 concerts a year, and on December 18, 2004, gave its 14,000th concert--a milestone unmatched by any other symphony orchestra in the world.
Lorin Maazel began his tenure as Music Director in September 2002, the latest in a distinguished line of 20th-century musical giants that has included Kurt Masur (Music Director from 1991 to the summer of 2002, named Music Director Emeritus in 2002); Zubin Mehta (1978-91); Pierre
Boulez (1971-77); and Leonard Bernstein, who was appointed Music Director in 1958 and given the lifetime title of Laureate Conductor in 1969. In September 2009, Alan Gilbert will become the Orchestra's next Music Director.
Since its inception the Orchestra has champ?ioned the new music of its time, commissioning or premiering many important works, such as Dvorak's Symphony No. 9, Rachmaninoff's Piano Concerto No. 3, Gershwin's Concerto in F, and Copland's Connotations, in addition to the US premieres of works such as Beethoven's Symphonies Nos. 8 and 9 and Brahms's Symphony No. 4. This pioneering tradition has continued to the present day, with works of major contemporary composers regularly scheduled each season, including John Adams's Pulitzerand Grammy Award-winning On the Transmigration of Souls; Stephen Hartke's Symphony No. 3; Augusta Read Thomas's Gathering Paradise: Emily Dickinson Settings for soprano and orchestra; and Esa-Pekka Salonen's Piano Concerto.
The roster of composers and conductors who have led the Philharmonic includes such historic figures as Theodore Thomas, Antonin Dvorak,
This weekend's performances mark the New York Philharmonic's 15th and 16th performances under UMS auspices. The Philharmonic made its UMS debut in March 1916 under the baton of Josef Stransky. Most recently, the Philhar?monic appeared under the direction of Lorin Maazel at Hill Auditorium in Febru?ary 2005. Following its UMS debut with Maestro Stransky, the Philharmonic has been led in Ann Arbor by Walter Damro-sch, John Barbirolli, Dimitri Mitropoulos, Leonard Bernstein, Seiji Ozawa, Pierre Boulez, and Lorin Maazel.
This weekend's performances mark Lorin Maazel's eighth and ninth UMS appearances. Maestro Maazel made his UMS debut at Hill Auditorium in March 1953 directing the Gershwin Concert Orchestra and soloists on an all-Gershwin program.
Gustav Mahler (Music Director, 1909-11), Otto Klemperer, Richard Strauss, Willem Mengelberg (Music Director, 1922-30), Wilhelm Furtwangler, Arturo Toscanini (Music Director, 1928-36), Igor Stravinsky, Aaron Copland, Bruno Walter (Music Advisor, 1947-49), Dimitri Mitropoulos (Music Director, 1949-58), Klaus Tennstedt, George Szell (Music Advisor, 1969-70), and Erich Leinsdorf.
Long a leader in American musical life, the Philharmonic has over the last century become renowned around the globe, appearing in 422 cities in 59 countries on five continents. In February 2008 the Orchestra, led by Music Director Lorin Maazel, gave a historic performance in Pyongyang, Democratic People's Republic of Korea--the first visit there by an American orchestra and an event that was watched around the world and for which the Philharmonic received the 2008 Common Ground Award for Cultural Diplomacy. Other historic tours have included the 1930 Tour to Europe, the first European tour with Toscanini; the first South American Tour in 1951; the first Tour to the USSR in 1959; the 1984 Asia Tour, including the first Tour of India; the 1998 Asia Tour, the first performances in mainland China; and the 75th Anniversary European Tour, in 2005, with Lorin Maazel.
The Philharmonic, a longtime media pioneer, began radio broadcasts in 1922, and is currently represented by The New York Philharmonic This Week--syndicated nationally 52 weeks per year, and available on and XM Satellite Radio. The Orchestra's concerts are also broadcast throughout Europe on BBC Radio 3. On television, in the 1950s and 1960s, the Philharmonic inspired a generation through Bernstein's Voung People's Concerts on CBS. Its television presence has continued with annual appearances on Live From Lincoln Center on PBS, and in 2003 it made history as the first Orchestra ever to perform live on the Grammy Awards, one of the most-watched television events worldwide. More recently, the Philharmonic became the first major American orchestra to offer downloadable concerts, recorded live, and released by DG Concerts exclusively on iTunes. Since 1917 the Philharmonic has made nearly 2,000 recordings, with more than 500 currently available.
On June 4, 2007, the New York Philharmonic proudly announced a new partnership with Credit Suisse, its first-ever and exclusive Global Sponsor.
New York Philharmonic
20082009 Season
Lorin Maazel
Music Director
Xian Zhang
Associate Conductor The Arturo Toscanini Chair
Leonard Bernstein, Laureate
Conductor, 1943-1990 Kurt Masur, Music Director Emeritus
Glenn Dicterow, Concertmaster
The Charles E. Culpeper Chair Sheryl Staples, Principal Associate
The Elizabeth G. Beinecke Chair Michelle Kim, Assistant Concertmaster
The William Petschek Family Chair Enrico Di Cecco Carol Webb Yoko Takebe
Minyoung Chang Hae-Young Ham
77e Mr. and Mrs. Timothy M. George
Lisa GiHae Kim Kuan-Cheng Lu Newton Mansfield Kerry McDermott Anna Rabinova Charles Rex
The Shirley Bacot Shamel Chair Fiona Simon Sharon Yamada Elizabeth Zeltser+ Yulia Ziskel+
Marc Ginsberg, Principal Lisa Kim
In Memory of Laura Mitchell Soohyun Kwon
The Joan and Joel I. Picket Chair Duoming Ba+
Marilyn Dubow
77ie Sue and Eugene Mercy, Jr. Chair Martin Eshelman+ Judith Ginsberg Myung-Hi Kim+ Hanna Lachert Daniel Reed Mark Schmoockler NaSun
Vladimir Tsypin Sanford Allen++ Eva Burmeister++ Shan Jiang++ Krzysztof Kuznik++ Joo Jin Lee++ Matthew Lehmann++ Setsuko Nagata++ Eiko Tanaka++
Cynthia Phelps, Principal
The Mr. and Mrs. Frederick P. Rose Chair Rebecca Young Irene Breslaw"
The Norma and Lloyd Chazen Chair Dorian Rence
Katherine Greene
The Mr. and Mrs. William J.
McDonough Chair Dawn Hannay
Vivek Kamath Peter Kenote Barry Lehr Kenneth Mirkin Judith Nelson Robert Rinehart
77e Mr. and Mrs. G. Chris Andersen
Carter Brey, Principal
The Fan Fox and Leslie R. Samuels
Chair Eileen Moon
The Paul and Diane Guenther Chair Qiang Tu
77ie Shirley and Jon Brodsky
Foundation Chair Evangeline Benedetti
Eric Bartlett
The Mr. and Mrs. James E. Buckman
Elizabeth Dyson Valentin Hirsu+ Maria Kitsopoulos Sumire Kudo Ru-Pei Yeh WeiYu
Nancy Donaruma++ Jeanne LeBlanc++
Eugene Levinson, Principal
The Redfield D. Beckwith Chair Jon Deak Orin O'Brien
William Blossom
The Ludmila S. Hess and Carl B. Hess
Randall Butler David J. Grossman Satoshi Okamoto Michele Saxon+ Leonid Finkelshteyn++ Rion Wentworth++
Robert Langevin, Principal
The Lila Acheson Wallace Chair Sandra Church Renee Siebert Mindy Kaufman Alexandra Sopp++
Mindy Kaufman
Liang Wang, Principal The Alice Tully Chair Sherry Sylar+ Robert Botti Matthew Dine++ Keisuke lkuma++
English Horn
Thomas Stacy The Joan and Joel Smilow Chair
Stanley Drucker, Principal
The Edna and W. Van Alan Clark
Chair Mark Nuccio
The Honey M. Kurtz Family Chair Pascual Martinez Forteza Stephen Freeman Albert Regni++
E-Flat Clarinet
Mark Nuccio
Bass Clarinet
Stephen Freeman
Albert Regni++
Judith LeClair, Principal The Pels Family Chair Kim Laskowski Roger Nye Arlen Fast Fraser Jackson++
Arlen Fast
Global Sponsor
Philip Myers, Principal
The Ruth F and Alan J. Broder Chair Erik Ralske, Acting Associate Principal Thomas Jostlein" R. Allen Spanjer Howard Wall Richard Hagen++ R.J. Kelley++ Cara Kizer++ David Smith++
Philip Smith, Principal
The Paula Levin Chair Matthew Muckey Ethan Bensdorf Thomas V. Smith Kenneth Decarlo++
Joseph Alessi, Principal
The Gurnee F and Marjorie L Hart
Chair David Finlayson
The Donna and Benjamin M. Rosen
Chair Carl Lenthe++
Bass Trombone
James Markey
Alan Baer, Principal Morris Kainuma++
Markus Rhoten, Principal
The Carlos Moseley Chair Joseph Pereira"+
j Christopher S. Lamb, Principal
The Constance R. Hoguet Friends of
the Philharmonic Chair Daniel Druckman
The Mr. and Mrs. Ronald J. Ulrich
Joseph Pereirat Charles Settle++ Erik Charlston++
Nancy Allen, Principal
The Mr. and Mrs. William T. Knight III
Chair Jessica Zhou++
In Memory of Paul Jacobs
Lionel Party+
77e Karen and Richard 5. LeFrak
Harriet Wingreen Jonathan Feldman+
Kent Tritle+
Lawrence Tarlow, Principal Sandra Pearson
Orchestra Personnel Manager
Carl R. Schiebler
Stage Representative
Louis J. Patalano
Stage Crew
Fernando Carpio Joseph Faretta Michael Pupello
Audio Director
Lawrence Rock
'Associate Principal "Assistant Principal +0n Leave ++ReplacementExtra
The New York Philharmonic uses the revolving seating method for section string players who are listed alphabetically in the roster.
Honorary Members of the Society
Pierre Boulez Zubin Mehta Carlos Moseley
New York Philharmonic
Paul B. Guenther, Chairman Zarin Mehta, President and Executive Director
Eric Latzky, Wee President,
Miki Takebe, Wee President, Operations Matias Tarnopolsky, Wee President,
Artistic Planning
Nishi Badhwar, Orchestra Personnel AssistantAuditions Manager
Daniel Boico, Manager, Artistic Administration
lames Eng, Operations Assistant
Katherine E. Johnson, Associate Director of Public Relations
Brendan Timins, Operations Manager
Lorin Maazel
Lorin Maazel (Conductor), who has led more than 150 orchestras in more than 5,000 opera and concert performances, became Music Director of the New York Philharmonic in September 2002. His appointment came 60 years after his debut with the Orchestra at Lewisohn Stadium, then the Orchestra's summer venue. As Music Director he has conducted nine world premiereNew York Philharmonic commissions, including the Pulitzer Prizeand Grammy Award-winning On the Transmigration of Souls by John Adams; Stephen Hartke's Symphony No. 3; Melinda Wagner's Trombone Concerto; and Steven Stucky's Rhapsodies for Orchestra. He has led cycles of works by Brahms, Beethoven, and Tchaikovsky, and conducted the Orchestra's inaugural performances in the DG Concerts series--a groundbreaking initiative to offer downloadable New York Philharmonic concerts exclusively on iTunes.
Maestro Maazel has taken the Orchestra on numerous international tours, including the historic visit to Pyongyang, Democratic People's Republic of Korea, in February 2008--the first performance there by an American orchestra. Other recent tours have included Europe 2008 in August-September; Asia 2008--to Taipei, Kaohsiung, Hong Kong, Shanghai, and Beijing in February; the May 2007 Tour of Europe; the November 2006 visit to Japan and Korea; the Philharmonic Tour of Italy in June 2006, sponsored by Generali; the two-part 75th Anniversary European Tour to 13 cities in five countries in Fall 2005; and residencies in Cagliari, Sardinia, and the Bravo! Vail Valley Music Festival in Colorado.
In addition to the New York Philharmonic, Maestro Maazel is Music Director of the Palau de les Arts Reina Sofia in Valencia, Spain. A frequeni conductor on the world's operatic stages, he returned to The Metropolitan Opera in January 2008 for the first time in 45 years to conduct Wagner's Die Walkure.
Prior to his tenure as New York Philharmonic Music Director, Maestro Maazel led more than 100 performances of the Orchestra as a guest conductor. He served as Music Director of the Bavarian Radio Symphony Orchestra (1993-2002), and has held positions as Music Director of the Pittsburgh Symphony Orchestra (1988-96), General Manager and Chief Conductor of the Vienna Staatsoper (1982-84); Music Director of The Cleveland Orchestra (1972-82); and Artistic Director and Chief Conductor of the Deutsche Oper Berlin (1965-71). He is an Honorary Member of the Israel Philharmonic Orchestra, and an Honorary Member of the Vienna Philharmonic.
A second-generation American born in Paris, Maestro Maazel was raised and educated in the US. He took his first violin lesson at age five and conducting lesson at seven. Between ages nine and 15 he conducted most of the major American orchestras. In 1953 he made his European conducting debut in Catania, Italy.
Maestro Maazel is also an accomplished composer. His opera, 1984, received its world premiere on May 3, 2005 at London's Royal Opera House, Covent Garden. It was revived in the 200708 season at the Teatro alia Scala in Milan, and the DVD has been released by Decca.
UMS's Education Program deepens the relation?ship between audiences and art, while efforts in Audience Development raise awareness of the positive impact the performing arts and education can have on the quality of life in our community. The program creates and presents the highest quality arts education and community engagement experiences to a broad spectrum of community constituencies, proceeding in the spirit of partnership and collaboration. Details about all educational and residency events are posted online at approximately one month before the performance date. Join the UMS Email Club to have updated event information sent directly to you. For immediate event info, please email, or call the numbers listed below.
Please call 734.647.6712 or email for more information.
The UMS Adult and Community Engagement Program serves many different audiences through a variety of educational events. With over 100 unique regional, local, and university-based partnerships, UMS has launched initiatives for the area's Arab American, Afrioan,
MexicanLatino, AsianChinese, and African American audiences. UMS has earned national acclaim for its work with diverse cultural groups, thanks to its proactive stance on part?nering with and responding to individual com?munities. Though based in Ann Arbor, UMS Audience Development programs reach the entire southeastern Michigan region.
Public Programs
UMS hosts a wide variety of educational and community events to both inform the public about arts and culture and provide forums for discussion and celebration of the performing arts. These events include:
PREPs Pre-performance lectures
Meet the Artists Post-performance Q&A with the artists
Artist Interviews Public dialogues with performing artists
Master Classes Interactive workshops
PanelsRound Tables In-depth adult edu?cation related to a specific artist or art form
Artist-in-Residence Artists teach, create, and meet with community groups, university units, and schools
Book Clubs Discussions on UMS-related literature
Community Receptions Opportunities for audiences to network and socialize with each other and with artists
UMS is grateful to the University of Michigan for its support through the U-MUMS Partner?ship Program of many educational activities scheduled in the 0809 season. These activities provide opportunities for students, faculty, and other members of the University and southeast Michigan communities to deepen their connection with the artists on the UMS series.

The NETWORK: UMS African American Arts Advocacy Committee
Celebrate. Socialize. Connect.
734.615.0122 I www.ums.orgnetwork
' The NETWORK was launched during the 0405 season to create an opportunity for African-Americans and the broader community to cele?brate the world-class artistry of today's leading African and African-American performers and creative artists. NETWORK members connect, socialize, and unite with the African-American community through attendance at UMS events and free preor post-concert receptions. NET?WORK members receive ticket discounts for selected UMS events; membership is free.
Rubberbandance Group
Lawrence Brownlee Martin Katz
Sweet Honey In The Rock
Jazz at Lincoln Center Orchestra with Wynton Marsalis
Please call 734.615.0122 or email for more information.
UMS has one of the largest K--12 education ini?tiatives in the state of Michigan. Designated as a "Best Practice" program by ArtServe Michigan and the Dana Foundation, UMS is dedicated to making world-class performance opportunities and professional development activities available to K-12 students and educators.
UMS Youth
0809 Youth Performance Series
These daytime performances give pre-K through high school students the opportunity to see the same internationally renowned per?formances as the general public. The Winter 2009 season features special youth presenta?tions of Rubberbandance Group, Sweet Honey

In The Rock, Jazz at Lincoln Center Orchestra, Aswat: Celebrating the Golden Age of Arab Music, and Dan Zanes & Friends. Tickets range from $3-6 depending on the performance; each school receives free curriculum materials.
Teacher Workshop Series
UMS is part of the Kennedy Center Partners in Education Program, offering educators mean?ingful professional development opportunities. Workshops, cultural immersions, and book clubs bring the best in local and national arts education to our community, through presen?tations by Kennedy Center teaching artists, UMS performing artists, and local arts and cul?ture experts. This series focuses on arts integra?tion, giving teachers techniques for incorporating the arts into everyday classroom instruction.
Some think anticipation.
We think track record.
New York Philharmonic
Private Banking Investment Banking Asset Management
We look at things from a different perspective for the benefit of our clients. An approach we share with the New York Philharmonic. As Global Sponsor we are proud to support a renowned institution that continuously sets new standards in innovation redefining classical music. This mutual tradition of challenging conventional thinking helps us to realize new opportunities for our clients. This has been our ambition since 1856.
Thinking New Perspectives. CREDITSUISSE
K-12 Arts Curriculum Materials
UMS creates teacher curriculum packets, CDs, and DVDs for all of the schools participating in UMS's Youth Education Program. Further, the UMS curricular materials are available online at no charge to the general public. All materials are designed to connect to the curricular stan?dards via the Michigan Grade Level Content Expectations.
Teacher Appreciation Month!
March 2009 has been designated UMS Teacher Appreciation Month. All teachers will be able to purchase tickets for 50 off at the venue on the night of the performance (subject to availability). Limit of two tickets per teacher, per event. Teachers must present their official school ID when purchasing tickets. Check out for March events!
School FundraisersGroup Sales
Raise money for your school and support the arts. UMS offers a wide range of fundraising opportunities and discount programs for schools. It is one of the easiest and most rewarding ways to raise money. For information contact UMS Group Sales at or 734.763.3100.
Teacher Advisory Committee
This group of regional educators, school administrators, and K-12 arts education advo?cates advises and assists UMS in determining K-12 programming, policy, and professional development. If you would like to participate, please contact
UMS is in partnership with the Ann Arbor Public Schools and the Washtenaw Intermediate School District as part of the Kennedy Center: Partners in Education Program. UMS also participates in the Ann Arbor Public Schools' "Partners in Excellence" program.
UMS Teen Teen Tickets
Teens can attend UMS performances at signifi?cant discounts. Tickets are available to teens for $10 the day of the performance (or on the Friday before weekend events) at the Michigan League Ticket Office and $15 beginning 90 minutes before the performance at the venue. One ticket per student ID, subject to availability.
Breakin' Curfew
In a special collaboration with the Neutral Zone, Ann Arbor's teen center, UMS presents this yearly performance highlighting the area's best teen performers. This show is curated, designed, marketed, and produced by teens under the mentorship of UMS staff. This year's Breakin' Curfew takes place on Friday, May 8, 2009.
UMS Family
The Winter 2009 season features family per?formances of Rubberbandance Group and Dan Zanes & Friends. Family-friendly performances also include the Silk Road Ensemble and Kodo. Please visit for a complete list of family-friendly performances.
I The 0809 Family Series is sponsored by TOYOTA
Classical Kids Club
Parents can introduce their children to world-renowned classical music artists through the Classical Kids Club. Designed to nurture and cre?ate the next generation of musicians and music lovers, the Classical Kids Club allows students in grades 1-8 to purchase tickets to all classical music concerts at a significantly discounted rate. Parents can purchase up to two children's tickets I for $10 each with the purchase of a $20 adult ticket beginning two weeks before the concert. Seating is subject to availability. UMS reserves a limited number of Classical Kids Club tickets to each eligible performance--even those that sell out! For information, call 734.764.2538 or visit and sign up for UMS fNews and check the box for Classical Kids Club.
Education Program Supporters
Ford Motor Company Fund and Community Services
Michigan Council for Arts and Cultural Affairs University of Michigan
Anonymous Arts at Michigan Bank of Ann Arbor Bustan al-Funun Foundation
for Arab Arts The Dan Cameron Family
FoundationAlan and
Swanna Saltiel CFI Group Community Foundation for
Southeast Michigan Doris Duke Charitable
DTE Energy Foundation The Esperance Family Foundation GM Powertrain
Willow Run Site David and Phyllis Herzig
Endowment Fund Honigman Miller Schwartz
and Cohn LLP JazzNet Endowment WK Kellogg Foundation Masco Corporation
Miller, Canfield. Paddock and
Stone. P.L.C. The Mosaic Foundation,
(of R. & P. Heydon) National Dance Project of the
New England Foundation
for the Arts
National Endowment for the Arts Performing Arts Fund Prudence and Amnon
Rosenthal K-12 Education
Endowment Fund Rick and Sue Snyder Target
UMS Advisory Committee University of Michigan Credit Union University of Michigan
Health System U-M Office of the Senior Vice
Provost for Academic Affairs U-M Office of the Vice
President for Research Wallace Endowment Fund
UMS offers four programs designed to fit stu?dents' lifestyles and save students money. Each year, 18,000 students attend UMS events and collectively save over $350,000 on tickets through these programs. UMS offers students additional ways to get involved in UMS, with internship and workstudy programs, as well as a UMS student advisory committee.
Half-Price Student Ticket Sales
At the beginning of each semester, UMS offers half-price tickets to college students. A limited number of tickets are available for each event in select seating areas. Simply visit www.ums.orgstudents, log in using your U-M unique name and Kerberos password, and fill out your form. Orders will be processed in the order they are received. You will pay for and pick up your tickets at a later date at the Michigan League Ticket Office.
Winter Semester: Begins Sunday, January 11, 2009 at 8 pm and ends Tuesday, January 13 at 5 pm.
Sponsored by
Rush Tickets
Sometimes it pays to procrastinate! UMS Rush Tickets are sold to college students for $10 the day of the performance (or on the Friday before weekend events) and $15 beginning 90 minutes before the event. Rush Ticket availability and seating are subject to Ticket Office discretion. Tickets must be purchased in person at the Michigan League Ticket Office or at the per?formance venue ticket office. Just bring your valid college ID. Limit two tickets per student.
UMS Student Card
Worried about finding yourself strapped for cash in the middle of the semester The UMS Student Card is a pre-paid system for Rush Tickets. The Card is valid for any event for
which Rush Tickets are available, and can be used up to two weeks prior to the perform?ance. The UMS Student Card is available for $50 for five performances or $100 for 10 per?formances. Please visit www.ums.orgstudents to order online.
Arts & Eats
Arts & Eats combines two things you can't live without--great music and free pizza--all in one night. For just $15, you get great seats to a UMS event (at least a 50 savings) and a free pizza dinner before the concert, along with a brief talk by someone knowledgeable about the performance. Tickets go on sale approximately two weeks before the concert.
Winter 2009 Arts & Eats Events:
Rubberbandance Group, Sun. 111
Sweet Honey In The Rock, Thurs. 212
Silk Road Ensemble with Yo-Yo Ma, Fri. 313
St. Louis Symphony Orchestra, Thurs. 42
Sponsored by UMOT5
arts umichedu V
With support (ram the U-M Alumni Association
Internships and College Work-Study
Internships with UMS provide experience in performing arts administration, marketing, ticket sales, programming, production, and arts education. Semesterand year-long unpaid internships are available in many of UMS's departments. For more information, please call 734.615.1444.
Students working for UMS as part of the College Work-Study program gain valuable experience in all facets of arts management including concert promotion and marketing, ticket sales, fundraising, arts education, arts programming, and production. If you are a University of Michigan student who receives work-study financial aid and are interested in working at UMS, please call 734.615.1444.
Student Advisory Committee
As an independent council drawing on the diverse membership of the University of Michigan community, the UMS Student Advisory Committee works to increase student interest and involvement in the various pro?grams offered by UMS by fostering increased communication between UMS and the student community, promoting awareness and accessi?bility of student programs, and promoting the student value of live performance. For more information or to participate on the Committee, please call 734.615.6590.
There are many ways to support the efforts of UMS, all of which are critical to the success of our season. We would like to welcome you to the UMS family and involve you more closely in our exciting programming and activities. This can happen through corporate sponsorships, business advertising, individual donations, or through volunteering. Your financial investment andor gift of time to UMS allows us to continue connecting artists and audiences, now and into the future.
When you advertise in the UMS program book you gain season-long visibility among ticket buyers while enabling an important tradition of providing audiences with the detailed program notes, artist biographies, and program descrip?tions that are so important to the performance experience. Call 734.764.6833 to learn how your business can benefit from advertising in the UMS program book.
As a UMS corporate sponsor, your organization comes to the attention of an educated, diverse, and growing segment not only of Ann Arbor, but all of southeastern Michigan. You make possible one of our community's cultural treas?ures and also receive numerous benefits from your investment. For example, UMS offers you a range of programs that, depending on your level of support, provide a unique venue for:
Enhancing corporate image
Cultivating clients
Developing business-to-business relationships
Targeting messages to specific demographic groups
Making highly visible links with arts and education programs
Recognizing employees
Showing appreciation for loyal customers
For more information, please call 734.647.1176.
We could not present our season without the invaluable financial support of individual donors. Ticket revenue only covers half of the cost of our performances and educational events. UMS donors help make up the differ?ence. If you would like to make a gift, please fill out and mail the form on page P40 or call 734.647.1175.
JMS Advisory Committee
The UMS Advisory Committee is an organization of 70 volunteers who contribute approximately 7,000 hours of service to UMS each year. The purpose of the UMS Advisory Committee is to raise community awareness and funds for UMS's nationally acclaimed arts education program. Members contribute their time and talents in a wide variety of ways consistent with their interests.
Fundraising projects include the Ford Honors Program Gala, On the Road Auction, and Delicious Experiences. Advisory Ambassadors and Youth Performance Ushering are two projects that involve direct contact with local school?children, teachers, and community groups.
All Advisory Committee members serve as UMS advocates to the greater community by encouraging attendance at UMS performances and participation in UMS and Advisory Committee programs and events.
Two upcoming events include:
Ford Honors Program and Gala January 24, 2009
This year's program will honor the Royal Shakespeare Company, RSC Artistic Director Michael Boyd, and U-M Professor Ralph Williams with UMS Distinguished Artists awards. Following the program and award presenta?tions, the UMS Advisory Committee will host a Gala reception and dinner to benefit UMS Education Programs.
On the Road Auction
For each of the last three years, approximately 300 people have enjoyed an evening of food, music, and silent and live auctions, netting more than $70,000 each year to support UMS Education Programs. On the Road 2009 will be held on September 11, 2009.
Please call 734.764.8489 for more information.
UMS Ushers
Without the dedicated service of UMS's Usher Corps, our events would not run as smoothly as they do. Ushers serve the essential functions of assisting patrons with seating, distributing pro?gram books, and providing that personal touch which sets UMS events apart from others.
The UMS Usher Corps is comprised of over 500 individuals who volunteer their time to make your concert-going experience more pleasant and efficient. Orientation and training sessions are held each fall and winter, and are open to anyone 18 years of age or older. Ushers may commit to work all UMS perform?ances in a specific venue or sign up to substi?tute for various performances throughout the concert season.
If you would like information about becoming a UMS volunteer usher, contact our UMS Front-of-House Coordinator at 734.615.9398 or e-mail
July 1, 2007-November 1, 2008
Thank you to those who make UMS programs and presentations possible. The cost of presenting world-class performances and education programs exceeds the revenue UMS receives from ticket sales. The difference is made up through the generous support of individuals, corporations, foundations, and government agencies. We are grateful to those who have chosen to make a difference for UMS! This list includes donors who made an annual gift to UMS between July 1, 2007 and November 1, 2008. Due to space constraints, we can only list those who donated $250 or more. Every effort has been made to ensure the accuracy of this list. Please call 734.647.1175 with any errors or omissions. Listing of donors to endowment funds begins on page P45.
$100,000 or more
Maurice S. and Linda G. Binkow
Leonore M. Delanghe Trust
Doris Duke Charitable Foundation
Ford Motor Company Fund and
Community Services W.K. Kellogg Foundation Michigan Council for Arts and Cultural Affairs Pfizer Global Research & Development:
Ann Arbor Laboratories University of Michigan Health System
$50,000-$99,999 Doris Duke Foundation for Islamic Art Esperance Family Foundation National Endowment for the Arts TAQA New World, Inc.
Brian and Mary Campbell
Cairn Foundation
Charles H. Gershenson Trust
DTE Energy Foundation
Maxine and Stuart Frankel Foundation
Lillian A. Ives
Robert and Pearson Macek
Masco Corporation Foundation
Natalie Matovinovid
Mosaic Foundation, Washington, DC
National Dance Project of New England
Foundation For The Arts National Endowment for the Arts Gilbert Omenn and Martha Darling Laurence and Beverly Price Jane and Edward Schulak Dennis and Ellie Serras Toyota University of Michigan Office of the
Vice President for Research
$10,000-$! 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
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
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
American Syrian Arab
Cultural Association Herb and Carol Amster Ann Arbor Automotive Anonymous
Essel and Menakka Bailey Blue Nile Restaurant Marilou and Tom Capo Dennis Dahlmann and Patricia Garcia Marylene Delbourg-Delphis The Doan Family Foundation Jim and Patsy Donahey Ken and Penny Fischer llene H. Forsyth General Motors Powertrain--
Willow Run
Paul and Anne Glendon Debbie and Norman Herbert Howard & Howard Attorneys, PC Keki and Alice Irani ISSA Foundation Judy and Verne Istock David and Sally Kennedy Gay and Doug Lane Jill Latta and David Bach Leo and Kathy LegatskiElastizell
Corporation of America Richard and Carolyn Lineback Mainstreet Ventures Martin Family Foundation Masco Corporation Susan McClanahan and
Bill Zimmerman Marion T. Wirick and
James N. Morgan National City Pepper Hamilton LLP Prue and Ami Rosenthal
Don and Judy Dow Rumelhart Alan and Swanna Saltiel Sesi Investment Nancy and Brooks Sitterley Rick and Sue Snyder James and Nancy Stanley Ed and Natalie Surovell
Edward Surovell Realtors Thomas B. McMullen Company Tisch Investment Advisory United Bank & Trust Max Wicha and Sheila Crowley Jay and Mary Kate Zelenock
Jerry and Gloria Abrams Bernard and Raquel Agranoff Anonymous
Kathy Benton and Robert Brown Raymond and Janet Bernreuter Suzanne A. and Frederick J. Beutler Edward and Mary Cady Sara and Michael Frank Susan and Richard Gutow H. David and Dolores Humes Martin Neuliep and Patricia Pancioli M. Haskell and Jan Barney Newman Virginia and Gordon Nordby Eleanor and Peter Pollack Duane and Katie Renken Kenneth J. Robinson and
Marcia Gershenson John J. H. Schwarz MD Craig and Sue Sincock Rick and Sue Snyder Lois A. Theis Dody Viola
Robert 0. and Darragh H. Weisman Keith and Karlene Yohn
Jim and Barbara Adams Barbara A. Anderson and
John H. Romani Janet and Arnold Aronoff Bob and Martha Ause Paulett Banks DJ and Dieter Boehm Gary Boren
Charles and Linda Borgsdorf Jeannine and Robert Buchanan Robert and Victoria Buckler Barbara and Al Cain Bruce and Jean Carlson Jean and Ken Casey Pat and Dave Clyde Anne and Howard Cooper Stuart and Heather Dombey John Dryden and Diana Raimi David and Jo-Anna Featherman Fidelity Investments Stephen and Rosamund Forrest William and Ruth Gilkey Sid Gilman and Carol Barbour Tom and Katherine Goldberg Linda and Richard Greene John and Helen Griffith Janet Woods Hoobler
Robert L. and Beatrice H. Kahn
Robert and Jeri Kelch
Jim and Patti Kennedy
Samuel and Marilyn Krimm
Donald and Carolyn Dana Lewis
Jeffrey Mason and Janet Netz
Ernest and Adele McCarus
William C. Parkinson
Jim and Bonnie Reece
John and Dot Reed
Dr. and Mrs. Nathaniel H. Rowe
Frances U. and Scott K. Simonds
Muaiad and Aida Shihadeh
Lewis and Judy Tann
Jim Toy
Don and Carol Van Curler
Don and Toni Walker
Elise Weisbach
Roger Albin and Nilr Tannenbaum
Robert and Katherine Aldrich
Susan and Alan Aldworth
Michael and Suzan Alexander
Anastasios Alexiou
Dr. and Mrs. David G. Anderson
Dr. and Mrs. Rudi Ansbacher
Harlene and Henry Appelman
Jonathan Ayers and Teresa Gallagher
Laurence R. and Barbara K Baker
Dr. Lesli and Mr. Christopher Ballard
Norman E. Barnett
Robert H. and Wanda Bartlett
Bradford and Lydia Bates
Dr. Astrid B. Beck
Linda and Ronald Benson
Ruth Ann and Stuart Bergstein
Anne Beaubien and Philip Berry
Naren and Nishta Bhatia
John Blankley and Maureen Foley
Howard and Margaret Bond
Laurence and Grace Boxer
Dr. and Mrs. Ralph R. Bozell
Dale E. and Nancy M. Briggs
Barbara Everitt Bryant
Lawrence and Valerie Bullen
Charles and Joan Burleigh
Letitia J. Byrd
Amy and Jim Byrne
Betty Byrne
Jean W. Campbell
David and Valerie Canter
Carolyn M. Carty and Thomas H. Haug
John and Patricia Carver
Janet and Bill Cassebaum
Tsun and Siu Ying Chang
Anne Chase
Pat and George Chatas
Leon S. Cohan
Hubert and Ellen Cohen
Cynthia and Jeffrey Colton
Consulate General of The Netherlands
in New York
Jane Wilson Coon and A. Rees Midgley, Jr. Paul N. Courant and Marta A. Manildi Connie D'Amato Julia Donovan Darlow and
John Corbett O'Meara Susan Tuttle Darrow Dr. and Mrs. Charles Davenport Hal and Ann Davis Andrzej and Cynthia Dlugosz Molly Dobson
Robert J. and Kathleen Dolan Domino's Pizza
Dallas Don:
vo Drury and Sun Hwa Kim lack and Betty Edman Emil and Joan Engel
Irene Fast
Dede and Oscar Feldman
Yi-Tsi M. and Albert Feuerwerker
Clare M. Fingerle
Susan A. Fisher
Susan R. Fisher and John W. Waidley
Robben Fleming
Food Art
Mr. and Mrs. George W. Ford
James W. and Phyllis Ford
Dan and Jill Francis
Leon and Marcia Friedman
Enid H. Galler
Tom Gasloli
Prof. David M. Gates
Thomas and Barbara Gelehrter
Beverley and Gerson Geltner
Sue Gingles
Karl and Karen Gotting
Cozette T. Grabb
Elizabeth Needham Graham
Robert A. Green MD
Leslie and Mary Ellen Guinn
Helen C. Hall
Alice and Clifford Hart
Sivana Heller
Diane S. Hoff
Carolyn B. Houston
Cheryl and Kevin Hurley
Eileen and Saul Hymans
Perry Irish
Jean Jacobson
Wallie and Janet Jeffries
John E. Fetzer Institute
Timothy and Jo Wiese Johnson
Shirley Y. and Thomas E. Kauper
David and Gretchen Kennard
Gloria and Bob Kerry
Tom and Connie Kinnear
Diane Kirkpatrick
Drs. Paul and Dana Kissner
Philip and Kathryn Klintworth
Carolyn and Jim Knake
Michael 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 Sams 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
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 Brlli and Sheryl Hirsch William and llene Birge Jerry and Dody Blackstone Paul and Anna Bradley Jane Bridges
David and Sharon Brooks Morton B. and Raya Brown Trudy and Jonathan Bulkley Frances E. Bull, MD Louis and Janet Callaway H.D. Cameron
Nathan and Laura Caplan
Jack and Wendy Carman
J. W. and Patricia Chapman
John and Camilla Chiapuhs
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
MaryC. Crichton
Jean Cunningham and
Fawwaz Ulaby
Roderick and Mary Ann Daane Mr. and Mrs.
Robert L. Damschroder Timothy and Robin Damschroder Norma and Peter Davis Jean and John Debbink Ellwood and Michele Derr Linda Dintenfass and Ken Wisinski Steve and Judy Dobson Cynthia M. Dodd Bill and Marg Dunifon Eva and Wolf Duvernoy Dr. Alan S. Eiser Stefan and Ruth Fajans Harvey and 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 Gillis Jean and William Gosling Amy and Glenn Gottfried James and Maria Gousseff Dr. John and Renee M. Greden Arthur W. Gulick MD Don P. Haefner and Cynthia J. Stewart Martin and Connie Harris Susan R. Harris
Jeanne Harrison and Paul Hysen Dan and Jane Hayes Alfred and Therese Hero Herb and Dee Hildebrandt Nina Howard Harry and Ruth Huff Jane Hughes Ann D. Hungerman John and Patricia Huntington Thomas and Kathryn Huntzicker Maha Hussain and Sal Jafar Eugene and Margaret Ingram Invia Medical Imaging Solutions Stuart and Maureen Isaac Rebecca S. Jahn Jim and Dale Jerome Drs. Kent and Mary Johnson Paul and Olga Johnson Mark and Madolyn Kaminski Christopher Kendall and
Susan Schilperoort 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 Shrue Edward and Kathy Silver Sandy and Dick Simon Irma J. Sktenar Andrea and William Smith Gregory and Margaret Smith Shelly Soenen and Michael Sprague Mrs. Gretchen Sopcak Gus and Andrea Stager Gary and Diane Stahle Naomi and James Starr Virginia and Eric Stein 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 Lima and Bob Wallm 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. Whirtield
Nancy Wiernik
Rev. Francis E. Williams
Robert J. and Anne Marie Willis
I.W. and Beth Winsten
Or. Lawrence and Mary Wise
Frances A. Wright
Jeanne and Paul Yhouse
Judith Abrams
Chris and Tena Achen
Dont 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
Arboretum Ventures
Bert and Pat Armstrong
Frank Ascione
James and Doris August
Susan and Michael Babinec
Robert L. Baird
Bruce Baker and Genie Wolf son
Daniel and Barbara Balbach
John and Ginny Bareham
Cheryl Barget and Tom Darnton
Frank and Gail Beaver
Gary M. Beckman and Karla Taylor
Harry and Kathryn Benford
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 Chapped Charles Stewart Mott Foundation Joan and Mark Chester Andy and Dawn Chien Kwang and Soon Cho Reginald and Beverly Ciokajlo Donald and Astrid Cleveland Coffee Express Co. Anne and Edward Comeau Nancy Connell Phelps and Jean Connell M.J. Coon Dr. Hugh Cooper and
Elfy Rose-Cooper Celia and Peter Copeland Katharine Cosovich Cliff and Kathy Cox Lloyd and Lois Crabtree Clifford and Laura Craig Merle and Mary Ann Crawford Jean C. Crump Sunil and Merial Das Arthur and Lyn Powne Davidge Ed and ENie 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 OeWoskin
Elizabeth Dexter
Sally and Larry DiCarlo
Mark and Beth Dixon
Elizabeth A. Ooman
Michael and Elizabeth Drake
Elizabeth Duell
Peter and Grace Duren
Swati 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 Fellin
James and Flora Ferrara
Sidney and Jean Fine
Herschel and Adrienne Fink
C. Peter and Beverly A. Fischer
Dr. Lydia Fischer
Jessica Fogel and Lawrence Weiner
Scott and Janet Fogler
David Fox and Paula Bockenstedt
Howard and Margaret Fox
Philip and Renee Frost
Carol Gagliardi and Dave Flesher
Sandra Gast and Greg Kolecki
Martin Garber and Beth German
Richard L Garner
Michael Gatti and Lisa Murray
Beth Genne and Allan Gibbard
Deborah and Henry Gent Walter Z. Graves
Ronald Gibala and Janice Ghchor
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 Graver Robin and Stephen Gruber Anna Grzymala-Busse and
Joshua Berke Ken and Margaret Guire George and Mary Haddad M. Peter and Anne Hagfwara 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 Peier Hinman and Elizabeth Young John Hogikyan and Barbara Kaye Ronald and Ann Holz Mabelle Hsueh
Dr. Howard Hu and Ms. Rani Kotha Hubert and Helen Huebl Robert B. Ingling Mr. and Mrs. Eugene O. Ingram ISCIENCES, LLC. John H. and Joan L. Jackson Mel and Myra Jacobs
Beverly P. Jahn Elizabeth Jahn Jerome Jelinek Harold R. Johnson Mark and Linda Johnson Mary and Kent Johnson The Jonna Companies Jack and Sharon Kalbfleisch Irving and Helen Kao Arthur A. Kaselemas MD Morris and Evelyn Katz Nancy Keppelman and
Michael Smerza Alfred KeNam
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 Kneger 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 Lisull Dr. Daniel Little and
Dr. Bernadette Lint2 Gail Solway Little Dr. and Mrs. Lennart Lofstrom Bill and Lois Lovejoy Charles and Judy Lucas Claire and Richard Mafvin Melvm and Jean Manis Michael and Pamela Marcovitz Nancy and Philip Margolis Milan Marich W. Harry Marsden irwm and Fran Martin H.L. Mason Regent Olivia Maynard and
Olof Karistrom
Martha Mayo and Irwin Goldstein Laurie McCauley and Jessy Grizzle Margaret and Harris McClamroch James and Mary E. McConville Liam I McDonald Eileen Mclntosh and
Charles Schaldenbrand Bill and Gmny McKeachie Sytvia 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 0. Moller Mr. and Mrs. Michael Morgan Frieda H. Morgenstern Sean Morrison and Theodora Ross Mark and Lesley Mozola Thomas and Hedi Mulford Douglas Mullkoff and Kathy Evaldson Drs. Louis and Julie Jaffee Nagel Gerry and Joanne Navarre Laura Nitzberg Christer and Outi Nordman Arthur S. Nusbaum Kathleen I. Operhall 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 Aviva Robinson
Jonathan and Anala Rodgers
Stephen J. Rogers
Dr. Susan M Rose
Stephen Rosenblum and Rosalyn Sarver
Steve Rosoff and Tanis Allen
Rosemarie Rowney
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 Shappirio
Patrick and Carol Sherry
James Shields
George and Gladys Shirley
Jean and Thomas Shope
George and Nancy Shorney
Holds and Martha A. Showalter
Bruce M. Siegan
Dr. Terry M. Silver
Gene and Alida Silver man
Scott and Joan Singer
Tim and Marie Slottow
Carl and Jari Smith
David and Renate Smith
Robert W. Smith
Doris and Larry Sperling
Jim Spevak
Jeff Spindler
Judy and Paul Spradlm
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.
Alvan and Katharine Uhle
Drs Matthew and Alison Uzieblo
Hugo and Karla Vandersypen
Mane Vogt
Drs. Harue and Tsuguyasu Wada
Virginia Wait
Charles R. and Barbara H. Wallgren
Enid Wasserman
Carol Weber
Jack and Jerry Weidenbach
Connie Witt and John Glynn
Charlotte A. Wolfe
Bryant Wu and Theresa Chang
Betty and Bob Wurtz
Don and Charlotte Wyche
Mary Jean and John Yablonky
Richard and Kathryn Yarmain
MaryGrace and Tom York
Zakhour and Androulla Youssef
Erik and Lineke Zuiderweg
Gail and David Zuk
ENDOWMENT FUND SUPPORT July 1, 2007-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.
S100.000 or more Doris Duke Charitable
Foundation Estate of Eva Mueller The Power Foundation
llene H. Forsyth
Estate of Lillian G. Ostrand
Bernard and Raquel Agranoff Ralph G. Conger Trust Susan and Richard Gutow David and Phyllis Herzig
Maxine and Stuart Frankel
Foundation Toni Hoover
Richard and Carolyn Lineback Robert and Pearson Macek Dr. Robert J. and Janet M. Miller Estate of Betty Ann Peck James and Nancy Stanley
Herb and Carol Amster
Joan Akers Binkow
John R. Edman and Betty B. Edman
Robert and Frances Gamble Trust
Mrs. Robert E. Meredith
Stephen and Agnes Reading
Susan B. Ullrich
Marina and Robert Whitman
Ann and Clayton Wilhite
Michael Allemang and
Janis Bobrin
Essel and Menakka Bailey Robert H. and Wanda Bartlett DJ and Dieter Boehm Jean W. Campbell Jean and Ken Casey Kathleen Crispell and Tom Porter Molly Dobson Jack and Betty Edman Charles and Julia Eisendrath Dede and Oscar Feldman Sid Gilman and Carol Barbour Paul and Anne Glendon David W. and
Kathryn Moore Heleniak Debbie and Norman Herbert Carl and Charlene Herstein Robert M. and Joan F. Howe Jim Irwin
Robert L. and Beatrice H. Kahn Gloria and Bob Kerry Richard and Stephanie Lord Natalie Matovinovic Jerry A. and Deborah Orr May Melinda Morris Susan and Mark Orringer Mrs. Charles Overberger (Betty) Richard N. Peterson and
Wayne T. Bradley Stephen and Bettina Pollock Jeffrey and Huda Karaman Rosen Corliss and Dr. J. C. Rosenberg Prue and Ami Rosenthal Nancy W. Rugani Norma and Dick Sarns Frances U. and Scott K. Simonds Herbert Sloan Lewis and Judy Tann Karl and Karen Weick Ronald and Eileen Weiser Jeanne and Paul Yhouse Jay'and Mary Kate Zelenock
Jerry and Gloria Abrams Mrs. Bonnie Ackley Dr. Joann Aebersold Barbara A. Anderson and
John H. Romani Anonymous
Arts League of Michigan Lynne Aspnes Bob and Martha Ause John U. Bacon Daniel and Barbara Balbach Emily Bandera and Richard Shackson Harvey Berman and
Rochelle Kovacs Berman Inderpal and Martha Bhatia Stan and Sandra Bies Sara Billmann and Jeffrey Kuras Maurice and Linda Binkow Martha and David Bloom Blue Nile Restaurant Paul Boylan Carl A. Brauer, Jr. Dale E. and Nancy M. Briggs Jeannine and Robert Buchanan Andrew and Emily Buchholz John and Janis Burkhardt David Bury and Marianne Lockwood Letitia 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. Maskell 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 Mamie Reid Theresa Reid and
Marc Hershenson Kenneth J. Robinson and
Marcia Gershenson Doris E. Rowan Bill and Lisa Rozek Herbert and
Ernestine Ruben Harry and Elaine Sargous Maya Savarino Ann and Thomas J. Schriber Ingrid and Cliff Sheldon Mikki Shepard Don and Sue Sinta Carl and Jari Smith Rhonda SmithStanding
Ovation Productions Lois and John Stegeman Victor and
Marlene Stoeffler Ronald Stowe and
Donna Power Stowe David and Karen Stutz Teresa A. Sullivan and
Douglas Laycock Charlotte Sundelson Mark and Patricia Tessler Norman and
Marcia Thompson Carrie and Peter Throm Claire and Jerry Turcotte Frank and Amanda Uhle Elizabeth and
Stephen Upton Richard and
Madelon Weber W. Scott Westerman, Jr. Mary Ann Whipple Max Wicha and
Sheila Crowley Dianne Widzinski and
James Skupski MD Phyllis B. Wright
Joseph Ajlouny Friends at Alverno Arts Alliance of the
Ann Arbor Area Barbara Bach Jenny Bilfield-Friedman and
Joel Friedman Ed and Luciana Borbely Barbara Everitt Bryant Ruth Carey Simon Carrington Mark Clague
Edward S. and Ruth R 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
Ottmar Eberbach Funds Epstein Endowment Fund David and Phyllis Herzig
Endowment Fund
'azzNet Endowment Fund .Villiam R. Kinney
Endowment Fund Matalie 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 wry special friends who have ncluded 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 lohn and Martha Hicks Mr. and Mrs. Richard Ives Marilyn G. Jeffs
Thomas C. and
Constance M. Kinnear Diane Kirkpatrick Richard LeSueur Pearson and Robert Macek Susan McClanahan Charlotte McGeoch Michael G. McGuire M. Haskell and
Jan Barney Newman Len Niehoff Dr. and Mrs.
Frederick C. O'Dell Mr. and Mrs.
Dennis M. Powers Mr. and Mrs. Michael Radock Mr. and Mrs. Jack Ricketts Mr. and Mrs.
Willard L. Rodgers Prudence and
Amnon Rosenthal Margaret and
Haskell Rothstein Irma J. Sklenar Herbert Sloan Art and Elizabeth Solomon Roy and JoAn Wetzel Ann and Clayton Wilhite Mr. and Mrs.
Ronald G. Zollars
Tribute Gifts
Contributions have been made in honor andor memory of the following people:
H. Gardner Ackley
Matthew Arcure
Nancy L. Ascione
Naren and Nishta Bhatia
Linda and Maurice Binkow
llene Birge
Isabelle Brauer
Jean W. Campbell
Charles and Evelyn Carver
Jean Burnett Cassidy
Douglas D. Crary
Ellwood Derr
Benning Dexter
Angela S. Dobson
John S. Dobson
Mrs. Jane D. Douglass
Ken Fischer
Betty Fisher
Sally Fleming
Maxine and Stuart Frankel
Mary Carol Frames
E. James Gamble
Boris Gankin
Fred M. Ginsberg
Carl Herstein
Dr. Sidney S. Hertz
David and Phyllis Herzig
Dr. Julian T. Hotf
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 107one Arbor Brewing Company Avanti Hair Designers Ayla & Company John U. Bacon Bailey. Banks & Biddle Bana Salon and Spa Bob and Wanda Bartlett Joseph W. Becker Gary Beckman Bellanina Day Spa Kathy Benton and Robert Brown Yehonatan Berick Lynda Berg
Berry Goldsmiths
The Betty Brigade
Nishta Bhatia
Maurice and Linda Binkow
Jerry Blackstone
Bloomfield Gourmet Shoppe
Blue Nile
Boychoir of Ann Arbor
Enoch Brater
Beth BruceThe Carlisle Collection
Bob Buckler
Jim Bumstein
Patty ButzkeOrbit Hair Design
Cafe Zola
Cake Nouveau
Lou and Janet Callaway
Camp Michigania
Mary CampbellEveryday Wines
Nathan and Laura Caplan
Casey's Tavern
Cass Technical High School
Cesar Chavez High School
Mignonette Cheng
Cherry Republic
The Chippewa Club
Mark Clague
Deb Clancy
Coach Me Fit
Cole Street Salon & Spa
The Common Grill
Community High School
Community High School
Dance Program Complete Chiropractic and
Bodywork Therapy Howard CooperHoward
Cooper Import Center Liz Copeland James Corbett and
Mary Dempsey Curves Habte Dadi Gary Decker Judith DeWoskin Sally and Larry DiCarlo Andrew S. DixonPersonal
Computer Advisor Heather Dombey Downtown Home & Garden DTE Energy
Duggan Place Bed and Breakfast Aaron Dworkin The Earle Restaurant Eastern Michigan University
Dance Department Eastern Michigan University
Department of Theater
Education Gillian Eaton Jack and Betty Edman Lisa and Jim Edwards El Bustan Funoun Anthony Elliott Julie Ellison Equilibrium Espresso Royale Mary Ann Faeth Fantasy Forest
Jo-Anna and David Featherman Susan Filipiak Ucal Finley
Susan Fisher and John Waidley Kristin Fontichiaro Frame Factory Fran Coy Salon Sara Frank
Maxine and Stuart Frankel Traianos Gagos Deborah Gabrion
Zvi Gitelman
Glass Academy LLC
Anne Glendon
Kathy and Tom Goldberg
The Golden Apple
Larry Greene
Greenstone's Fine Jewelry
Linda Gregerson
Tim Grimes
Groom & Go
Susan Guiheen
Susan and Richard Gutow
Walt and Charlene Hancock
Lavinia Hart
Heather's Place
David W. and
Kathryn Moore Heleniak Carl and Charlene Herstein Hill Top Greenhouse and Farms Barbara Hodgdon The Homestead Bed
and Breakfast Hong Hua
Howell Nature Center Carol and Dan Huntsbarger
The Moveable Feast Iguanaworks Integrated Architecture Inward Bound Yoga Julie's Music Imagining America Mohammad Issa Andrew Jennings Mercy and Stephen Kasle Meg Kennedy Shaw Ken's Flower Shops Kerrytown Concert House Patty and David Kersch Iman Khagani Kenneth Kiesler Tom and Liz Knight Knit A Round Yarn Shop Knit Pickers Joan Knoertzer Gayle LaVictoire Lynnae Lehfeldt Lori Lentini-Wilbur Richard LeSueur Bobbie and Myron Levine Lewis Jewelers Karen Lin den berg Logan An American Restaurant Eleanor Lord Stephanie Lord Martin and Jane Maehr
Mariachi Especial de Alma Martha Cook Residence Hall Marygrove College Dance
Department Masri Sweets
Chandler and Mary Matthews Marilyn McCormick Zarin Mehta Kate Mendeloff The Metro Cafe MFit Culinary Team MFit Fitness Center Michigan Theater Carla Milarch Miles of Golf
Jeff MoreAshley's Restaurant Morgan and York Mosaic Youth Theater Motawi Tileworks Vince Mountain Louis Nagel The Neutral Zone John Neville-Andrews M. Haskell and
Jan Barney Newman Sarah and Dan Nicoli Tom OgarMerrill Lynch Jane Onder and Pat Shure Opus One Marysia Ostafin Pacific Rim by Kana Paesano's Restaurant Kimberly Pearsall Penny Stamps Visiting
Distinguished Visitors Series Performance Network Peter's Palate Pleaser Pierre Paul Art Gallery Gregory and Allison Poggi The Polo Fields Golf and
Country Club David Potter Phil and Kathy Power Yopie Prins Purple Rose Theater Putterz Golf & Games The Quarter Bistro and Tavern Ingrid Racine
Paula RandJuliana Collezione Mamie Reid Huda Rosen Steve Rosoff Ellen Rowe Russell S. Bashaw Faux Finish
Studio, LLC
Afa Sadykhly
Sam's Clothing Store
Agnes and David Sams
Jamie Saville and Rusty Fuller
Schakolad Chocolate Factory
Michael Schoenfeldt
Penny Schreiber
Ruth Scodel
SeloSheve! Gallery
Sesi Lincoln Mercury Volvo Mazda
Seva Restaurant
Rabid Shafie
Shaman Drum Bookshop
Nelson Shantz Piano Service
Bright Sheng
George Shirley
John Shultz Photography
Susan Silver-Fink
Loretta Skewes
Tim and Marie Slottow
Andrea Smith
Mandisa Smith
Elizabeth Southwick
Cynthia Sowers
The Spa at Liberty
Peter Sparling
Rick Sperling
Sphinx Organization
Jim and Nancy Stanley
St. Anne's Church in Detroit
Bennett Stein
Stonebridge Golf Club
Cindy Straub
Ed and Natalie Surovell
Edward Surovell Realtors Sweet Gem Confections Swing City Dance Studio Ten Thousand Villages Tom Thompson Flowers Liz Toman Trader Joe's
Travis Pointe Country Club Sue Ullrich
U-M Alumni Association U-M Arts of Citizenship U-M Arts on Earth U-M Arts at Michigan U-M Black Arts Council U-M Center for Afroamerican
and African Studies U-M Center for Chinese Studies U-M Center for Latin American
and Caribbean Studies
U-M Center for Middle Eastern
and North African Studies U-M Center for Russian and
East European Studies U-M Department of Dance U-M Department of Internal
Medicine U-M Department of Musical
U-M Gifts of Art U-M Golf Course U-M Hatcher Graduate Library U-M Honors Program U-M Institute for the
U-M International Institute U-M Museum of Art U-M Office of New Student
U-M Residential College U-M School of Art and Design U-M School of Education U-M School of Law U-M School of Music.
Theatre and Dance Urban Jewelers Van Boven Shoes Arthur Verhoogt Vie Fitness and Spa Viking Sewing Center VOLUME Youth Poetry Project Martin Walsh
Washtenaw Community College Washtenaw Intermediate
School District Enid Wasserman Waterscape Wayne State University Dance
Department Weber's Inn and Hotel The West End Grill Steven Whiting Ann and Clayton Wilhite Cassie Williams Ralph Williams Debbie Williams-Hoak Yolles-Samrah Wealth
Management, LLC Yotsuba Japanese
Restaurant & Bar Tom Zimmerman Zingerman's Bakehouse Zingerman's Delicatessen
Alumni Association of U-M 28
Ann Arbor City Club 33
Ann Arbor Public Schools Ed. Found. 31
Ann Arbor Symphony Orchestra 38
Bank of Ann Arbor 24
Cardea Construction 18
Center for Plastic and Reconstructive
Surgery 26 Charles Reinhart 29 Credit Suisse 30 Detroit Jazz Festival 39 Donaldson and Gunther, DDS 25 Edward Surovell Realtors 18 Edwards Brothers 36 Honigman Miller Schwartz and
Cohn LLP 4
Howard Cooper Imports 16 IATSE 38 Iris Cleaners 35
Jaffe Raitt Heuer and Weiss 26 Kellogg Eye Center 6 Kensington Court inside front cover Measure For Measure 36 Michigan RadioWUOM 26 Paul and Charlie HickmanThe
Collaboration 18 Performance Network 25 Red Hawk 32 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
UMS is proud to be a member of the following organizations:
Ann Arbor Area Convention & Visitors Bureau
Ann Arbor Chamber of Commerce
Arts Alliance of the Ann Arbor Area
ArtServe Michigan
Association of Performing Arts Presenters
Chamber Music America
International Society for the Performing Arts
Main Street Area Association
Michigan Association of Community
Arts Agencies
National Center for Nonprofit Boards State Street Association Think Local First

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