UMS Concert Program, Tuesday Mar. 10 To 14: University Musical Society: Winter 2009 - Tuesday Mar. 10 To 14 --

Season: Winter 09
University Of Michigan, Ann Arbor

ums
university musical society
WINTER 2009 SEASON UNIVERSITY OF MICHIGAN, ANN ARBOR
2 Letters from the Presidents
5 Letter from the Chair
UMSLeadership 7 UMS Corporate and Foundation Leaders
14 UMS Board of DirectorsNational Council
SenateAdvisory Committee
15 UMS StaffCorporate Council
Teacher Advisory Committee
UMSlnfo 17 General Information
19 UMS Tickets
UMSAnnals 21 UMS History
22 UMS Venues and Burton Memorial Tower
Event Program 24 Your Event Program Book follows page 24
UMSExperience 27 UMS Education and Community
Engagement Programs
34 UMS Student Programs
UMSSupport 37 Corporate Sponsorship and Advertising
37 Individual Donations
39 UMS Volunteers
41 Annual Fund Support
45 Endowment Fund Support
48 UMS AdvertisersMember Organizations
Cover: (R-L) Compagnie Marie Chouinard (photo: Michael Slobodian), Lorin Maazel and
the New York Philharmonic (Chris Lee), Wynton Marsalis (Clay McBride), Batsheva Dance
Company, Julia Fischer, Hill Auditorium audience (Spencer & Wycoff)

FROM THE U-M PRESIDENT
Welcome to this University Musical Society (UMS) performance. We at the University of Michigan are proud of UMS and of the world-class artists and ensembles that it brings each season to the University and southeast Michigan. As UMS marks its 130th continuous season, making it the oldest university-related presenter in the United States, we are also cele?brating the outstanding educational programs it offers to people of all ages and the new works in dance, theater, and music it commissions.
When I consider which UMS events best exemplify the melding of artistic performance and education, I point to the three-week residencies of the Royal Shakespeare Company (RSC) that we have enjoyed in 2001, 2003, and 2006, two of which were US exclusive presentations attracting audiences from 39 states and five countries.
I am pleased UMS has chosen to celebrate the partnership between the RSC, UMS, and U-M at this year's 14th Ford Honors Program. At the heart of this unique partnership has been the extraordinary artist-scholar relation?ship between the RSC's Olivier Award-winning Artistic Director Michael Boyd and U-M's beloved Professor Ralph Williams, both of whom will be honored at the program. This year's Ford Honors Program, usually held in May, will take place Saturday, January 24, 2009, so that students who have participated in the RSC residencies or who have had Professor Williams in class will be able to attend. Professor Williams will retire from U-M at the end of this academic year, and I hope you will join me at this very special event.
This UMS winter season also brings us multi-day performances combined with numerous educational opportunities when the New York Philharmonic visits on March 7 and 8, and when Yo-Yo Ma brings his Silk Road Project to campus March 13 and 14.
Audience members also have a chance to delve into the rich diversity of cultural expressions from the Arab world, as UMS completes its Performing Arts of the Arab World series this term. I encourage you to attend Gilgamesh in January, Aswat: Celebrating the Golden Age of Arab Music in March, and Mohammed Bennis and the Hmadcha Ensemble in April along with the educational programs surrounding them.
There are many other UMS events as well as performances, exhibitions, and cultural activities offered by our faculty and students in U-M's many other units. To learn more about arts and culture at Michigan, including the March 21 performance commemorating the 25th anniversary of U-M's acclaimed musical theater program and the March 28 grand re-opening of the restored and expanded U-M Museum of Art, please visit the University's website at www.umich.edu.
Sincerely,
Mary Sue Coleman
President, University of Michigan
FROM THE UMS PRESIDENT
Welcome to this UMS performance. Thank you for supporting UMS through your attendance, especially during these challenging times. The entire UMS family of Board, Senate, and Advisory Committee members; staff colleagues; Choral Union members; ushers; and hundreds of other volunteers are grateful that you're here and hope that you'll enjoy the experience and attend more UMS events during this second half of our 130th season. You'll find all of our remaining performances listed on page 2 of your program insert.
At UMS, we try to make sure that our events offer a chance to learn something new, to look at the world through a different lens, or even to change lives. You'll find much to choose from as solo artists and ensembles from all over the world visit our community and engage with our audiences in many ways. Artists can lift the spirit, challenge perceptions, provide comfort, and deepen understanding. So whether it's the Guarneri Quartet's Farewell Tour concert; the New York Philharmonic's residency; Simon Shaheen's Aswat production; Yo-Yo Ma's two Silk Road events; Chick Corea and John McLaughlin's reunion; or our 2009 Ford Honors Program celebrating the Royal Shakespeare Company, its Artistic Director Michael Boyd, and U-M Professor Ralph Williams, we hope you'll find meaning and value as we connect you with our artists for uncommon and engaging experiences.
I have had the pleasure over the past two years of working in partnership with UMS Board Chair Carl Herstein, who has provided outstanding lay leader?ship to UMS. His term comes to an end in June. Be sure to read his letter on P5 of this program book, and you'll get a sense of how we've benefited from his knowledge of our history, his understanding of the power of the arts, and his deep appreciation of each member of the UMS family who attends our per?formances, donates to our organization, or volunteers their services. Thanks for your dedicated service, Carl.
Feel free to get in touch with me if you have any questions, comments, or problems. If you don't see me in the lobby, send me an e-mail message at kenfisch@umich.edu or call me at 734.647.1174.
And thanks again for coming to this event.
Very best wishes,
Kenneth C. Fischer UMS President
FROM UMS CHAIRMAN, CARL HERSTEIN
In these times of economic uncertainty and unease about the future, the power of the arts reminds us of enduring values. In its 130 years, UMS and its numerous generations of patrons and audiences have seen many times of anxiety and turmoil, each of which was unprecedented in its day. Throughout that time, great artists performing important works helped the UMS community come to grips with the world. In some cases this occurred because the perform?ance of a classic work brought a sense of reassurance, harmony, and peace. In others, a modern work challenged the audience to come to terms with unsettling new realities. The best of these performances were transformative events, helping to shape the emotional and intellectual response of each audience member to contemporary events.
We are immensely fortunate that an appreciation of this powerful legacy led these audiences to steward UMS safely through the vicissitudes of world wars, global depression, demographic and cultural changes, and intellectual and sci?entific revolutions. The arts which UMS has presented and fostered have remained an indispensable part of our common ability to make sense of a world that never ceases to amaze, surprise, and sometimes frighten us. Succeeding generations have bequeathed to us a legacy of involvement and support so that we too are able to enjoy the sustenance and inspiration that is the gift of great art.
It is, therefore, critically important that we do our part to cherish and preserve the legacy that our community is so fortunate to enjoy. By bringing friends to performances, becoming involved with the UMS Advisory Committee, partici?pating in educational events, supporting youth performances, and providing the ever-critical financial support that makes the work of UMS possible, you are continuing the work of bringing the power of the arts to us all at a time when it is very much needed. We want to thank all of you who have participated in this work with your support of the UMS Difference Campaign, which has been a success due to the commitment not merely of a few, but of 4,279 of you who believe that what UMS does makes a real difference in the life of our community. If you are one of those 4,279, you have our deepest thanks and our encourage?ment to continue to be a vital part of the UMS family; if you have not yet con?tributed, please consider deepening your engagement with us. We think you will find, as so many others have before you, that it will make your UMS experience more meaningful, more personal, and will have the added benefit of making it more accessible to others who have not yet enjoyed the experiences that have been so important to you and to us.
Thank you for coming to this performance. Whether you have come a hun?dred times before or for the first time today, please know that you are always welcome in the UMS family; a group which gathers strength from its diversity, honors its extraordinary past, and works for a future of excellence no matter what transient challenges we may face.
Sincerely,
Carl W. Herstein
Chair, UMS Board of Directors
Leadership
CORPORATE AND FOUNDATION LEADERS
James G. Vella
President, Ford Motor Company Fund Q 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 j
"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
Vice President, Corporate and Government Affairs, DTE Energy
"The DTE Energy Foundation is pleased to support exemplary organizations like UMS that inspire the soul, instruct the mind, and enrich the community."
Edward Surovell
President, Edward Surovell Realtors
"Edward Surovell Realtors and its 300 employees and sales asso?ciates are proud of our 20-year relationship with the University Musical Society. We honor its tradition of bringing the world's leading performers to the people of Michigan and setting a standard of artistic leadership recognized internationally."
Leo Legatski
President, Elastizell Corporation of America "Elastizell is pleased to be involved with UMS. UMS's strengths are its programming--innovative, experimental, and pioneering--and its education and outreach programs in the schools and the community."
Kingsley P. Wootton
Plant Manager, GM Powertrain Ypsilanti Site 'Congratulations on your 130th season! Our community is, indeed, fortunate to have an internationally renowned musical society. The extraordinary array of artists; the variety, breadth, and depth of each season's program; and the education and community component are exceptional and are key ingredients in the quality of life for our community, region, and state. It is an honor to contribute to UMS!"
Carl W. Herstein
Partner, Honigman Miller Schwartz and Conn LLP "Honigman is proud to support non-profit organizations in the communities where our partners and employees live and work. We are thrilled to support the University Musical Society and commend UMS for its extraordinary programming, com?missioning of new work, and educational outreach programs."
Mark A. Davis
President and CEO, Howard & Howard "At Howard & Howard, we are as committed to
enriching the communities in which we live and work as we are to providing sophisticated legal services to businesses in the Ann Arbor area. The performing arts benefit us all, and we are proud that our employees have chosen to support the cultural enrichment provided by the University Musical Society."
Mohamad Issa
Director, Issa Foundation
"The Issa Foundation is sponsored by the Issa family, which has been established in Ann Arbor for the last 30 years, and is involved in local property management as well as area pub?lic schools. The Issa Foundation is devoted to the sharing and acceptance of culture in an effort to change stereotypes and promote peace. UMS has done an outstanding job bringing diversity into the music and talent of its performers."
Bill Koehler
District President, KeyBank
"KeyBank remains a committed supporter of the performing arts in Ann Arbor and we commend the University Musical Society for its contribution to the community. Thank you, UMS. Keep up the great work!"
Dennis Serras
Owner, Mainstreet Ventures, Inc. "As restaurant and catering service owners, we consider ourselves fortunate that our business provides so many opportunities for supporting the University Musical Society and its continuing success in bringing internationally acclaimed talent to the Ann Arbor community."
Sharon J. Rothwell
Wee President, Corporate Affairs and Chair,
Masco Corporation Foundation
'Masco recognizes and appreciates the value the
performing arts bring to the region and to our young
people. We applaud the efforts of the University Musical
Society for its diverse learning opportunities and the
impact its programs have on our communities and the
cultural leaders of tomorrow."
Scott Merz
CEO, Michigan Critical Care Consultants, Inc. (MC3) MC3 is proud to support UMS in recognition of its success in creating a center of cultural richness in Michigan."
Erik H. Serr
Principal, Miller, Canfield, Paddock and Stone, P.L.C "Miller Canfield proudly supports the University Musical Society for bringing internationally-recognized artists from a broad spectrum of the performing arts to our community, and applauds UMS for offering another year of music, dance, and theater to inspire and enrich our lives."
Michael B. Staebler
Senior Partner, Pepper Hamilton LLP "The University Musical Society is an essential part of the great quality of life in southeastern Michigan. We at Pepper Hamilton support UMS with enthusiasm."
Joe Sesi
President, Sesi Lincoln Mercury Volvo Mazda "The University Musical Society is an important cultural asset for our community. The Sesi Lincoln Mercury Volvo Mazda team is delighted to sponsor such a fine organization."
Thomas B. McMullen
President, Thomas B. McMullen Co., Inc.
"I used to feel that a U-M-Ohio State football ticket was
the best ticket in Ann Arbor. Not anymore. UMS provides
the best in educational and artistic entertainment."
Robert R. Tisch
President, Tisch Investment Advisory "Thank you, Ann Arbor, for being a wonderful community in which to live, raise a family, and build a successful business."
Tom Thompson
Owner, Tom Thompson Flowers
"Judy and I are enthusiastic participants in the UMS family. We appreciate how our lives have been elevated by this relationship."
Shigeki Terashi
President, Toyota Technical Center
"Toyota Technical Center is proud to support UMS, an
organization with a long and rich history of serving diverse
audiences through a wide variety of arts programming."
Jeff Trapp
President, University of Michigan Credit Union "Thank you to the University Musical Society for enriching our lives. The University of Michigan Credit Union is proud to be a part of another great season of performing arts."
FOUNDATION AND GOVERNMENT SUPPORT
UMS gratefully acknowledges the support of the following foundations and government agencies:
$100,000 or more
Doris Duke Charitable Foundation
W.K. Kellogg Foundation
Michigan Council for Arts and Cultural Affairs
The Power Foundation
$50,000-599,999
Anonymous
Doris Duke Foundation for Islamic Art DTE Energy Foundation Esperance Family Foundation National Endowment for the Arts
$20,000-549,999
Cairn Foundation
Maxine and Stuart Frankel Foundation Charles H. Gershenson Trust The Mosaic Foundation, Washington DC National Dance Project of the New England Foundation for the Arts
$10,000-519,999
Bustan al-Funun Foundation for Arab Arts Community Foundation for Southeast Michigan Eugene and Emily Grant Family Foundation Martin Family Foundation THE MOSAIC FOUNDATION (of R. & P. Heydon) Performing Arts Fund
$1,000-59,999
Consulate General of The Netherlands in New York Mohamed and Hayat Issalssa Foundation Sarns Ann Arbor Fund Target
$250-$999
Thomas and Joann Adler Family Foundation
UNIVERSITY MUSICAL S 0 C I E T Y of the University of Michigan
UMS BOARD OF DIRECTORS
Carl W. Herstein,
Chair James C. Stanley,
Wee Chair Kathleen Benton,
Secretary Michael C. Allemang,
Treasurer Wadad Abed Carol L. Amster Lynda W. Berg
D.J. Boehm Charles W. Borgsdorf Robert Buckler Mary Sue Coleman Martha Darling Junia Doan Al Dodds Aaron P. Dworkin Maxine J. Frankel Patricia M. Garcia Chris Genteel
Anne Glendon David J. Herzig Christopher Kendall Melvin A. Lester Robert C. Macek Joetta Mial Lester P. Monts Roger Newton Todd Roberts A. Douglas Rothwell Edward R. Schulak
John J. H. Schwarz Ellie Serras Joseph A. Sesi Anthony L. Smith Cheryl L. Soper Michael D. VanHemert Masayo Arakawa,
Board Fellow Marcus Collins,
Board Fellow
UMS NATIONAL COUNCIL
Clayton E. Wilhite, Chair Marylene Delbourg-
Delphis John Edman
Janet Eilber Eugene Grant Charles Hamlen David Heleniak
Toni Hoover Judith Istock Wallis Klein Zarin Mehta
Herbert Ruben Russell Willis Taylor
UMS SENATE (former members of the UMS Board of Directors)
Robert G. Aldrich Herbert S. Amster Gail Davis Barnes Richard S. Berger Maurice S. Binkow Lee C. Bollinger Janice Stevens
Botsford Paul C. Boylan Carl A. Brauer William M. Broucek Barbara Everitt Bryant Letitia J. Byrd Kathleen G. Charla Leon S. Cohan Jill A. Corr Peter B. Corr Ronald M. Cresswell
Hal Davis
Sally Stegeman DiCarlo Robert F. DiRomualdo Cynthia Dodd James J. Duderstadt David Featherman Robben W. Fleming David J. Flowers George V. Fornero Beverley B. Geltner William S. Hann Randy J. Harris Walter L. Harrison Deborah S. Herbert Norman G. Herbert Peter N. Heydon Toni Hoover Kay Hunt
Alice Davis Irani Stuart A. Isaac Thomas E. Kauper David B. Kennedy Gloria James Kerry Thomas C. Kinnear Marvin Krislov F. Bruce Kulp Leo A. Legatski Earl Lewis Patrick B. Long Helen B. Love Judythe H. Maugh Paul W. McCracken Rebecca McGowan Barbara Meadows Alberto Nacif Shirley C. Neuman
Jan Barney Newman Len Niehoff Gilbert S. Omenn Joe E. O'Neal John D. Paul Randall Pittman Philip H. Power John Psarouthakis Rossi Ray-Taylor John W. Reed Richard H. Rogel Prudence I. Rosenthal Judy Dow Rumelhart Maya Savarino Ann Schriber Erik H. Serr Harold T. Shapiro George I. Shirley
John 0. Simpson Herbert Sloan Timothy P. Slottow Carol Shalita Smokier Jorge A. Solis Peter Sparling Lois U. Stegeman Edward D. Surovell James L. Telfer Susan B. Ullrich Eileen Lappin Weiser B. Joseph White Marina v.N. Whitman Clayton E. Wilhite Iva M. Wilson Karen Wolff
UMS ADVISORY COMMITTEE
Phyllis Herzig, Chair Janet Callaway, Wee Chair Elizabeth Palms, Secretary Sarah Nicoli, Treasurer
Ricky Agranoff ManAnn 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 Norms Davis Mary Dempsey Mary Ann Faeth Michaelene Farrell Sara Fink Susan A. Fisher Susan R. Fisher Kathy Goldberg Walter Graves
Joe Grimley Susan Gross Susan Gutow Lynn Hamilton Charlene Hancock Alice Hart Rafe Juarez Jen Kelch
Meg Kennedy Shaw Pam Krogness Mary LeDuc Joan Levitsky Eleanor Lord Jane Maehr Jennifer J. Maisch
Joanna McNamara Liz Messiter Robin Miese! Natalie Mobley Kay Ness Thomas Ogar Allison Poggi Lisa Psarouthakis Swanna Saltiel Agnes Moy Sarns Penny Schreiber Bev Seiford Aliza Shevrin Ahda Silverman Loretta Skewes
Andrea Smith Becki Spangler Nancy Stanley Carlin C. Stockson Karen Stutz Eileen Thacker Janet Torno Louise Townley Amanda Uhle Dody Viola Enid Wasserman Ellen Woodman Mary Kate Zelenock
UMS STAFF
AdministrationFinance
Kenneth C. Fischer, President Luciana Borbely,
Assistant to the President John B. Kennard, Jr.,
Director of Administration Beth Gilliland,
Gift ProcessorIT Assistant Patricia Hayes, Senior Accountant John Peckham,
Information Systems Manager
Choral Union
Jerry Blackstone,
Conductor and Music Director Jason Harris, Assistant Conductor Kathleen Operhall, Chorus Manager Nancy K. Paul, Librarian Jean Schneider, Accompanist Scott VanOrnum, Accompanist Donald Bryant, Conductor Emeritus
Development
Susan McClanahan, Director Susan Bozell, Manager of
Corporate Partnerships Rachelle Lesko,
Development Assistant Lisa Michiko Murray,
Manager of Foundation and
Government Grants M. Joanne Navarre, Manager of
Annual Giving Marnie Reid, Manager of
Individual Support
Lisa Rozek, Assistant to the Director of Development
Cynthia Straub, Advisory Committee and Events Coordinator
EducationAudience Development
Claire C. Rice, Interim Director Bree Juarez, Education and
Audience Development Manager Mary Roeder,
Residency Coordinator Omari Rush, Education Manager
MarketingPublic Relations
Sara Billmann, Director lames P. Leija, Public Relations
Manager
Mia Milton, Marketing Manager Stephanie Normann, Marketing
Coordinator
Production
Douglas C. Witney, Director Emily Avers, Production
Operations Director Jeffrey Beyersdorf,
Technical Manager
Programming
Michael J. Kondziolka, Director Mark Jacobson,
Programming Manager Carlos Palomares,
Artist Services Coordinator Liz Stover, Programming
Coordinator
Ticket Services
Jennifer Graf, Ticket Services
Manager
Sally A. Cushing, Ticket Office Associate Suzanne Davidson, Assistant Ticket
Services Manager Adrienne Escamilla,
Ticket Office Associate Sara Sanders, Front-of-House
Coordinator
Karen Zobel, Group Sales Coordinator Dennis Carter, Bruce Oshaben,
Brian Roddy, Head Ushers
Students
Catherine Allan Gabriel Bilen Greg Briley Tyler Brunsman Allison Carron Shannon Deasy Vinal Desai Rebecca Dragonetti Kelsy Durkin Daniel Erben Carrie Fisk Natalie Freilich Charlie Hack Dana Harlan Jennifer Howard Andy Jones Bryan Langlitz Francesca Lollini Brooke Lundin Alejandro Manso Mary Martin Michael Matlock Bryan McGivern
Ashley McNees Michael Michelon Grace Morgan Paula Muldoon Leonard Navarro Jack O'Connell Stephanie Overton Andrew Smith Cahill Smith Trevor Sponseller Catherine Tippman Julie Wallace Sarah Wilbur Sophia Zhuo
UMS CORPORATE COUNCIL
Doug Rothwell,
Chair Albert Berriz
Bruce Brownlee Bob Buckler Jim Garavaglia
Rob Gruen Steve Hamp Carl Herstein
Bob Kelch Mary Kramer Sharon Rothwell
Mike Staebler Jim Vella
UMS TEACHER ADVISORY COMMITTEE
Abby Alwln Fran Ampey Robin Bailey Greta Barfield Joey Barker Alana Barter Judy Barthwell Rob Bauman Brita Beitler Eli Bleiler Ann Marie Borders
David Borgsdorf Signd Bower Marie Brooks Susan Buchan Deb Clancy Carl Clark Ben Cohen Julie Cohen Leslie Criscentr Orelia Dann Saundra Dunn
Johanna Epstein Susan Filipiak Katy Fillion Delores Flagg Joey Fukuchi Jeff Gaynor Joyce Gerber Barb Grabbe Joan Grissing Linda Jones Jeff Kass
Rosalie Koenig Sue Kohfeldt Laura Machida Fran Marroquin Jose Mejia Kim Mobtey Eunice Moore Michelle Peet Anne Perigo Rebeca Pietrzak Cathy Reischl
Jessica Rizor Vicki Shields Sandra Smith Gretchen Suhre Julie Taylor Cayla Tchalo Dan Tolly Alex Wagner Barbara Wallgren Kimberley Wright Kathryn Young
UMSlnfo
GENERAL INFORMATION
Barrier-Free Entrances
For persons with disabilities, all venues have barrier-free entrances. Wheelchair locations vary by venue; visit www.ums.orgtickets or call 734.764.2538 for details. Ushers are available for assistance.
Listening Systems
For hearing-impaired persons, Hill Auditorium, Power Center, and Rackham Auditorium are equipped with assistive listening devices. Earphones may be obtained upon arrival. Please ask an usher for assistance.
Lost and Found
For items lost at Hill Auditorium, Lydia Mendelssohn Theatre, Power Center, or Rackham Auditorium, please call University Productions at 734.763.5213. For the Michigan Theater, call 734.668.8397. For St. Francis of Assisi, call 734.821.2111.
Parking
Please allow plenty of time for parking as the campus area may be congested. Parking is available in the Church Street, Maynard Street, Thayer Street, Fletcher Street, and Fourth Avenue structures for a minimal fee. Limited street parking is also available. Please allow enough time to park before the performance begins. UMS donors at the Patron level and above ($1,000) receive 10 complimentary park?ing passes for use at the Thayer Street or Fletcher Street structures in Ann Arbor.
UMS offers valet parking service for Hill Auditorium performances in the 0809 Choral Union series. Cars may be dropped off in front of Hill Auditorium beginning one hour before
each performance. There is a $20 fee for this service. UMS members at the Concertmaster level ($7,500) and above are invited to use this service at no charge.
Other recommended parking that may not be as crowded as on-campus structures: Liberty Square structure (formerly Tally Hall), entrance off of Washington Street between Division and State; about a two-block walk from most per?formance venues, $2 after 3 pm weekdays and all day SaturdaySunday. Maynard Street struc?ture, entrances off Maynard and Thompson between Willliam and Liberty, $.80hr, free on Sunday.
For up-to-date parking information, please visit www.ums.orgparking.
Refreshments
Refreshments are available in the lobby during intermissions at events in the Power Center, in the lower lobby of Hill Auditorium (beginning 75 minutes prior to concerts--enter through the west lobby doors), and in the Michigan Theater. Refreshments are not allowed in the seating areas.
Smoking Areas
University of Michigan policy forbids smoking in any public area, including the lobbies and restrooms.
Start Time
UMS makes every effort to begin concerts at the published time. Most of our events take place in the heart of central campus, which does have limited parking and may have several events occurring simultaneously in different theaters. Please allow plenty of extra time to park and find your seats.
Latecomers
Latecomers will be asked to wait in the lobby until seated by ushers. Most lobbies have been outfitted with monitors andor speakers so that 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.
UMS TICKETS
Group Tickets
Treat 10 or more friends, co-workers, or family members to an unforgettable performance of live music, dance, or theater. Whether you have a group of students, a business gathering, a college reunion, or just you and a group of friends, the UMS Group Sales Office can help you plan the perfect outing. You can make it formal or casual, a special celebration, or just friends enjoying each other's company. The many advantages to booking as a group include:
Reserving tickets before tickets go on sale to the general public
Discounts of 15-25 for most performances
Accessibility accommodations
No-risk reservations that are fully refundable up to 14 days before the performance
1-3 complimentary tickets for the group organizer (depending on size of group). Complimentary tickets are not offered for performances without a group discount.
For more information, please contact 734.763.3100 or e-mail umsgroupsales@umich.edu.
Classical Kids Club
Parents can introduce their children to world-renowned classical music artists through the Classical Kids Club. For more information please see page P33.
NETWORK Tickets
Members of the UMS African American Arts Advocacy Committee receive discounted tickets to certain performances. For more information please see page P29.
Student Tickets
Discounted tickets are available for University students and teenagers. Information on all UMS University Student Ticketing programs can be found on page P34. Teen Ticket infor?mation can be found on page P33.
Gift Certificates
Available in any amount and redeemable for any of more than 60 events throughout our season, delivered with your personal message, the UMS Gift Certificate is ideal for weddings, birthdays, Christmas, Hanukkah, Mother's and Father's Days, or even as a housewarming pres?ent when new friends move to town.
UMS Gift Certificates are valid for 12 months from the date of purchase. For more information, please visit www.ums.org.
Retums
If you are unable to attend a concert for which you have purchased tickets, you may turn in your tickets up to 15 minutes before curtain time by calling the Ticket Office. Refunds are not available; however, you will be given a receipt for an income tax deduction.
Ticket Exchanges
Subscribers may exchange tickets free of charge. Non-subscribers may exchange tickets for a $6 per ticket exchange fee. Exchanged tickets must be received by the Ticket Office (by mail or in person) at least 48 hours prior to the performance. The value of the tickets
may be applied to another performance or will be held as UMS Credit until the end of the season. You may also fax a copy of your torn tickets to 734.647.1171. Lost or misplaced tickets cannot be exchanged. UMS Credit for this season must be redeemed by April 26, 2009.
HOW DO I BUY TICKETS
In Person:
League Ticket Office
911 North University Ave.
Hours:
Mon-Fri: 9am-5pm
Sat: 10am-1pm
By Phone:
734.764.2538
Outside the 734 area code, call toll-free 800.221.1229
By Internet:
www.ums.org
By Fax: 734.647.1171
By Mail:
UMS Ticket Office Burton Memorial Tower 881 North University Ave. Ann Arbor, Ml 48109-1011
On-site ticket offices at performance venues open 90 minutes before each performance.
UMSAnnals
UMS HISTORY
Through a commitment to presentation, education, and the creation of new work, the University Musical Society (UMS) serves Michigan audiences by bringing to our community an ongo?ing series of world-class artists, who represent the diverse spectrum of today's vigorous and exciting live performing arts world. Over the past 130 years, strong leadership coupled with a devoted community has placed UMS in a league of internationally recognized performing arts presenters. Today, the UMS seasonal program is a reflection of a thoughtful respect for this rich and varied history, balanced by a commit?ment to dynamic and creative visions of where the performing arts will take us in this new millennium. Every day UMS seeks to cultivate, nurture, and stimulate public interest and participation in every facet of the live arts.
UMS grew from a group of local university and townspeople who gathered together for the study of Handel's Messiah. Led by Professor Henry Simmons Frieze and conducted by Professor Calvin Cady, the group assumed the name The Choral Union. Their first perform?ance of Handel's Messiah was in December of 1879 and this glorious oratorio has since been performed by the UMS Choral Union annually.
As many Choral Union members also belonged to the University, the University Musical Society was established in December, 1880. UMS included the Choral Union and University Orchestra, and throughout the year presented a series of concerts featuring local and visiting artists and ensembles.
Since that first season in 1880, UMS has expanded greatly and now presents the very best from the full spectrum of the performing arts--internationally renowned recitalists and orchestras, dance and chamber ensembles, jazz and world music performers, and opera and theater. Through educational endeavors, commissioning of new works, youth programs, artist residencies, and other collaborative projects, UMS has maintained its reputation for quality, artistic distinction, and innovation. UMS now hosts over 50 performances and more than 125 educational events each sea?son. UMS has flourished with the support of a generous community that this year gathers in eight different Ann Arbor venues.
The UMS Choral Union has likewise expanded its charge over its 130-year history. Recent collaborations have included the Grammy Award-winning recording of William Bolcom's Songs of Innocence and of Experience (2004), John Adams's On the Transmigration of Souls with the Detroit Symphony Orchestra (2007), and Shostakovich's Symphony No. 13 ("Babi Yar") with the Kirov Orchestra of St. Petersburg (2006).
While proudly affiliated with the University of Michigan, housed on the Ann Arbor campus, and a regular collaborator with many University units, UMS is a separate not-for-profit organi?zation that supports itself from ticket sales, corporate and individual contributions, founda?tion and government grants, special project support from U-M, and endowment income.
UMS VENUES AND BURTON MEMORIAL TOWER
Hill Auditorium
After an 18-month $38.6-million dollar renova?tion overseen by Albert Kahn Associates, Inc. and historic preservation architects Quinn EvansArchitects, Hill Auditorium re-opened to the public in January 2004. Originally built in 1913, renovations have updated Hill's infra?structure and restored much of the interior to its original splendor. Exterior renovations include the reworking of brick paving and stone retaining wall areas, restoration of the south entrance plaza, reworking of the west barrier-free ramp and loading dock, and improvements to landscaping.
Interior renovations included the creation of additional restrooms, the improvement of barrier-free circulation by providing elevators and an addition with ramps, new seats to
increase patron comfort, introduction of barrier-free seating and stage access, the replacement of theatrical performance and audio-visual systems, and the complete replacement of mechanical and electrical infrastructure systems for heating, ventilation, and air conditioning. Hill Auditorium seats 3,575.
Michigan Theater
The historic Michigan Theater opened January 5, 1928 at the peak of the vaudevillemovie palace era. Designed by Maurice Finkel, the 1,710-seat theater cost around $600,000 when it was first built. As was the custom of the day, the theater was equipped to host both film and live stage events, with a full-size stage, dressing rooms, an orchestra pit, and the Barton Theater Organ. At its opening, the theater was acclaimed as the best of its kind in the country. Since 1979, the theater has been operated by the not-for-profit Michigan Theater Foundation. With broad community support, the Foundation has raised over $8 million to restore and improve the Michigan Theater. The beautiful interior of the theater was restored in 1986.
In the fall of 1999, the Michigan Theater opened a new 200-seat screening room addi?tion, which also included expanded restroom facilities for the historic theater. The gracious facade and entry vestibule was restored in 2000.
Power Center
The Power Center for the Performing Arts grew out of a realization that the University of Michigan had no adequate proscenium-stage theater for the performing arts. Hill Auditorium was too massive and technically limited for most productions, and the Lydia Mendelssohn Theatre was too small. The Power Center was built to supply this missing link in design and seating capacity.
In 1963, Eugene and Sadye Power, together with their son Philip, wished to make a major gift to the University, and amidst a list of University priorities "a new theater" was
mentioned. The Powers were immediately inter?ested, realizing that state and federal govern?ments were unlikely to provide financial support for the construction of a new theater.
Opening in 1971 with the world premiere of The Grass Harp (based on the novel by Truman Capote), the Power Center achieved the seemingly contradictory combination of providing a soaring interior space with a unique level of intimacy. Architectural features include two large spiral staircases leading from the orchestra level to the balcony and the well-known mirrored glass panels on the exterior. The lobby of the Power Center presently features two hand-woven tapestries: Modem Tapestry by Roy Lichtenstein and Volutes (Arabesque) by Pablo Picasso.
The Power Center seats approximately 1,400 people.
Arbor Springs Water Company is generously providing complimentary water to UMS artists backstage at the Power Center throughout the 0809 season.
Rackham Auditorium
Sixty years ago, chamber music concerts in Ann Arbor were a relative rarity, presented in an assortment of venues including University Hall (the precursor to Hill Auditorium), Hill Auditorium, and Newberry Hall, the current home of the Kelsey Museum. When Horace H. Rackham, a Detroit lawyer who believed strongly in the importance of the study of human history and human thought, died in 1933, his will awarded the University of Michigan the funds not only to build the Horace H. Rackham Graduate School, which houses Rackham Auditorium, but also to estab?lish a $4 million endowment to further the development of graduate studies. Even more remarkable than the size of the gift is the fact that neither he nor his wife ever attended the University of Michigan.
Designed by architect William Kapp and architectural sculptor Corrado Parducci, Rackham Auditorium was quickly recognized
as the ideal venue for chamber music. In 1941, UMS presented its first chamber music festival with the Musical Art Quartet of New York per?forming three concerts in as many days, and the current Chamber Arts Series was born in 1963. Chamber music audiences and artists alike appreciate the intimacy, beauty, and fine acoustics of the 1,129-seat auditorium, which has been the location for hundreds of chamber music concerts throughout the years.
St. Francis of Assisi Catholic Church
Dedicated in 1969, St. Francis of Assisi Catholic Church has grown from 248 families when it first started to more than 2,800 today. The present church seats 1,000 people and has ample free parking. In 1994, St. Francis pur?chased a splendid three manual "mechanical action" organ with 34 stops and 45 ranks, built and installed by Orgues Letourneau from Saint Hyacinthe, Quebec. Through dedication, a commitment to superb liturgical music, and a vision to the future, the parish improved the acoustics of the church building, and the reverberant sanctuary has made the church a gathering place for the enjoyment and con?templation of sacred a cappella choral music and early music ensembles.
Burton Memorial Tower
Seen from miles away, Burton Memorial Tower is one of the most well-known University of Michigan and Ann Arbor landmarks. Designed by Albert Kahn in 1935 as a memorial to U-M President Marion Leroy Burton, the 10-story tower is built of Indiana limestone with a height of 212 feet. The carillon, one of only 23 in the world, is the world's fourth heaviest containing 55 bells and weighing a total of 43 tons. UMS has occupied administrative offices in this building since its opening, with a brief pause in the year 2000 for significant renovations.
Winter 2009 Season 130th Annual Season
General Information
On-site ticket offices at performance venues open 90 minutes before each performance.
Children of all ages are welcome at UMS Family and Youth Performances. Parents are encouraged not to bring children under the age of 3 to regular, full-length UMS performances. All children should be able to sit quietly in their own seats throughout any UMS performance. Children unable to do so, along with the adult accompany?ing them, will be asked by an usher to leave the auditorium. Please use discre?tion in choosing to bring a child.
Remember, everyone must have a ticket, regardless of age.
While in the Auditorium
Starting Time Every attempt is made to begin concerts on time. Latecomers are asked to wait in the lobby until seated by ushers at a predetermined time in the program.
Cameras and recording equipment
are prohibited in the auditorium.
If you have a question, ask your usher. They are here to help
Please turn off your cellular phones and other digital devices so that everyone may enjoy this UMS event disturbance-free. In case of emergency, advise your paging service of auditorium and seat location in Ann Arbor venues, and ask them to call University Security at 734.763.1131.
In the interests of saving both dollars and the environment, please either retain this program book and return with it when you attend other UMS performances included in this edition or return it to your usher when leaving the venue.
Event Program Book
Tuesday, March 10 through Saturday, March 14, 2009
Jazz at Lincoln Center Orchestra with 3
Wynton Marsalis
Tuesday, March 10, 8:00 pm Hill Auditorium
Brentano String Quartet 7
Peter Serkin Thomas Meglioranza
Wednesday, March 11, 8:00 pm Rackham Auditorium
Aswat (Voices) 13
Thursday, March 12, 8:00 pm Hill Auditorium
The Silk Road Ensemble with Yo-Yo Ma
Friday, March 13, 8:00 pm 19
Saturday, March 14, 8:00 pm 23
Hill Auditorium
UMS Educational Events
through Saturday, March 14, 2009
All UMS educational activities are free, open to the public, and take place in Ann Arbor unless otherwise noted. For complete details and updates, please visit www.ums.org or contact the UMS education department at 734.647.6712 or umsed@umich.edu.
The Silk Road Ensemble with Yo-Yo Ma
Master Class with Yo-Yo Ma and members of the Silk Road Ensemble
Saturday, March 14, 11:00 am
Hill Auditorium, 825 North University Avenue
Yo-Yo Ma and members of the Silk Road Ensemble conduct a master class with students from the U-M School of Music, Theatre & Dance. Open to the public for observation.
A collaboration with the U-M School of Music, Theatre & Dance.
Please find a complete listing of the remaining performances of the 130th UMS season on page 32 of this program insert.
and
Laurence and Beverly Price
present
Jazz at Lincoln Center Orchestra with Wynton Marsalis
Wynton Marsalis, Music Director,
Trumpet
Freddie Hendrix, Trumpet Ryan Kisor, Trumpet Marcus Printup, Trumpet Vincent R. Gardner, Trombone Elliot Mason, Trombone Christopher Crenshaw, Trombone Sherman Irby, Saxophones Ted Nash, Alto and Soprano
Saxophones, Clarinet
Walter Blanding, Tenor and Soprano
Saxophones, Clarinet Victor Goines, Tenor and Soprano
Saxophones, Bb and Bass
Clarinets Joe Temperley, Baritone and
Soprano Saxophones, Bass
Clarinet
Dan Nimmer, Piano Carlos Henriquez, Bass AN Jackson, Drums
Tuesday Evening, March 10, 2009 at 8:00 Hill Auditorium Ann Arbor
Tonight's program will include arrangements of Thelonious Monk compositions as well as classic Blue Note Records selections by Herbie Hancock, Joe Henderson, Jackie McLean, Lee Morgan, and others. This evening's program will also feature compositions and arrangements by jazz contemporaries.
The program will be announced by the artists from the stage and will be performed with one intermission.
44th Performance of the 130th Annual Season
15th Annual Jazz Series
The photographing or sound and video recording of this concert or posses?sion of any device for such recording is prohibited.
Tonight's performance is sponsored by Laurence and Beverly Price. Tonight's performance is hosted by Sesi Motors.
Support for tonight's Corporate Night reception was provided by Honigman Miller Schwartz and Cohn LLP.
Media partnership provided by WEMU 89.1 FM, Metro Times, Ann Arbor's 107one, Michigan ChronicleFront Page.
Special thanks to Beth James and the U-M Center for Afro-American and African Studies for their participation in this residency.
Special thanks to Steven Ball for coordinating the pre-concert music on the Charles Baird Carillon.
The Steinway piano used in tonight's concert is made possible by William and Mary Palmer and by the Steinway Piano Gallery of Detroit.
Brooks Brothers is the official clothier of the Jazz at Lincoln Center Orchestra with Wynton Marsalis.
Jazz at Lincoln Center Orchestra with Wynton Marsalis appears by arrangement with Ted Kurland Associates.
Large print programs are available upon request.
The Jazz at Lincoln Center Orchestra (JLCO), composed of 15 of today's finest jazz soloists and ensemble players, has been the Jazz at Lincoln Center resident orchestra since 1992. Featured in all aspects of Jazz at Lincoln Center's programming, the remarkably versatile JLCO performs and leads educational events in New York, across the US, and around the world; in concert halls, dance venues, jazz clubs, public parks, river boats, and churches; and with symphony orchestras, ballet troupes, local students, and an ever-expanding roster of guest artists.
Education is a major part of Jazz at Lincoln Center's mission and its educational activities are coordinated with concert and JLCO tour programming. These programs, many of which feature JLCO members, include the celebrated Jazz for Young PeopleO family concert series, the Essentially Ellington High School Jazz Band Competition and Festival, the Jazz for Young People? Curriculum, educational residencies, workshops, and concerts for students and adults worldwide. Jazz at Lincoln Center educational programs reach over 100,000 students, teachers, and general audience members.
Under Music Director Wynton Marsalis, the JLCO spends over a third of the year on tour. The big band performs a vast repertoire, from rare historic compositions to Jazz at Lincoln Center-commissioned works, including compositions and arrangements by Duke Ellington, Count Basie, Thelonious Monk, Mary Lou Williams, Billy Strayhorn, Dizzy Gillespie, and Charles Mingus, and new commissions by Wayne Shorter, Joe Lovano, Freddie Hubbard, Marcus Roberts, Christian McBride, and Geri Allen, as well as current and former JLCO members Wynton Marsalis, Wycliffe Gordon, and Ted Nash. Guest conductors have included Benny Carter, John Lewis, Ray Santos, and Loren Schoenberg.
Over the last few years, the Jazz at Lincoln Center Orchestra has performed collaborations with many of the world's leading symphony orchestras, including the New York Philharmonic, the Russian National Orchestra, and the Berlin Philharmonic Orchestra.
Along with regular appearances on the Peabody Award-winning weekly radio show Jazz at Lincoln Center Radio, JLCO has appeared on several XM Satellite Radio live broadcasts and eight Live From Lincoln Center broadcasts, carried by PBS stations nationwide; including a program which
aired in October 2004 during the grand opening of Jazz at Lincoln Center's new home, Frederick P. Rose Hall, and in September 2005 during Jazz at Lincoln Center's Higher Ground Benefit Concert. The benefit concert raised funds for the Higher Ground Relief Fund that was established by Jazz at Lincoln Center and administered through the Baton Rouge Area Foundation to benefit the musicians, music industry-related enterprises, and other individuals and entities from the areas in Greater New Orleans who were impacted by Hurricane Katrina. JLCO was also featured an episode of Great Performances entitled "Swingin' with Duke: Lincoln Center Jazz Orchestra with Wynton Marsalis," and on a BET Jazz weekly series called Journey with Jazz at Lincoln Center, featuring performances by the JLCO around the world.
To date, 12 recordings featuring the Jazz at Lincoln Center Orchestra with Wynton Marsalis have been released and internationally distributed, including Congo Square (2007).
For more information on Jazz at Lincoln Center, please visit www.jalc.org.
Wynton Marsalis, Artistic Director of Jazz at Lincoln Center, was born in New Orleans in 1961. Mr. Marsalis began his classical training on trumpet at age 12 and soon began playing in local bands of diverse genres. He entered The Juilliard School at age 17 and joined Art Blakey and the Jazz Messengers. Mr. Marsalis has recorded more than 30 jazz and classical recordings which have won him nine Grammy Awards. In 1983, he became the first and only artist to win both classical and jazz Grammy Awards in the same year and repeated this feat in 1984. Mr. Marsalis's rich body of compositions includes Sweef Release; Jazz: Six Syncopated Movements; Jump Start; Citi MovementGriot New York; At the Octoroon Balls; In This House, On This Morning; and Big Train. In 1997, Mr. Marsalis became the first jazz artist to be awarded the Pulitzer Prize in music for his oratorio Blood on the Fields, which was commissioned by Jazz at Lincoln Center. To date, his Blue Note Records recordings include Willie Nelson and Wynton Marsalis--Two Men with the Blues (2008); From the Plantation to the Penitentiary (2007); Wynton Marsalis: Live at The House Of Tribes (2005); The Magic Hour (2004); and Unforgivable Blackness: The Rise and Fall of
Jack Johnson (2004), the companion soundtrack recording to Ken Bums' PBS documentary of the great African-American boxer. Mr. Marsalis is also an internationally respected teacher and spokesman for music education and has received honorary doctorates from dozens of universities and colleges throughout the US. He conducts educational programs for students of all ages and hosts the popular Jazz for Young PeopleO concerts produced by Jazz at Lincoln Center. In 2008, Random House released Moving to Higher Ground: How Jazz Can Change Your Life which Mr. Marsalis co-wrote with Geoffrey C. Ward.
In 2001, Mr. Marsalis was appointed Messenger of Peace by Mr. Kofi Annan, Secretary-General of the United Nations, and he has also been designated cultural ambassador to the US by the US State Department through their CultureConnect program. Mr. Marsalis was instrumental in the Higher Ground Hurricane Relief concert, produced by Jazz at Lincoln Center, which has raised over $3 million for the Higher Ground Relief Fund. He helped lead the effort to construct Jazz at Lincoln Center's new home--Frederick P. Rose Hall--the first education, performance, and broadcast facility devoted to jazz, which opened in October 2004.
Jazz at Lincoln Center Orchestra
UMS Archives
This evening's performance marks the Jazz at Lincoln Center Orchestra's 11th UMS appearance since their debut in February 1994. Wynton Marsalis has appeared 12 times under UMS auspices, both with the Orchestra and in other ensemble configurations, including the presentation of his Pulitzer Prize-winning oratorio, Blood on the Fields, in February 1997 at Hill Auditorium. Mr. Marsalis made his UMS debut in January 1996 with the Lincoln Center Jazz Orchestra Octet.
presents
Brentano String Quartet
Mark Steinberg, Violin Misha Amory, Viola Serena Canin, Violin Nina Maria Lee, Cello
with
I eier uBfKin, nano
and
Thomas Meglioranza, torftone
Program
Franz Josef Haydn
Charles Wuorinen
Arnold Schoenberg
Ludwig van Beethoven
Wednesday Evening, March 11, 2009 at 8:00 Rackham Auditorium Ann Arbor
String Quartet in d minor. Op. 76, No. 2
Allegro
Andante piu tosto Allegretto Menuetto (Allegro ma non troppo) Finale (Vivace)
Piano Quintet No. 2
Brentano String Quartet, Mr. Serkin
INTERMISSION
Ode to Napoleon, Op. 41
Brentano String Quartet, Mr. Serkin, Mr. Meglioranza
Grosse Fuge for String Quartet in B-flat Major, Op. 133
45th Performance of the 130th Annual Season
46th Annual Chamber Arts Series
The photographing or sound and video recording of this concert or posses?sion of any device for such recording is prohibited.
Funded in part by the National Endowment for the Arts as part of American Masterpieces: Three Centuries of Artistic Genius.
Media partnership provided by WGTE 91.3 FM and Observers Eccentric Newspapers.
Piano Quintet No. 2 was composed between June 14, 2007 and January 19, 2008. The work was written for Peter Serkin and the Brentano String Quartet. This work was made possible by a grant from the Jebediah Foundation: New Music Commissions. Additional funding was provided by the Peter Jay Sharp Foundation and the Evelyn Sharp Foundation.
The Brentano String Quartet records for AEON (distributed by Harmonia Mundi USA).
Mr. Serkin has recorded for Arcana, BMG ClassicsRCA Red Seal, Boston Records, Bridge, CBS Masterworks, Decca, Deutsche Grammophon, ECM, Koch Classics, New World Records, Pro Arte, Telarc, and Vanguard Classics.
The Brentano String Quartet appears by arrangement with David Rowe Artists. Peter Serkin appears by arrangement with CM Artists New York.
Large print programs are available upon request.
String Quartet in d minor. Op. 76, No. 2
("Quinten")(1797) Franz Josef Haydn
Born March 31, 1732 in Rohrau, Lower Austria Died May 31, 1809 in Vienna
Haydn often published quartets in groups of six, as he did in 1797 with Op. 76, his final complete set. As musical keys can have nearly synaesthetic associations and suggest differing moods, it was important to present a variety of keys within each opus, and specifically to include at least one minor-key work, exploring the darker intensities those keys can suggest. The present quartet, the so-called "Quinten" Quartet shares its d minor, significantly, with Mozart's K. 421 quartet, dedicated to Haydn, and Bach's Art of Fugue. Its first movement evinces a seriousness of style and a learned aspect fully resonant with these earlier masterpieces. The opening theme (with its fifths which give the piece its "Quinten" nickname) is both bold and plain, such as might be profitable fodder for a fugue. The four-note motive is played in different speeds, upside down (and backwards, which amounts to the same thing with these pitches), in stretto (answered by a copy of itself in another voice before its completion), compressed and expanded intervallically, and interrupted and resumed. Perhaps Haydn here is conversing with Bach, showing his mastery of these techniques in the dramatic form of his own time. It is important to note, however, that these quartets were mostly purchased by the public to be read at home with friends; scores were not included, only a set of individual parts. No instrumentalist at a first reading would be able to imagine what the other parts might do, and the vital unfurling of the argument would be both fascinating and surprising. The composer is entering into dialogue with his players, and it may be a great introduction to the fabric of the piece for listeners to imagine themselves into the quartet in turn.
When Haydn chooses, as he does here, to write monothematic movements, eschewing the natural variety and relief of a second, contrasting theme, the level of rhetoric becomes even more elevated and concentrated. Marking the moment when a second theme might naturally appear in this movement is an extremely odd and striking idea such as might not be imagined again until the electronic music age, where sounds could be reversed at will. This is the material that then motivates the dazzling and rhythmically exciting coda of the movement, being
tossed back-and-forth between the second violin and the lower voices while the first violin plays excited figuration.
The second movement has the rather fancy, detailed tempo marking "Andante piu tosto Allegretto," poised between a leisurely ramble and a somewhat brisker tread. There are quite a few movements by Haydn, Mozart, and Beethoven that have such indications, and they all seem to share an elegance ever so slightly infiltrated by artificiality, something just barely mechanical or marionette-like invading an otherwise graceful aspect. The tune, played by the first violin with pizzicato accompaniment by the others, has some odd accents and self-conscious hesitancy, trying just a bit too hard to be just so. The movement is lovely, but there are continual reminders that it is all a bit tongue-in-cheek: teasing accents answered by out-of-context orchestral hammer blows from which the first violin scampers away.
The "Menuetto" is perhaps Haydn's tribute to Mozart's d-minor quartet (which was written in tribute to Haydn), as it shares its corresponding movement's severity, far from the courtliness of the typical minuet. It has the nickname "Hexenmenuett" or Witches'Minuet, and certainly seems to cackle along, all in austere two-part canon, the music chased by its doppelganger. The trio, after a long preparation, erupts into the major mode, and grasps upon the idea of repeated notes carrying it almost to ridiculous extremes of dynamic and enthusiasm. The end of the trio, quietly ticklish in the upper reaches of the first violin range, seems to wink at the whole enterprise, Haydn smiling at his players in case they have taken themselves just a touch too seriously in all the bluster.
The "Finale" is a rollicking Gypsy-inflected movement colored by syncopations and slides. It has an infectious energy as well as a good dose of Haydn the trickster: moments that get stuck followed by a serious of repeated notes that are only revealed to be against the main beat after the fact, a braying donkey motif, and pauses that tease (and, incidentally, recall the fifths of the opening movement). The music eventually finds its way into major, quietly humming the main theme while adorned by striking drones and hurdy-gurdy figuration. These drones reappear at the ebullient ending of the movement where they help give the impression of a festive Gypsy holiday. Muzio Clementi reported of Haydn that "when he hears any of his own pieces performed that are capricious he laughs like a fool." It is easy to imagine him
here among us enjoying himself every bit as much as we always do when we play his quartets.
Program note by Mark Steinberg.
Piano Quintet No. 2 (2008)
Charles Wuorinen
Bom June 9, 1938 in New York
My Second Piano Quintet is laid out in four movements, in a fast-slow-fast-slow pattern. But along the way the third (fast) movement is displaced in midstream to make way for the extended slow fourth movement. The outraged third movement does have its revenge, however, for it resumes after the fourth has finished, and thus--in its out-of-place way--concludes the whole piece.
There is another matter worth noting. Beneath the surface interplay of the instruments lies a principle of successive leadership by various members of the ensemble. The violins lead the first, the viola the second, the cello the third, and the piano the fourth. But often you'd hardly know it, because this simple ground idea (as all general ideas must be simple if they are to work) is so heavily modified in practice by demands of the harmonic, registral, and gestural unfolding of the composition, that for large parts of the work it has only the (nevertheless important) status of a starting point. It's always a mistake to apply a broad background notion with slavish literalness to the dynamically evolving foreground of any music.
Piano Quintet No. 2 was composed between June 2007 and January 2008. The work was written for Peter Serkin and the Brentano String Quartet.
Program note by Charles Wuorinen.
Ode to Napoleon, Op. 41 (1942) Arnold Schoenberg Bom September 13, 1874 in Vienna Died July 13, 1951 in Los Angeles
The League of Composers had asked me (1942) to write a piece of chamber music for their concert season. It should employ only a limited number of instruments. I had at once the idea that this piece must not ignore the agitation aroused in mankind against the crimes that provoked this war. I remembered Mozart's Marriage of Figaro, supporting repeal of the jus prime noctis, Schiller's Wilhelm Tell, Goethe's Egmont, Beethoven'sfmica,
and Wellington's Victory, and I knew it was the moral duty of intelligentsia to take a stand against tyranny.
But this was only my secondary motive. I had long speculated about the more profound meaning of the Nazi philosophy. There was one element that puzzled me extremely: the resemblance of the valueless individual being's life in respect to the totality of the community or its representative: the Queen or the Fuhrer. I could not see why a whole generation of bees or of Germans should live only in order to produce another generation of the same sort, which on their part should also fulfill the same task: to keep the race alive. I even surmised that bees (or ants) instinctively believe their destiny was to be successors of mankind, when this had destroyed itself in the same manner in which our predecessors, the Giants, Magicians, Lindworms (Dragons), Dinosaurs and others had destroyed themselves and their world, so that first men knew only a few isolated specimens. Their and the ants' capacity of forming states and living according to laws--senseless and primitive, as they might look to us--this capacity, unique among animals, had an attractive similarity to our own life; and in our imagination we could muse a story, seeing them growing to dominating power, size and shape and creating a world of their own resembling very little the original beehive.
Before I started to write this text, I consulted Maeterlinck's Life of the Bees. I hoped to find there motives supporting my attitude. But the contrary happened: Maeterlinck's poetic philosophy gilds everything which was not gold itself. And so wonderful are his explanations that one might decline refuting them, even if one knew they were mere poetry. I had to abandon this plan. I had to find another subject fitting my purpose.
Program note by Arnold Schoenberg.
Grosse Fuge for String Quartet in
B-flat Major, Op. 133 (1825) Ludwig van Beethoven
Born December 15 or 16, 1770 in Bonn, Germany Died March 26, 1827 in Vienna
Beethoven's Grosse Fuge, Op. 133, is one of the great artistic testaments to the human capacity for meaning in the face of the threat of chaos. Abiding faith in the relevance of visionary struggle in our lives powerfully informs the structure and
character of the music; this is surely one of the composer's most inspiring achievements.
The Great Fugue was originally conceived as the final movement of the Quartet in B-flat Major, Op. 130. In that work it followed directly the " Cavatina," one of the most intimate embodiments of the frailty and vulnerability of love ever made audible to human ears. This juxtaposition with the most touching lyricism makes the opening of the fugue shocking, as Beethoven takes the final 'G' of that movement and explodes it into a stark octave passage for the whole quartet. The writing is jagged and austere, then, following the "Overtura" which opens the movement, there is a brief evocation of the wispy, halting breaths of the "Cavatina" in eerie double-notes for the first violin alone. The fugue proper then defiantly announces itself with disjunct, painful, and completely unvocal leaps, all elbows and knees. Shouting, on the brink of whirling into chaos, the argument of the fugue is actually tightly ordered; of the dual description Beethoven gives for the movement--partly free, partly studied--this is the studied side. It will be the task of the Grosse Fuge to make sense of this ever-present possibility of complete collapse, to bring resolve and purpose to the human condition in the midst of uncertainty.
During the private premiere of the original version of Op. 130, given by the Schuppanzigh Quartet, Beethoven absented himself, choosing to drink in a local pub instead. It fell to the second violinist of that group to go to the pub to report to the composer. He declared the occasion a great success, and recounted how those present asked to have two of the inner movements repeated. Beethoven immediately asked about the fugue, and when he was told that there was no request for a repeat of that he remarked that the audience had been made up of "cattle and asses." The audience as well as the players had in fact had great difficulties with the movement, finding it nearly incomprehensible. It was suggested to the composer that he replace the last movement of the quartet with one which would be more accessible. Certainly Beethoven himself never doubted that the fugue was a masterpiece of great potency. One of the great mysteries of musical history is what could have convinced Beethoven, a quintessential headstrong man, to agree to remove the fugue from Op. 130 and publish it separately (as Op. 133), writing an alternate finale for the quartet. Today, quartets often play Op. 130
in its original incarnation, ending with the Grosse Fuge. We have played that piece in both versions, finding the original version the more satisfying of the two, monumental in its scope.
As confrontational and even brutal as the Grosse Fuge seems to us today, it is hard to imagine the effect it must have had at time of composition. Stravinsky was fond of saying of this piece that it will forever be contemporary. This is perhaps only partly true. The unforgiving, jagged texture of much of the piece brings it close to sounds not heard again for a century hence, and the piece has an energy which will never be blunted. Its surface texture in parts could easily be taken out of context as representative of music of our own time. Much of the art of our era has been devoted to feelings of pessimism and despair. This is not Beethoven's world. He shares our recognition of the vulnerable fragility of man, the inadequacy of the mind to fully ponder all the enigmas of our world. And yet, his view is one which encompasses hope, and the possibility of triumph, a victorious human spirit. The turn to clarity and optimism happens late in the piece, and quickly, but it is unmistakable, regretless, and moving beyond words.
Program note by Mark Steinberg.
Since its inception in 1992, the Brentano String Quartet has appeared throughout the world to popular and critical acclaim. Within a few years of its formation, the Quartet garnered the first Cleveland Quartet Award and the Naumburg Chamber Music Award; and in 1996 the Chamber Music Society of Lincoln Center invited them to be the inaugural members of Chamber Music Society Two, a program which has become a coveted distinction for chamber groups and individuals ever since. The Quartet had its first European tour in 1997, and was honored in the UK with the Royal Philharmonic Award for "Most Outstanding Debut." That debut recital was at London's Wigmore Hall, and the Quartet has continued its warm relationship with Wigmore, appearing there regularly and serving as the hall's Quartet-in-residence in the 200001 season.
In recent seasons the Quartet has traveled widely, appearing across the US and Canada, in Europe, Japan, and Australia. It has performed in the world's most prestigious venues, including
Carnegie Hall and Alice Tully Hall in New York; the Library of Congress in Washington; the Concertgebouw in Amsterdam; the Konzerthaus in Vienna; Suntory Hall in Tokyo; and the Sydney Opera House. The Quartet has participated in summer festivals such as Aspen, the Music Academy of the West in Santa Barbara, and the Edinburgh Festival.
In addition to performing standard quartet repertoire, the Brentano Quartet has a strong interest in both very old and very new music. It has performed many musical works pre-dating the string quartet as a medium, among them Madrigals of Gesualdo, Fantasias of Purcell, and secular vocal works of Josquin. Also, the quartet has worked closely with some of the most important composers of our time, among them Elliot Carter, Charles Wuorinen, Chou Wen-chung, Steven Mackey, Bruce Adolphe, and Gyorgy Kurtag. The Quartet has commissioned works from Wuorinen, Adolphe, Mackey, David Home, and Gabriela Frank. The Quartet celebrated its 10th anniversary in 2002 by commissioning 10 composers to write companion pieces for selections from Bach's Art of Fugue, the result of which was an electrifying and wide-ranging single concert program. The Quartet has also worked with the celebrated poet Mark Strand, commissioning poetry from him to accompany works of Haydn and Webern.
The Quartet has been privileged to collaborate with such artists as soprano Jessye Norman, and pianists Richard Goode and Mitsuko Uchida.
The Quartet has recorded the Op. 71 Quartets of Haydn and has also recorded Mozart for Aeon
UMS Archives
Tonight's performance marks the Brentano String Quartet's third appearance under UMS auspices. The Quartet made its UMS debut in 2001.
Tonight's performance marks Peter Serkin's fourth appearance under UMS auspices. Mr. Serkin made his UMS debut as piano soloist (along with his father, pianist Rudolf Serkin) with the Philadelphia Orchestra during the 1963 May Festival, and last appeared in March 1982.
UMS welcomes Thomas Meglioranza who makes his UMS debut this evening.
Records, consisting of the K. 464 Quartet and the K. 593 Quintet, with violist Hsin-Yun Huang. In the area of newer music, the Quartet has released music of Steven Mackey on Albany Records and has also recorded the music of Bruce Adolphe, Chou Wen-chung, and Charles Wuorinen.
In 1998, cellist Nina Lee joined the Quartet, succeeding founding member Michael Kannen. The following season the Quartet became the first Resident String Quartet at Princeton University. The Quartet is named for Antonie Brentano, whom many scholars consider to be Beethoven's "Immortal Beloved," the intended recipient of his famous love confession. For further information, please visit www.brentanoquartet.com.
Recognized as an artist of passion and integrity, the American pianist Peter Serkin is one of the most thoughtful musicians appearing today. Throughout his career he has successfully conveyed the essence of five centuries of repertoire and his performances with symphony orchestras, recital appearances, chamber music collaborations, and recordings are respected worldwide.
An avid proponent of the music of many of the 20th and 21st century's most important composers, Mr. Serkin has been instrumental in bringing the music of Schoenberg, Webern, Berg, Stravinsky, Wolpe, Messiaen, Takemitsu, Henze, Berio, Wuorinen, Goehr, Knussen, and Lieberson to audiences worldwide. He has performed many important world premieres, in particular, works by Toru Takemitsu, Peter Lieberson, Oliver Knussen, and Alexander Goehr, all of which were written for him. Recently, Mr. Serkin played a solo work by Elliot Carter commissioned by Carnegie Hall and the Gilmore International Keyboard Festival. During the current season, he premieres a fifth piano concerto by Mr. Wuorinen with the Met Opera OrchestraLevine at Carnegie Hall as well as Mr. Wuorinen's new piano quintet with the Brentano String Quartet.
Peter Serkin's recordings also reflect his distinctive musical vision. The Ocean that has no West and no East, released by Koch Records in 2000, features compositions by Webern, Wolpe, Messiaen, Takemitsu, Knussen, Lieberson, and Wuorinen. That same year, BMG released his recording of three Beethoven sonatas. His most
recent recording is the complete works for solo piano by Arnold Schoenberg for Arcana. Mr. Serkin's recording of the six Mozart concerti composed in 1784 with Alexander Schneider and the English Chamber Orchestra was nominated for a Grammy Award and received the prestigious Deutsche Schallplatten as well as "Best Recording of the Year" by Stereo Review magazine.
In May 2001, Peter Serkin was the recipient of an Honorary Doctoral Degree from the New England Conservatory of Music in Boston. Mr. Serkin resides in Massachusetts with his wife, Regina, and is the father of five children.
American baritone Thomas Meglioranza was a winner of the 2005 Naumburg Comptition, the 2002 Concert Artist Guild Competition, and the 2003 Franz Schubert and Music of Modernity International Competition in Graz, Austria. He made his Wigmore Hall debut in London singing an all-American program, as well as his Boston Symphony debut, singing John Harbison's Symphony No. 5. This season's
performances include the title role in the world premiere of Gordon Shin's Mackay: Black-Bearded Man in Taiwan, Handel's Messiah with the Minnesota Orchestra, and a New Year's Eve gala at the Kennedy Center singing Rodgers and Hammerstein songs with the National Symphony. He has sung the role of Prior Walter in Peter Eotvos's Angels in America and Chou En-Lai in John Adams' Nixon in China with Opera Boston. He has appeared with the MET Chamber Ensemble with James Levine; the Grant Park Symphony; Cincinnati Chamber Orchestra; the Oregon Symphony; Portland Baroque Orchestra; Orpheus Chamber Orchestra; New York Collegium; American Bach Soloists; Philharmonia Baroque; and Aspen Opera Theater. Mr. Meglioranza recently released his first solo CD devoted entirely to Franz Schubert's songs. A graduate of Grinnell College and the Eastman School of Music, Mr. Meglioranza is also an alumnus of Tanglewood, Aspen, Marlboro, Bowdoin, the Pacific Music Festival, and the Steans Insititute at Ravinia.
presents
Aswat (Voices
A multimedia concert experience celebrating the Golden Age of Arab Music and Cinema
featuring
Ibrahim Azzam Sonia M'barek Khalil Abonula
Rima Khcheich Simon Shaheen
Mohammad Abdel Wahhab Wadi'AISafi Wadi'AISafi
Mohammad Abdel Wahhab Zakariyya Ahmad Rahbani Brothers
Farid Al Atrash Farid Al Atrash Zakariyya Ahmad Mohammad Abdel Wahhab Farid Al Atrash Mohammad Abdel Wahhab
Thursday Evening, March 12, 2009 at 8:00 Hill Auditorium Ann Arbor
Fakkaruni
Jannat
Weili Laou Yidrun
Sakana I-Layl
II Wardi Gamil
Sahrit Hubb
INTERMISSION
Kahramana
Layali l-'Uns
Ana Fi Intidharak
Ya Wardi Min Yishtirik
Ma 'AIM w-'Ultillu
Ya Di n-Na'im
46th Performance of the 130th Annual Season
UMS Global: Performing Arts of the Arab World
The photographing or sound and video recording of this performance or possession of any device for such recording is prohibited.
The Performing Arts of the Arab World Series is supported in part by TAQA New World, Inc.; The Mosaic Foundation, Washington DC; and the Community Foun?dation for Southeast Michigan and Bustan al-Funun Foundation for Arab Arts.
Funded in part by the National Endowment for the Arts, which believes that a great nation deserves great art.
Aswat is presented in association with the John F. Kennedy Center for the Performing Arts and the University Musical Society of the University of Michigan.
Media partnership provided by The Arab American News and ArabDetroit.com.
Special thanks to the Bustan al-Funun Foundation for their participation in this residency.
Aswat appears by arrangement with SRO Artists.
Large print programs are available upon request.
The Aswat Orchestra
This traditional Arab orchestra features virtuoso instrumentalists playing violins, ouds, acoustic bass, cello, nay, qanun (aka zither), and percussion under the direction of maestro Simon Shaheen, recreating the sound of the Golden Age.
Violin
Kamil Shajrawi, William Shaheen, Adeeb Refela, Georges Lammam
Cello
Thomas Ulrich
Bass
Walid Zairi
Qanun
Jamal Sinno
Nayflute
Bassam Saba
Percussion
Michel Merhej, DaferTawil
'Oud
Najib Shaheen
Notes on the Music
Fakkaruni (Remind Me) Music by Mohammad Abdel Wahhab Fakkaruni is an instrumental arrangement of a vocal masterpiece composed in 1966 and sung by Egyptian Diva, Umm Kulthoum. The song starts with a lengthy introduction and includes a number of interludes that are linked together to form a fantastic piece.
Jannat (Gardens)
Music by Wadi' Al Safi
Lyrics by Abdel Jalil Wihbeh
Jannat is a popular song. It is a descriptive
monologue of nature's beauty in Lebanon
described as a majestic garden.
Wayli Laou Yidrun (Woe, if my Folks Know)
Music by Wadi' Al Safi
Lyrics by Abdel Jalil Wihbeh
Wayli Laou Yidrun describes a man's love and
affection for a woman never approved of by his
parents.
Sakana I-Layl (Calm Night)
Music by Mohammad Abdel Wahhab
Lyrics by Gibran Khalil Gibran
The lyrics for Sakana I-Layl are taken from a poetic
genre known as Qasida. Gibran Khalil Gibran is
also the author of The Prophet.
II Wardi Gamil (Lovely Flowers)
Music by Zakariyya Ahmad
Lyrics by Mahmoud Bayram Al Tunisi
Wardi Gamil was premiered in the film Fatima
by Umm Kulthoum in 1947. Umm Kulthoum sings
to the lovely flowers as she collects them from the
garden.
Sahrit Hubb (An Evening of Love)
Music by Rahbani brothers
Sahrit Hubb, a television musical sketch, was
composed and written by the Rahbani brothers
and performed, in the mid-'60s, by Fairuz, Wadi'
Al-Safi, and the chorus. The theme is based on a
love story that takes place in a Lebanese village.
Kahramana
Music by Farid Al-Atrash
Farid Al-Atrash produced many films as a vehicle for introducing his music. Kahramana is an instrumental dance performed in the film Afrita Hanim (Genie) produced in 1949 in Egypt. It was composed for dancer and actress Samia Gamal who played the main role next to Al-Atrash.
Layalil 'Unsi Fi Vienna (Merry Nights in Vienna) Music by Farid Al Atrash Lyrics by Ahmad Rami
Layalil 'Unsi Fi Vienna was sung by Asmahan in 1944 in the film Gharam Wa Intiqam (Love and Revenge). The song is an invitation to rejoice in the beauty, music, and presence of the ones you love in Vienna.
Ana Fi Intidharak Malleit (I am Fed-up Waiting for You)
Music by Zakariyya Ahmad Lyrics by Mahmoud Bayram Al Tunisi Ana Fi Intidharak Malleit was sung by Umm Kulthoum in 1943. The song describes a man fed-up with waiting for his beloved.
Simon Shaheen
The period from the 1920s to the 1950s is considered the "golden age" of Egyptian cinema, but it was also a golden age of song in many parts of the Arab world--in particular, Egypt, Lebanon, and Syria. Many of these country's greatest singers and composers reached unprecedented heights of artistry and stardom throughout these years. The beloved diva Umm Kulthoum and Mohammad Abdel Wahhab from Egypt, Syria's Farid and Asmahan Al-Atrash, and Lebanon's Wadi' Al-Safi and Fairuz, all represent the very best this era had to offer and add to the impressive canon of Arabic music.
With a traditional Arab orchestra and special guest vocalists, Simon Shaheen directs an evening of classic, unforgettable melodies, soul-stirring voices, and lush orchestral arrangements, authentically recreating and interpreting the sights and sounds of this magical time.
Mr. Shaheen's international search for the premiere Arabic singers of today has brought together--exclusively for the Aswat project--Ibrahim Azzam of Palestine, Sonia M'barek of Tunisia, Khalil Abonula of Palestine, and Rima Khcheich of Lebanon.
Ya Wardi Min Yishtirik (The Flower Buyer)
Music by Mohammad Abdel Wahhab
Lyrics by Bishara Al Khoury
This monologue was composed and performed
in 1940 by Mohammad Abdel Wahhab and
premiered in his film Youm Said (A Happy Day).
Ya 'Awathil Falfilu
Music by Farid Al Atrash
Lyrics by Abu al-Su'ud al-Abyari
Ya 'Awathil Falfilu was a popular song composed
and performed by Farid Al-Atrash in his 1950 film
Akhir Kithba (Last Lie) with actressdancer Samia Gamal. The lyrics address an envious group who try to separate two lovers.
Ya Di n-Na'im (Living in Happiness)
Music by Mohammad Abdel Wahhab
Lyrics by Ahmad Rami
Ya Di n-Na'im is a dialogue and was performed by
Layla Murad in Mohammad Abdel Wahhab's 1938
film Yahyal Hubb (Love Wins). The lyrics describe
the reunion of two lovers after a long separation.
A virtuoso on the 'oud and the violin, Simon Shaheen is one of the most significant Arab musicians, performers, and composers of his generation and his work incorporates and reflects the deep legacy of Arabic music. A graduate of the Academy of Music in Jerusalem and the Manhattan School of Music, Mr. Shaheen learned to play 'oud from his father, Hikmat Shaheen, a professor of music and a master 'oud player. He established and manages the operations of both the Annual Arab Festival of Arts, called Mahrajan al-Fan, held in New York, and the Annual Arabic Music Retreat, held at Mount Holyoke College. Mr. Shaheen was presented with the prestigious National Heritage Award at the White House in 1994 and has received awards and grants from the National Endowment for the Arts and the New York State Council on the Arts. He has performed in many of the most prestigious concert halls around the world and regularly gives workshops and lectures at leading institutions such as Juilliard, Columbia, Cornell, Princeton, Harvard, and Yale.
Featured Vocalists
Highly influenced and inspired by his very musical family, Ibrahim Azzam showed exceptional talent by the age of five, with both his singing and instrumental skills on the 'oud. Born in Palestine, his father and mother were singers known for their vast command of the Arab traditional musical repertoire. At the age of 10, Mr. Azzam studied for a period of eight years with professor Hikmat Shaheen, a leading Palestinian composer and 'oud performer. In 1975, he moved to England and made a new home in London. Since that time, he has established himself as one of the leading Arab vocalists in Europe and the Middle East. Mr. Azzam has performed in the most prestigious venues around the world including Royal Albert Hall in London, the Opera House in Geneva, the Opera House in Cairo, the Royal Cultural Centre in Amman, the Cultural Palace in Ramallah, the Village Gate in New York City, and Lisner Auditorium at George Washington University. One of his most distinguishable traits is his unique and idiosyncratic voice, which has been compared to that of the prolific Arab singercomposer Mohammad Abdel Wahhab. During the late 70s and early '80s, Mr. Azzam was taken under the wing of his mentor
UMS Archives
Tonight's performance marks Simon Shaheen's second appearance under UMS auspices. He first appeared under UMS auspices in 2004 with his ensemble Qantara.
Tonight marks the UMS debut of the Aswat Orchestra.
and became one of the finest performers of Abdel Wahhab's vocal repertoire. He has collaborated with established Egyptian composers Baligh Hamdi, Farouk Al-Sahrnoubi, and Hilmi Baker.
Sonia M'barek was born in 1969 in Sfax, Tunisia. She performed for the first time in public at the age of nine, and at 12 was revealed to a large television audience. From 1977-1986 she attended the national conservatory of music in Tunis, graduating with a diploma of Arabic music. Since then she has sung for musical theater productions like Asker EMI, Ete 61, Taht Essour, Didon, and on film sound tracks for Abulkacem Echebbi (The Dance of Fire). Ms. M'barek has worked successfully with Tunisian lute players AN Sriti and Anouar Brahem with whom she presented more than 30 concerts of classical Arabian music "Tarab" leading to the CD recording Tarab. In 1999, her recording Takht was distributed across Europe, the US, and Japan on the German label World Network. She has participated in numerous conferences, workshops, and master classes on Arabic music in France, Belgium, Switzerland, Egypt, Tunisia, and Lebanon. In 2005, she was nominated by the ministry of culture to serve as the chair of national festival of the Tunisian music. She has received countless awards for performance and artistry from prestigious organizations around world from the Middle East, Europe, and North America.
Khalil Abonula is a Palestinian who was born in the city of Nazareth into a musical family. His father and mother were singers and both played on the 'oud. His mother taught him to play 'oud and introduced him to Arabic music theory. Since his early childhood, Mr. Abonula participated in school's special events as a solo singer and joined the church choir where he learned many of the Byzantine hymns. He grew up listening to
the masters of Arab classical music particularly the Egyptians Sayyed Darwish, Saleh Abdel Hay, Mohammad Abdel Wahhab, and the Lebanese, Wadi' Al-Safi, whose voice and style of singing caught his attention in particular. At the age of 12, Mr. Abonula joined with his father as a singer in community events and parties. After graduating from high school, he started his first music band called Samah, named after a spiritual style of singing and dancing in Syria. Over the last 20 years he has performed at distinguished venues and festivals throughout the Arab world as well as Greece, Bulgaria, and France.
Rima Khcheich is an instructor of Classical Arabic Singing at The Lebanese National Superior Conservatory of Music in Beirut. She started singing at the age of seven, and two years later she became a member of the Arab Orchestra and Chorale in Beirut under the direction of Salim Sahhab. At the age of 11, she became a soloist with Sahhab's group, singing the most difficult repertoire in Arabic vocal music. A graduate of The Lebanese National Conservatory of Music and The
Lebanese American University, Ms. Khcheich has performed throughout the Middle East, Europe, and the US. She specializes in Arab-Andalusian Muwashshahat form and 19thand 20th-century Arabic traditional vocal repertoires. Since 1999, Ms. Khcheich has been a faculty member of the Annual Arabic Music Retreat at Mount Holyoke College.
Simon Shaheen, ArtisticMusical Direction
Tour Representation: SRO Artists Inc. Tour Coordination: Steve Heath
Film ProductionEditing: Izidore Musallam
Special thanks to the University Musical Society of the University of Michigan, The John F. Kennedy Center for the Performing Arts, and Tamizdat.
with
KeyBank
and the
Catherine S. Arcure
and Herbert E. Sloan
Endowment Fund
present
The Silk Road Ensemble
with
Yo-Yo Ma
Jeffrey Beecher, Contrabass Nicholas Cords, Viola Sandeep Das, Tabla Jonathan Gandelsman, Violin Joseph Gramley, Percussion Rauf Islamov, Kamancheh Colin Jacobsen, Violin Yo-Yo Ma, Cello
Ali Asgar Mammadov, Tar Alim Qasimov, Mugham vocals Fargana Qasimova, Mugham vocals Shane Shanahan, Percussion Mark Suter, Percussion Kojiro Umezaki, Shakuhachi Wu Man, Pipa Wu Tong, Sheng
Program
Gabriela Lena Frank
Evan Ziporyn
Sapo Perapaskero,
Arr. Osvaldo GolijovLjova
Uzeyir Hajibeyov,
Arr. Jonathan Gandelsman
Friday Evening, March 13, 2009 at 8:00 Hill Auditorium Ann Arbor
Ritmos Anchinos
Harawi para Colquipocro Charangos de Chincha Kachampa
Sulvasutra Turceasca
INTERMISSION
Layla and Majnun
47th 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.
Tonight's performance is sponsored by KeyBank.
Tonight's performance is made possible by the Catherine S. Arcure and
Herbert E. Sloan Endowment Fund.
The 200809 Family Series is sponsored by Toyota.
Media partnership provided by Ann Arbor's 107one.
The oriental rug used in this evening's performance is made possible by Ali A. Amiri
and Persian House of Imports, Ann Arbor, Ml.
Special thanks to the U-M School of Music, Theatre & Dance, Joe Gramley, Carol
Stepanchuk, and the U-M Center for Chinese Studies for their participation in this
residency.
Special thanks to Tom Thompson of Tom Thompson Flowers, Ann Arbor, for his
generous contribution of lobby floral art for this evening's performance.
Special thanks to Steven Ball for coordinating the pre-concert music on the
Charles Baird Carillon.
Yo-Yo Ma and the Silk Road Ensemble appear by arrangement with Opus 3
Artists, New York, NY.
Large print programs are available upon request.
The historical Silk Road, a series of land and sea trade routes that crisscrossed Eurasia, enabled the exchange of goods and innovations from China to the Mediterranean Sea for nearly 2,000 years until the 14th century. Interactions among cultural groups also spread knowledge, religious beliefs, artistic techniques, and musical traditions, so much so that long after its decline, the Silk Road remains a powerful metaphor for cultural exchange.
Both historic and symbolic elements are central to the work of the Silk Road Project, which takes inspiration from this age-old tradition of learning from other cultures and disciplines. The repertoire of the Silk Road Ensemble includes traditional music (both as an oral tradition--passed down from generation to generation--and in melodies arranged by and for members of the Ensemble) as well as newly commissioned works, many of which combine non-Western and Western instruments, creating a unique genre that transcends customary musical classification.
Ritmos Anchinos
Gabriela Lena Frank
Born September 1972 in Berkeley, California
This evening's concert begins with Gabriela Lena Frank's Ritmos Anchinos, which incorporates LatinoLatin American mythology, archaeology, art, poetry, and folk music into Western classical forms, reflecting the composer's Peruvian-Jewish-Chinese heritage. Ms. Frank writes:
It has taken me a long time to appreciate the scope of Peru's multicultural history. As the American-born daughter of a Peruvian woman, I had primarily long been aware of Peru's Native American and Spanish past, but it's only recently that I've begun to try and understand its twofold African legacy from the Moorish-influenced Spanish conquerors and their West African slaves. More personal to me, though, is the Asian presence due to a great-grandfather who left China in the late 1800s to open a country store in the Andean mountains.
Anchino is a hybrid between chino (Chinese) and andino (Andean). The three movements of this work include "Harawi para Colquipocro," in the style
of an indigenous melancholy mountain song traditionally done on a solo flute, the harawi. "Charangos de Chincha" is a more lighthearted movement reflecting my time visiting Chincha, a coastal town (with a Chinese-sounding name!) known for its Chinese and African population. The charango is a small mandolin-like instrument adopted by the Indians that can sound very similar to the Chinese pipa. Brief allusions to Indian zapoha panpipes are also made. "Kachampa" is inspired by an indigenous dance of combat known as kachampa. I allude to the erquencho, a strident, clarinet-like wind instrument of the South Andes that can sound similar to the sheng. Ritmos Anchinos is dedicated to my grandfather, Maximo Cam Velazques (1911-1968).
Sulvasutra
Evan Ziporyn
Born 1959 in Chicago, Illinois
Sulvasutra was written by composer and clarinetist Evan Ziporyn, artistic director of Gamelan Galak Tika and a founding member of the Bang on a Can All Stars, with whom he has toured since 1992. Balinese gamelan, a central influence in his music, has been a passion of his for more than 25 years. Mr. Ziporyn, who teaches at the Massachusetts Institute of Technology, has collaborated with Steve Reich, Philip Glass, Ornette Coleman, and Louis Andriessen. About tonight's piece, he writes, "Sulvasutra is based on an ancient Sanskrit treatise, probably dating from 800 BCE, that gives rules for the proper construction of Vedic altars. It is in three continuous movements, built around rhythmic cycles of four, five, and three--that is, the sides of a right triangle."
Ritmos Anchinos and Sulvasutra were commissioned by Carnegie Hall through the Weill Music Institute in partnership with the Silk Road Project, Inc. The world premieres were given at Carnegie Hall in September 2006.
Turceasca
Sapo Perapaskero
Turceasca ("Turkish Song") is the signature piece of the Romanian gypsy band Taraf de Haiidouks. In 1991, Taraf de Haiidouks performed outside Romania for the first time. Their music drew such interest that filmmaker Tony Garlif featured them in his documentary about the music of the Roma, Latcho Drom. Composer Osvaldo Golijov, whose broad, eclectic musical training (including Western classical, Jewish liturgical, klezmer, and Argentinean tango) made him an ideal translator, worked with the band to arrange Turceasca for the Kronos Quartet. The Silk Road Ensemble, guided by Taraf de Haiidouks' tour de force recording and Golijov's inventive arrangement, provide additional embellishments to the work with the inclusion of Chinese pipa and sheng, and the cajon, a Peruvian drum. The piece, based on a Turkish folk song traditionally played at the end of a wedding party, explodes with rhythmic joy that altogether dissolves standard written notation in favor of momentum and fun.
Layla and Majnun
Uzeyir Hajibeyov
Bom September 18, 1885 in Agjabadi, Azerbaijan
Died November 23, 1948 in Baku, Azerbaijan
The concert concludes with Layla and Majnun, a chamber arrangement of an opera by composer Uzeyir Hajibeyov that was first staged in Azerbaijan in 1908, itself based on a classic Arabian love story known and beloved throughout Central Asia. Similar in some respects to Romeo and Juliet, the original story dates back to the seventh century and has been interpreted by poets such as Nezami and Fuzuli. The Silk Road Ensemble's chamber arrangement incorporates instrumentation from Asian and Western traditions along with mugham, a complex form of Azerbaijani modal music in which stories and emotions are interpreted through song with accompaniment by traditional instruments such as kamancheh, tar, and daf. The leading performer of Hajibeyov's Layla and Majnun over the past two decades has been Alim Qasimov, Azerbaijan's foremost bearer of mugham. Because
of his preservation of the art of mugham, the country of Azerbaijan has named Mr. Qasimov a "Living National Treasure." Mr. Qasimov's student and daughter, Fargana Qasimova, interprets the role of Layla.
The Silk Road Ensemble arrangement of Layla and Majnun was made possible in part by the generous support of the Academie Musicale de Villecroze and of the Qatar Museums Authority, which commissioned the Silk Road Project to create a multimedia chamber arrangement whose world premiere was given in Doha, Qatar in November 2008.
The Silk Road Project gratefully acknowledges the National Endowment for the Arts for its support of the Layla and Majnun performance
Set Design for Layla and Majnun by Henrik Soderstrom.
Please refer to page 26 in your program book for supplementary material on the Silk Road, the Silk Road Project, instruments used in this evening's program, and biographies.
and
Robert and Pearson
Macek
present
The Silk Road Ensemble
with
Yo-Yo Ma
Jeffrey Beecher, Contrabass Nicholas Cords, Viola Sandeep Das, Tabla Jonathan Gandelsman, Violin Joseph Gramley, Percussion Colin Jacobsen, Violin Yo-Yo Ma, Cello
Shane Shanahan, Percussion Mark Suter, Percussion Kojiro Umezaki, Shakuhachi Wu Man, Pipa Wu Tong, Sheng, Bawu Alastair Willis, Guesf Conductor
Program
Improvisation Kayhan Kalhor, Arr. Ljova Zhao Jiping Shane Shanahan Rabih Abou-Khalil
Angel Lam
Saturday Evening, March 14, 2009 at 8:00 Hill Auditorium Ann Arbor
Silk Road Suite
Wandering Winds Mountains are Far Away Sacred Cloud Music Saidi Swing Arabian Waltz
Empty Mountain, Spirit Rain
INTERMISSION
Dmitri Yanov-Yanovsky
Persian Traditional, Arr. Colin Jacobsen Siamak Aghaei
Paths of Parables
The Answered Unanswered Question
The Preacher's Word
Form and Content
Black Angel
The Father, the Son and the Donkey
Ascending Bird
48th 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.
Tonight's performance is sponsored by Robert and Pearson Macek.
Special thanks to Joseph Gramley, member of the Silk Road Ensemble and Assistant Professor and Coordinator of Percussion, U-M School of Music, Theatre & Dance, for participating in tonight's Prelude Dinner.
Media partnership provided by WGTE 91.3 FM, Observer S Eccentric Newspapers, and Ann Arbor's 107one.
The oriental rug used in this evening's performance is made possible by Ali A. Amiri and Persian House of Imports, Ann Arbor, Ml.
Special thanks to the U-M School of Music, Theatre & Dance, Joe Gramley, Carol Stepanchuk, and the U-M Center for Chinese Studies for their participation in this residency.
Special thanks to Tom Thompson of Tom Thompson Flowers, Ann Arbor, for his generous contribution of lobby floral art for this evening's performance.
Special thanks to Steven Ball for coordinating the pre-concert music on the Charles Baird Carillon.
Yo-Yo Ma and the Silk Road Ensemble appear by arrangement with Opus 3 Artists, New York, NY.
Large print programs are available upon request.
The historical Silk Road, a series of land and sea trade routes that crisscrossed Eurasia, enabled the exchange of goods and innovations from China to the Mediterranean Sea for nearly 2,000 years until the 14th century. Interactions among cultural groups also spread knowledge, religious beliefs, artistic techniques, and musical traditions, so much so that long after its decline, the Silk Road remains a powerful metaphor for cultural exchange.
Both historic and symbolic elements are central to the work of the Silk Road Project, which takes inspiration from this age-old tradition of learning from other cultures and disciplines. The repertoire of the Silk Road Ensemble includes traditional music (both as an oral tradition--passed down from generation to generation--and in melodies arranged by and for members of the Ensemble) as well as newly commissioned works, many of which combine non-Western and Western instruments, creating a unique genre that transcends customary musical classification.
Silk Road Suite
Wandering Winds
Improvisation
Mountains are Far Away
Kayhan Kalhor
Bom 1963 in Kermanshah, Iran
Sacred Cloud Music
Zhao Jiping
Born August 1945 in Pingliang, Gansu, China
Saidi Swing
Shane Shanahan Born 1972 in New York
Arabian Waltz
Rabih Abou-Khalil
Born August 17, 1957 in Beirut, Lebanon
This evening's concert begins with Silk Road Suite, a collection of five pieces that represent musical traditions of Persia, China, Japan, and Lebanon. The Suite opens with Wandering Winds, an improvisation on the shakuhachi (a Japanese bamboo flute) and the bawu (a Chinese free-reed woodwind). The next two compositions were developed by the Silk Road Ensemble as part of a selection of music for the 10-part NHK
television series Silk Road 2005. Mountains are Far Away, by Iranian composer and kamancheh virtuoso Kayhan Kalhor, pays homage to the musical culture of the many nomadic peoples who have traveled the great plains of the Silk Road. Featuring distinctive Turkmen rhythmic patterns, the piece evokes constant motion. Sacred Cloud Music was constructed around one of the earliest Chinese pieces of music known, dating from 640 CE by Chinese composer Zhao Jiping, who is perhaps known best for his award-winning film scores Farewell My Concubine, Ju Dou, and Raise the Red Lantern. The Suite continues with Saidi Swing by percussionist and composer Shane Shanahan, a piece inspired by the traditional Arabian rhythm known as Saidi, which is believed to have originated in Upper Egypt and commonly accompanies dance. Mr. Shanahan composed variations on this basic rhythm, featuring the riq, an Egyptian tambourine; darbuka, a goblet-shaped drum used throughout the Middle East; tabla, a pair of drums played extensively in India, Pakistan, and Afghanistan; and the frame drum, the oldest and most widely used drum in the world. The Suite concludes with the dramatic Arabian Waltz by Lebanese-born composer Rabih Abou-Khalil. Classically trained on oud (Middle Eastern lute) as well as the flute, Mr. Abou-Khalil has recorded albums on both instruments. His compositions fuse the musical traditions of the Arabic world with jazz improvisation and European classical techniques. Arabian Waltz is a propulsive work, driven by complex additive rhythms and improvisatory melodic lines.
Empty Mountain, Spirit Rain
Angel Lam
Born 1978 in Hong Kong
Angel Lam, who grew up in Hong Kong and Los Angeles, dedicates Empty Mountain, Spirit Rain "to a memory of my grandmother," and provides the following note for the piece:
Thirty minutes passed but Grandma still hadn't arrived. My kindergarten sat on top of a hill, overlooking a narrow street with a muddy pedestrian pathway alongside traffic. It was another hot summer day; the aggressive sun seemed to slow my time but activated the scenery in front of me. Trees moved in the heat like monsters
A Statement from the Artistic Director
hroughout my travels and performances around the world, I have been intrigued by the complex interconnections among arts, cultures, and ideas that have been influential for centuries. How did an eighth-century Japanese biwa, a pear-shaped stringed instrument, come to be decorated with Persian and Central Asian designs How did ancient Roman glass influence objects made in China, Korea, and Japan
In 1998, we formed the Silk Road Project to explore connections from ancient times to the present. These links form pieces of a puzzle that combine to reveal a coherent picture of who we are, what our place is in the world, and why we do what we do.
The Project's work consists of careful investigations, joining beloved traditions with new knowledge and innovation. Live performance, constant learning, trust, and inventive collaboration lie at the core of our work together. Our educational partnerships have served to broaden and strengthen our commitment to passion-driven learning. We are guided by the belief that all of us are equipped with different intelligences
and that we best receive and share knowledge in multidisciplinary, multi-sensate ways.
During the past 10 years, the Silk Road Ensemble's experiences have led us to new discoveries and new ways of thinking as we share in a culture of collaboration. The creation of trust is a key ingredient, a safety net in an environment where risk-taking and innovation are encouraged.
As we celebrate our 10th anniversary, I am tremendously grateful for the opportunity to undertake this work, for the abiding friendships and far-reaching partnerships that have developed, and for the warm reception we have received from people all over the globe. In our world of increasing awareness and interdependence, music can act as a magnet to draw people together. I look forward to the Silk Road Project's second decade, in which by knowing subjects deeply and sharing ideas broadly we will continue to strive to serve a community that seeks a broader, empathetic understanding of the peoples and cultures of our globalized world.
--Yo-Yo Ma, Artistic Director
stretching their palms; pedestrians walked slowly, dragged by their long shadows. Suddenly it rained, but the sun still shone. I decided to run home. I was only five. I sprinted down that busy street, people shouting behind me, like low-pitched murmurings of ancient emperors. The sounding of horns screamed sharply with long mystic tails...
When a distant temple bell drummed, I saw Grandma--her peaceful smile, and an air of gracefulness that is memorable to this day. This time she seemed bigger... when I reached out to touch her, she floated through me and I turned around, the sun shone directly into my eyes, and Grandma disappeared into the core of the afternoon sun. The evening sun suddenly closed, and rain stopped.
When I got home, everybody was crying, but I didn't cry. I went to my little desk and started a letter: Dear Grandma...
Empty Mountain. Spirit Rain was commissioned by Carnegie Hall through the Weill Music Institute in partnership with the Silk Road Project, Inc.
Paths of Parables
Dmitri Yanov-Yanovsky
Bom April 24, 1963 in Tashkent, Uzbekistan
Paths of Parables is a work in five movements, each based on a Sufi tale. Uzbek composer Dmitri Yanov-Yanovsky writes: "When I was asked to write a piece based on an Eastern fairy tale or story, I immediately seized upon basing my work on Sufi parables. Behind their light, anecdotal forms lie deep, very serious, and almost philosophical ideas and their texts give ample opportunity for musical embodiment. The musical structure of the score necessitated some adaptations of the original texts, but the layers of meaning in each of the parables remain." The piece consists of five parables, including "The Answered Unanswered Question," a tale of a master who answers even the trickiest questions without ever making a mistake, and a faithful disciple who puts his master to the test; "Black Angel," about outwitting the Angel of Death--or perhaps not; and "The Father, the Son and the Donkey," a journey of discovery about what other people think.
Photo: Tbdd RoienbefgSony BMG Maitwwwks
Ascending Bird
Persian Traditional
The concert concludes with Ascending Bird, an arrangement of a traditional Persian folk melody by Silk Road Ensemble members Colin Jacobsen and Siamak Aghaei. As described on Silent City, a CD released recently by Persian kamancheh player Kayhan Kalhor and the string quartet Brooklyn Rider, Ascending Bird tells the "popular mythical story of a bird attempting to fly to the sun. Failing on the first two attempts, on the third try the bird loses its physical body in the radiant embrace of the sun, a metaphor for spiritual transcendence."
Paths of Parables and Ascending Bird were commissioned by the Silk Road Project. Inc.
The Silk Road
The historical Silk Road was a series of trade routes that crisscrossed Eurasia for almost 2,000 years, until about the year 1500 CE. While its name suggests routes over land, Silk Road sea routes were also important for trade and communication. The extent of exchange of art, ideas, and innovations between cultural groups trading on the routes is illustrated by the eighth-century Shosoin collection of artifacts. Culled by a Japanese emperor, it contains luxury goods from the Mediterranean, Persia, India, Central Asia, China, Korea, and Japan. By the 16th century, Europe was trading along the Silk Road routes as well.
Over the centuries, many important scientific and technological innovations migrated to the West along the Silk Road, including gunpowder, the magnetic compass, the printing press, silk, mathematics, ceramic, and lacquer crafts. Eastern and Western string, wind, and percussion instruments also traveled between regions and had strong influences on one another over time. Among other instruments, the Shosoin collection contains lutes from India and Persia. The Persian mizmar, a reed instrument, appears to be an ancestor of the European oboe and clarinet. Cymbals were introduced into China from India, and Chinese gongs made their way to Europe.
Resources, information, and innovations were exchanged between so many cultures over so many hundreds of years that it is now often difficult to
identify the origins of numerous traditions that our respective cultures take for granted. In this way, the Silk Road created an intercontinental think tank of human ingenuity.
Why the Silk Road
This historic trade network provides a namesake-worthy metaphor for the Silk Road Project's vision of connecting artists and audiences around the world. Yo-Yo Ma has called these routes, which resulted in the first global exchange of scientific and cultural traditions, the "Internet of antiquity." The Silk Road Project takes inspiration from this age-old tradition of cross-cultural exchange.
Instruments
Tabla -India
The tabla is a pair of small drums. The treble drum is called the tabla or dahina ("right" in Hindi) and sits on the floor in front of the player. The bass kettledrum is called the bayan ("left" in Hindi). It is made of clay or copper and sits to the left of the dahina. The player hits the center of the skin on the top of each drum with his fingers while pressing
down to alter the pitch of the sound. A virtuoso player may produce so many different sounds and inflections that the instrument seems to speak. In India, the process of learning to play the tabla begins when a master adopts a six or seven-year-old child as his student. The student will study with the master every day for a decade or longer.
Tar -Middle East, Caucasus One of the principal Iranian and Azerbaijani instruments, the tar is a long-necked double-heart-shaped lute made from mulberry wood and covered in lambskin. The instrument has six steel and copper strings and a long, flat fingerboard with up to 28 adjustable frets. Once thought to cure ailments and soothe the mind into a philosophical mood, the tar has deeply influenced trends in Persian music over the last few centuries. To play, the strings are plucked with a brass plectrum (pick).
Kamancheh -Iran, Azerbaijan The kamancheh is a small fiddle with a long conical neck, a round wooden body covered in animal skin, and a spike protruding from the base. The instrument rests on the player's knee or on the ground and is swiveled on the spike to meet the bow as it is played. Traditionally played in the
Sandeep Das, Tabla
Photo: Fbchdtd Conrjc
AH Asgar Mammadov, Tar
Photo David O'Connor
Rauf Islamov, Kamancheh
Photo David O'Connor
improvised Islamic music known as mugham, the kamancheh's warm, elegant sound is reminiscent of the human voice, making it conducive to solo-virtuoso or small-ensemble playing. With early written references dating to the 12th century CE, the kamancheh has been featured in courtly, folk, religious, and secular settings for centuries.
Shakuhachi -Japan
The shakuhachi is made from the base of a bamboo stalk with holes drilled into the center and the sides. The instrument is played by blowing air across the beveled edge at the top end while covering and uncovering the holes with fingertips. The shakuhachi has been used in Japanese Zen Buddhist meditation since the 15th century. The sounds produced by the instrument range from soft whispers to strong piercing tones. They are intended to reflect sounds in nature, such as birdcalls, wind, and water. Today the shakuhachi is also often played in jazz, orchestral, and popular music ensembles.
Pipa -China
The pipa is a short-necked wooden lute. The head of the instrument is often carved with a bat's head, because the word for "bat" in Chinese sounds
similar to the word for "luck." The strings were traditionally made of twisted silk, but are now typically synthetic. The pluck-playing technique is characterized by spectacular finger dexterity and virtuosic effects, including rolls and percussive slaps. Pipa repertoire includes extensive tone poems vividly describing famous battles and other exciting stories.
Sheng -China
The sheng is a mouth organ made of metal, wood, or a gourd with a blowpipe and at least 17 bamboo or metal pipes extending from the top of the bowl. The elegant symmetrical arrangement of the pipes represents the folded wings of the mythical phoenix. Inside the bowl, each pipe has a hole covered by a metal tongue that interrupts the air current to produce a strikingly clear, metallic sound. Western harmonicas, reed organs, and concertinas use the same basic acoustical principles.
Kojiro Umezaki, Shakuhachi
moo htchwl Lutth
Wu Man. Pipa
Photo: Todd RosenberSony BMG Maiterwwfcs
Wu Tong, Sheng
Photo lodd Rosenbetg'Sony BMG Mwwof li
The Silk Road Project
Connecting traditions and celebrating innovation since 1998
The Silk Road Project is a not-for-profit artistic, cultural, and educational organization with a vision of connecting the world's neighborhoods by bringing together artists and audiences around the globe. Cellist Yo-Yo Ma founded the Project in 1998 as a catalyst to promote innovation and learning through the arts. The Silk Road Project takes inspiration from the historical Silk Road trading route as a modern metaphor for multicultural and interdisciplinary exchange.
Under the artistic direction of Mr. Ma and led by CEOExecutive Director Laura Freid, the Silk Road Project presents performances by the Silk Road Ensemble, engages in cross-cultural exchanges and residencies, leads workshops for students, and partners with leading cultural institutions to create educational materials and programs. Developing new music is a central mission of the Silk Road Project, which has been involved in commissioning and performing more than 60 new musical and multimedia works of composers and arrangers from around the world.
The Silk Road Ensemble is a collective of approximately 60 internationally renowned musicians, composers, arrangers, visual artists, and storytellers from more than 20 countries. Each Ensemble member's career illustrates a unique response to what is one of the artistic challenges of our times: nourishing global connections while maintaining the integrity of art rooted in authentic tradition.
Many of the musicians first came together under the artistic direction of Yo-Yo Ma at a workshop at Tanglewood Music Center in Massachusetts in 2000. Since then, in various configurations, Ensemble artists have collaborated on a diverse range of musical and multimedia projects, presenting innovative performances that explore the relationship between tradition and innovation in music from the East and West. The Silk Road Ensemble has recorded four albums and performed to critical acclaim throughout Asia, Europe, and North America.
For more information, please visit www.silkroadproject.org.
Yo-Yo Ma is the founder and Artistic Director of The Silk Road Project. His many-faceted career is a testament to his continual search for new ways to communicate with audiences.
The Silk Road Ensemble with Yo-Yo Ma, Layla and Majnun
Whether performing a new concerto, coming together with colleagues for chamber music, reaching out to young audiences and student musicians, or exploring cultures and musical forms outside of the Western classical tradition, Mr. Ma strives to find connections that stimulate the imagination. One of his goals is to explore music as a means of communication and as a vehicle for the migration of ideas across cultures. To that end, he has taken time to immerse himself in subjects as diverse as native Chinese music and its distinctive instruments and the music of the Kalahari people in Africa.
Mr. Ma is an exclusive Sony BMG Masterworks recording artist, and his discography of over 50 albums (including over 16 Grammy Award-winners) reflects his wide-ranging interests. Mr. Ma's most recent releases include Songs of Joy and Peace, Appassionato, New Impossibilities with the Silk Road Ensemble and the Chicago Symphony Orchestra, Yo-Yo Ma Plays Ennio Morricone, Vivaldi's Cello with Ton Koopman and the Amsterdam Baroque Orchestra, Paris: La Belle tpoque with pianist Kathryn Stott, and two Grammy Award-winning tributes to the music of Brazil, Obrigado Brazil and Obrigado Brazil--Live in Concert.
Mr. Ma was born to Chinese parents living in Paris. He began to study the cello with his father
at age four, and soon after came with his family to New York where he enrolled in The Juilliard School. He sought out a traditional liberal arts education to build on his conservatory training, and graduated from Harvard University in 1976.
Silk Road Project Staff
Laura Freid, CEO and Executive Director
Tedessa Doff, Executive Assistant
Isabelle Hunter, Program Director
Heidi Koelz, Communications Manager
Christopher Marrion, Director of Development
Kristen Powich, Development Manager
Andy Russ, Artistic Coordinator
Ed Sweeney, Finance Director and Office Manager
Production Staff
Aaron Copp, Production Manager and Lighting Designer
Jody Elff, Sound Engineer
Brenna St. George Jones, Company Manager
Tricia Toliver, Stage Manager
Tour Management for Yo-Yo Ma and the Silk Road Ensemble
Mary Pat Buerkle, Opus 3 Artists
The Silk Road Project gratefully acknowledges its partners around the world whose generosity continues to help us connect the world's neighborhoods:
Carnegie Corporation of New York, Ford Foundation, The National Endowment for the Arts, New York Fund for Public Schools, Pershing Square Foundation
The Silk Road Project Cultural Exchange Initiative activities are assisted financially by the US Bureau of Educational and Cultural Affairs.
UMS Archives
This weekend's performances mark Yo-Yo Ma's ninth and 10th appearances under UMS auspices. He made his Hill Auditorium debut in April 1982 at the 89th Annual Ann Arbor May Festival with the Philadelphia Orchestra conducted by Eugene Ormandy. Since then, he appeared with the Cracow Philharmonic conducted by Krzysztof Penderecki and has given six solo recitals in Hill Auditorium, most recently in November 2007.
This weekend's performances mark percussionist Joseph Gramley's second and third appearances under UMS auspices. Mr. Gramley is Assistant Professor and Coordinator of Percussion at the U-M School of Music, Theatre & Dance and made his UMS debut at Stamps Auditorium with the Michigan Chamber Players in October 2008.
This weekend's performances mark Wu Man's second and third UMS appearances following her UMS debut at Rackham Auditorium in February 2008 with the Bay Area Shawm Band.
Friday's performance marks the second UMS appearances of Fargana Qasimova, Alim Qasimov, Rauf Islamov, and AN Asgar Mammadov. They made their UMS debuts together in October 2007 at the Michigan Theater as part of the Spiritual Sounds of Central Asia concert with musicians represent?ing Tajikistan, Kazakhstan, and Azerbaijan.
UMS welcomes Silk Road Ensemble members Jeff Beecher, Nicholas Cords, Sandeep Das, Jona?than Gandelsman, Colin Jacobsen, Shane Shanahan, Mark Suter, Ko Umezaki, Alastair Willis, and Wu Tong, who make their UMS debuts this weekend.
THE 130TH UMS SEASON
Fall 2008
September
10-14 Wed-Sun Complicite: A Disaj:;
19-20 Fri-Sat Mark Morris Dance Group
27 Sat Wayne Shorter Quartet and the Imani Winds
October
4 Sat The Art of the Oud featuring Omar Bashir, Rahim AlHaj. and Farida and the Iraqi Maqam Ensemble 12 Sun Sphinx Orchestra
12 Sun Tokyo String Quartet with
Sabine Meyer, cli
15 Wed Compagnie Heddy Maalem Ipring
17 Fri-Soweto Gospel C
18 Sat Milton Nascimento and the Jobim Trio
19 SunCamera'
Anne-Sophie Mutter, violin 24 Fn ? 26 Sun
November
7 Fn-Joe Lovano "Us F: ?
8 Sat Emanuel Ax and Yefim Bronfman, pianos
13 7"n Philharmonic Chamber Cl
16 Sun -Jerusalen :ert
McDuffie, violin
December
6-7 Sat-Sun Handel's Messiah
Winter 2009
January
9-11 Fri-Sun Rubberbandance Group 11 Sun Guarneri String Quartet 16 Fri Tord Gustavsen Trio
23-24 Fr-Saf Gilgamesh: Kinan Azmeh, clarinet and Kevork Mourad, MaxMSP
24 Sat Ford Honors Program honoring the Royal
Shakespeare Company, Michael Boyd, and Ralph Williams
25 Sun Richard Goode, piano 29 Thu Chanticleer
31 SafMichigan Chamber Players
February
7 Sat Lawrence Brownlee, tenor with
Martin Katz, piano 12 Thu Sweet Honey In The Rock 13fi-i-Kodo 14-15 Sat-Sun Batsheva Dance Company
March
7-8 Sat-Sun New York Philharmonic
10 Tue Wynton Marsalis and Jazz at Lincoln Center
Orchestra
11 Wed Brentano String Quartet with Peter Serkin,
piano and Thomas Meglioranza, baritone
12 Thu Aswat: Celebrating the Golden Age of Arab
Music with Simon Shaheen and the Golden Age
Orchestra 13-14 Fr-Saf The Silk Road Ensemble with
Yo-Yo Ma, cello 18 Wed Altenberg Trio Vienna
22 Sun Zakir Hussain, tabla with
Pandit Shivkumar Sharma, santoor 26 Thu The Romeros 29 Sun Dan Zanes & Friends
April
1 Wed-John Williams, guitar
2 Thu St. Louis Symphony Orchestra with
Anssi Karttunen, cello 4 Sat Chick Corea and John McLaughlin:
Five Peace Band
9 Thu Andras Schiff: Beethoven Concert 7 11 SafAndras Schiff: Beethoven Concert 8
16 Thu Kurt Elling Sings the ColtraneHartman
Songbook
17 Fr-Takacs Quartet with Marc-Andre Hamelin, piano 18-19 Sat-Sun Mohammed Bennis and the Hmadcha
Ensemble (from the Fez Festival of Sufi Culture)
23 Thu UMS Choral Union
24 Fr -Julia Fischer, violin with Milana Chernyavska, piano 25-26 Sat-Sun Compagnie Marie Chouinard
May
8 Fri Break in' Curfew
UMSExperience
UMS EDUCATION AND AUDIENCE DEVELOPMENT PROGRAMS
www.ums.orgeducation
UMS's Education Program deepens the relation?ship between audiences and art, while efforts in Audience Development raise awareness of the positive impact the performing arts and education can have on the quality of life in our community. The program creates and presents the highest quality arts education and community engagement experiences to a broad spectrum of community constituencies, proceeding in the spirit of partnership and collaboration. Details about all educational and residency events are posted online at www.ums.org approximately one month before the performance date. Join the UMS Email Club to have updated event information sent directly to you. For immediate event info, please email umsed@umich.edu, or call the numbers listed below.
ADULT & COMMUNITY ENGAGEMENT
Please call 734.647.6712 or email umsed@umich.edu for more information.
The UMS Adult and Community Engagement Program serves many different audiences through a variety of educational events. With over 100 unique regional, local, and university-based partnerships, UMS has launched initiatives for the area's Arab American, African,
MexicanLatino, AsianChinese, and African American audiences. UMS has earned national acclaim for its work with diverse cultural groups, thanks to its proactive stance on part?nering with and responding to individual com?munities. Though based in Ann Arbor, UMS Audience Development programs reach the entire southeastern Michigan region.
Public Programs
UMS hosts a wide variety of educational and community events to both inform the public about arts and culture and provide forums for discussion and celebration of the performing arts. These events include:
PREPs Pre-performance lectures
Meet the Artists Post-performance Q&A with the artists
Artist Interviews Public dialogues with performing artists
Master Classes Interactive workshops
PanelsRound Tables In-depth adult edu?cation related to a specific artist or art form
Artist-in-Residence Artists teach, create, and meet with community groups, university units, and schools
Book Clubs Discussions on UMS-related literature
Community Receptions Opportunities for audiences to network and socialize with each other and with artists
UMS is grateful to the University of Michigan
for its support through the U-MAJMS Partner
ship Program of many educational activities I
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.
WINTER 2009 NETWORK PERFORMANCES
Rubberbandance Group
Lawrence Brownlee Martin Katz
Sweet Honey In The Rock
Jazz at Lincoln Center Orchestra with Wynton Marsalis
UMS YOUTH, TEEN, AND FAMILY EDUCATION
Please call 734.615.0122 or email umsyouth@umich.edu for more information.
UMS has one of the largest K--12 education ini?tiatives in the state of Michigan. Designated as a "Best Practice" program by ArtServe Michigan and the Dana Foundation, UMS is dedicated to making world-class performance opportunities and professional development activities available to K-12 students and educators.
UMS Youth
0809 Youth Performance Series
These 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. www.credit-suisse.comsponsorship
Thinking New Perspectives. C RE D ITo UIS S E
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 www.ums.org for March events!
School FundraisersGroup Sales
Raise money for your school and support the arts. UMS offers a wide range of fundraising opportunities and discount programs for schools. It is one of the easiest and most rewarding ways to raise money. For information contact UMS Group Sales at umsgroupsales@umich.edu or 734.763.3100.
Teacher Advisory Committee
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 umsyouth@umich.edu.
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 www.ums.org for a complete list of family-friendly performances.
The 0809 Family Series is sponsored by TOYOTA
Classical Kids Club
Parents can introduce their children to world-renowned classical music artists through the Classical Kids Club. Designed to nurture and cre?ate the next generation of musicians and music lovers, the Classical Kids Club allows students in grades 1-8 to purchase tickets to all classical music concerts at a significantly discounted rate. Parents can purchase up to two children's tickets for $10 each with the purchase of a $20 adult ticket beginning two weeks before the concert. Seating is subject to availability. UMS reserves a limited number of Classical Kids Club tickets to each eligible performance--even those that sell out! For information, call 734.764.2538 or visit www.ums.org and sign up for UMS E-News and check the box for Classical Kids Club.
Education Program Supporters
Ford Motor Company Fund and Community Services
Michigan Council for Arts and Cultural Affairs University of Michigan
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
Foundation
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
Foundation
Miller, Canfield, Paddock and
Stone, P.L.C. The Mosaic Foundation,
Washington DC THE MOSAIC FOUNDATION
(of R. & P. Heydon) National Dance Project of the
New England Foundation
for the Arts
National Endowment for the Arts Performing Arts Fund 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 STUDENT PROGRAMS
www.ums.orgstudents
UMS offers four programs designed to fit stu?dents' lifestyles and save students money. Each year, 18,000 students attend UMS events and collectively save over $350,000 on tickets through these programs. UMS offers students additional ways to get involved in UMS, with internship and workstudy programs, as well as a UMS student advisory committee.
Half-Price Student Ticket Sales
At the beginning of each semester, UMS offers half-price tickets to college students. A limited number of tickets are available for each event in select seating areas. Simply visit www.ums.orgstudents, log in using your U-M unique name and Kerberos password, and fill out your form. Orders will be processed in the order they are received. You will pay for and pick up your tickets at a later date at the Michigan League Ticket Office.
Winter Semester: Begins Sunday, January 11, 2009 at 8 pm and ends Tuesday, January 13 at 5 pm.
Sponsored by
Rush Tickets
Sometimes it pays to procrastinate! UMS Rush Tickets are sold to college students for $10 the day of the performance (or on the Friday before weekend events) and $15 beginning 90 minutes before the event. Rush Ticket availability and seating are subject to Ticket Office discretion. Tickets must be purchased in person at the Michigan League Ticket Office or at the per?formance venue ticket office. Just bring your valid college ID. Limit two tickets per student.
UMS Student Card
Worried about finding yourself strapped for cash in the middle of the semester The UMS Student Card is a pre-paid 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 UMSKSS JjP With support from the U-M Alumni Association
Internships and College Work-Study
Internships with UMS provide experience in performing arts administration, marketing, ticket sales, programming, production, and arts education. Semesterand year-long unpaid internships are available in many of UMS's departments. For more information, please call 734.615.1444.
Students working for UMS as part of the College Work-Study program gain valuable experience in all facets of arts management including concert promotion and marketing, ticket sales, fundraising, arts education, arts programming, and production. If you are a University of Michigan student who receives work-study financial aid and are interested in working at UMS, please call 734.615.1444.
Student Advisory Committee
As an independent council drawing on the diverse membership of the University of Michigan community, the UMS Student Advisory Committee works to increase student interest and involvement in the various pro?grams offered by UMS by fostering increased communication between UMS and the student community, promoting awareness and accessi?bility of student programs, and promoting the student value of live performance. For more information or to participate on the Committee, please call 734.615.6590.
Support
There are many ways to support the efforts of UMS, all of which are critical to the success of our season. We would like to welcome you to the UMS family and involve you more closely in our exciting programming and activities. This can happen through corporate sponsorships, business advertising, individual donations, or through volunteering. Your financial investment andor gift of time to UMS allows us to continue connecting artists and audiences, now and into the future.
CORPORATE SPONSORSHIP AND ADVERTISING
Advertising
When you advertise in the UMS program book you gain season-long visibility among ticket buyers while enabling an important tradition of providing audiences with the detailed program notes, artist biographies, and program descrip?tions that are so important to the performance experience. Call 734.764.6833 to learn how your business can benefit from advertising in the UMS program book.
Sponsorship
As a UMS corporate sponsor, your organization comes to the attention of an educated, diverse, and growing segment not only of Ann Arbor, but all of southeastern Michigan. You make possible one of our community's cultural treas?ures and also receive numerous benefits from your investment. For example, UMS offers you a range of programs that, depending on your level of support, provide a unique venue for:
Enhancing corporate image
Cultivating clients
Developing business-to-business relationships
Targeting messages to specific demographic groups
Making highly visible links with arts and education programs
Recognizing employees
Showing appreciation for loyal customers
For more information, please call 734.647.1176.
INDIVIDUAL DONATIONS
We could not present our season without the invaluable financial support of individual donors. Ticket revenue only covers half of the cost of our performances and educational events. UMS donors help make up the differ?ence. If you would like to make a gift, please fill out and mail the form on page P40 or call 734.647.1175.
UMS VOLUNTEERS
UMS Advisory Committee
The UMS Advisory Committee is an organization of 70 volunteers who contribute approximately 7,000 hours of service to UMS each year. The purpose of the UMS Advisory Committee is to raise community awareness and funds for UMS's nationally acclaimed arts education program. Members contribute their time and talents in a wide variety of ways consistent with their interests.
Fundraising projects include the Ford Honors Program Gala, On the Road Auction, and Delicious Experiences. Advisory Ambassadors and Youth Performance Ushering are two projects that involve direct contact with local school?children, teachers, and community groups.
All Advisory Committee members serve as UMS advocates to the greater community by encouraging attendance at UMS performances and participation in UMS and Advisory Committee programs and events.
Two upcoming events include:
Ford Honors Program and Gala January 24, 2009
This year's program will honor the Royal Shakespeare Company, RSC Artistic Director Michael Boyd, and U-M Professor Ralph Williams with UMS Distinguished Artists awards. Following the program and award presenta?tions, the UMS Advisory Committee will host a Gala reception and dinner to benefit UMS Education Programs.
On the Road Auction
For each of the last three years, approximately 300 people have enjoyed an evening of food, music, and silent and live auctions, netting more than $70,000 each year to support UMS Education Programs. On the Road 2009 will be held on September 11, 2009.
Please call 734.764.8489 for more information.
UMS Ushers
Without the dedicated service of LJMS's Usher Corps, our events would not run as smoothly as they do. Ushers serve the essential functions of assisting patrons with seating, distributing pro?gram books, and providing that personal touch which sets UMS events apart from others.
The UMS Usher Corps is comprised of over 500 individuals who volunteer their time to make your concert-going experience more pleasant and efficient. Orientation and training sessions are held each fall and winter, and are open to anyone 18 years of age or older. Ushers may commit to work all UMS perform?ances in a specific venue or sign up to substi?tute for various performances throughout the concert season.
If you would like information about becoming a UMS volunteer usher, contact our UMS Front-of-House Coordinator at 734.615.9398 or e-mail fohums@umich.edu.
ANNUAL FUND SUPPORT
July 1, 2007-November 1, 2008
Thank you to those who make UMS programs and presentations possible. The cost of presenting world-class performances and education programs exceeds the revenue UMS receives from ticket sales. The difference is made up through the generous support of individuals, corporations, foundations, and government agencies. We are grateful to those who have chosen to make a difference for UMS! This list includes donors who made an annual gift to UMS between July 1, 2007 and November 1, 2008. Due to space constraints, we can only list those who donated $250 or more. Every effort has been made to ensure the accuracy of this list. Please call 734.647.1175 with any errors or omissions. Listing of donors to endowment funds begins on page P45.
DIRECTOR
$100,000 or more
Anonymous
Maurice S. and Linda G. Binkow
Leonore M. Delanghe Trust
Doris Duke Charitable Foundation
Ford Motor Company Fund and
Community Services W.K. Kellogg Foundation Michigan Council for Arts and Cultural Affairs Pfizer Global Research & Development:
Ann Arbor Laboratories University of Michigan Health System
SOLOIST
$50,000-$99,999 Doris Duke Foundation for Islamic Art Esperance Family Foundation National Endowment for the Arts TAQA New World, Inc.
MAESTRO
$20,000-$49,999
Anonymous
Brian and Mary Campbell
Cairn Foundation
Charles H. Gershenson Trust
DTE Energy Foundation
Maxine and Stuart Frankel Foundation
Lillian A. Ives
KeyBank
Robert and Pearson Macek
Masco Corporation Foundation
Natalie Matovinovic
THE MOSAIC FOUNDATION (of R. & P. Heydon)
Mosaic Foundation, Washington, DC
National Dance Project of New England
Foundation For The Arts National Endowment for the Arts Gilbert Omenn and Martha Darling Laurence and Beverly Price Jane and Edward Schulak Dennis and Ellie Serras Toyota University of Michigan Office of the
Vice President for Research
VIRTUOSO
$10,000-$ 19,999
Michael Allemang and Janis Bobrin
Arts at Michigan
Beverly Franzblau Baker
Emily Bandera and Richard Shackson
Bank of Ann Arbor
Linda and Maurice Binkow Philanthropic Fund
Borders
Carl and Isabelle Brauer Fund
Bustan al-Funun Foundation for Arab Arts
Mary Sue and Kenneth Coleman
Community Foundation for Southeast Michigan
Alice B. Dobson
Eugene and Emily Grant
David W. and Kathryn Moore Heleniak
David and Phyllis Herzig
Honigman Miller Schwartz and Cohn
Frank Legacki and Alicia Torres
Lawrence and Rebecca Lohr
Charlotte McGeoch Mrs. Robert E. Meredith Donald L. Morelock Performing Arts Fund A. Douglas and Sharon J. Rothwell University of Michigan Credit Union Marina and Robert Whitman Ann and Clayton Wilhite
CONCERTMASTER
$7,500-$9,999
Amgen Foundation
Rachel Bendit and Mark Bernstein
Comerica Bank
Carl and Charlene Herstein
Miller, Canfield, Paddock and
Stone, P.L.C. Pfizer Foundation Herbert and Ernestine Ruben Loretta M. Skewes Barbara Furin Stoat
PRODUCER
$5,000-$7,499 American Syrian Arab
Cultural Association Herb and Carol Amster Ann Arbor Automotive Anonymous
Essel and Menakka Bailey Blue Nile Restaurant Marilou and Tom Capo Dennis Dahlmann and Patricia Garcia Marylene Delbourg-Delphis The Doan Family Foundation Jim and Patsy Donahey Ken and Penny Fischer llene H. Forsyth General Motors Powertrain--
Willow Run
Paul and Anne Glendon Debbie and Norman Herbert Howard & Howard Attorneys, PC Keki and Alice Irani ISSA Foundation Judy and Verne Istock David and Sally Kennedy Gay and Doug Lane Jill Latta and David Bach Leo and Kathy LegatskiElastizell
Corporation of America Richard and Carolyn Lineback Mainstreet Ventures Martin Family Foundation Masco Corporation Susan McClanahan and
Bill Zimmerman Marion T. Wirick and
James N. Morgan National City Pepper Hamilton LLP Prue and Ami Rosenthal
Don and Judy Dow Rumelhart Alan and Swanna Saltiel Sesi Investment Nancy and Brooks Sitterley Rick and Sue Snyder James and Nancy Stanley Ed and Natalie Surovell
Edward Surovell Realtors Thomas B. McMullen Company Tisch Investment Advisory United Bank & Trust Max Wicha and Sheila Crowley Jay and Mary Kate Zelenock
LEADER
$3,500-$4,999
Jerry and Gloria Abrams Bernard and Raquel Agranoff Anonymous
Kathy Benton and Robert Brown Raymond and Janet Bernreuter Suzanne A. and Frederick J. Beutler Edward and Mary Cady Sara and Michael Frank Susan and Richard Gutow H. David and Dolores Humes Martin Neuliep and Patricia Pancioli M. Haskell and Jan Barney Newman Virginia and Gordon Nordby Eleanor and Peter Pollack Duane and Katie Renken Kenneth J. Robinson and
Marcia Gershenson John J. H. Schwarz MD Craig and Sue Sincock Rick and Sue Snyder Lois A. Theis Dody Viola
Robert 0. and Darragh H. Weisman Keith and Karlene Yohn
PRINCIPAL
$2,500-$3,499
Jim and Barbara Adams Barbara A Anderson and
John H. Romani Janet and Arnold Aronoff Bob and Martha Ause Paulett Banks DJ and Dieter Boehm Gary Boren
Charles and Linda Borgsdorf Jeannine and Robert Buchanan Robert and Victoria Buckler Barbara and Al Cain Bruce and Jean Carlson Jean and Ken Casey Pat and Dave Clyde Anne and Howard Cooper Stuart and Heather Dombey John Dryden and Diana Raimi David and Jo-Anna Featherman Fidelity Investments Stephen and Rosamund Forrest William and Ruth Gilkey Sid Gilman and Carol Barbour Tom and Katherine Goldberg Linda and Richard Greene John and Helen Griffith Janet Woods Hoobler
Robert L and Beatrice H. Kahn
Robert and Jeri Kelch
Jim and Patti Kennedy
Samuel and Marilyn Krimm
Donald and Carolyn Dana Lewis
Jeffrey Mason and Janet Netz
Ernest and Adele McCarus
William C. Parkinson
Jim and Bonnie Reece
John and Dot Reed
Dr. and Mrs. Nathaniel H. Rowe
Frances U. and Scott K. Simonds
Muaiad and Aida Shihadeh
Lewis and Judy Tann
Target
Jim Toy
Don and Carol Van Curler
Don and Toni Walker
Elise Weisbach
PATRON
$lOOO-$2,499
Roger Albin and Nili Tannenbaum
Robert and Katherine Aldrich
Susan and Alan Aldworth
Michael and Suzan Alexander
Anastasios Alexiou
Dr. and Mrs. David G. Anderson
Anonymous
Dr. and Mrs. Rudi Ansbacher
Harlene and Henry Appelman
Jonathan Ayers and Teresa Gallagher
Laurence R. and Barbara K. Baker
Dr. Lesli and Mr. Christopher Ballard
Norman E. Barnett
Robert H. and Wanda Bartlett
Bradford and Lydia Bates
Dr. Astrid B. Beck
Linda and Ronald Benson
Ruth Ann and Stuart Bergstein
Anne Beaubien and Philip Berry
Naren and Nishta Bhatia
John Blankley and Maureen Foley
Howard and Margaret Bond
Laurence and Grace Boxer
Dr. and Mrs. Ralph R. Bozell
Dale E. and Nancy M. Briggs
Barbara Everitt Bryant
Lawrence and Valerie Bullen
Charles and Joan Burleigh
Letitia J. Byrd
Amy and Jim Byrne
Betty Byrne
Jean W. Campbell
David and Valerie Canter
Carolyn M. Carty and Thomas H. Haug
John and Patricia Carver
Janet and Bill Cassebaum
Tsun and Siu Ying Chang
Anne Chase
Pat and George Chatas
Leon S Cohan
Hubert and Ellen Cohen
Cynthia and Jeffrey Colton
Consulate General of The Netherlands
in New York
Jane Wilson Coon and A. Rees Midgley, Ji 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 Dort
Ivo Drury and Sun Hwa Kim
Jack and Betty Edman
Emil and Joan Engel
Irene Fast
Dede and Oscar Feldman
Yi-Tsi M. and Albert Feuerwerker
Clare M. Fingerle
Susan A. Fisher
Susan R. Fisher and
John W. Waidley Robben Fleming Food Art
Mr. and Mrs. George W. Ford James W. and Phyllis Ford Dan and Jill Francis Leon and Marcia Friedman Enid H. Galler Tom Gasloli Prof. David M. Gates Thomas and Barbara Gelehrter Beverley and Gerson Geltner Sue Gingles Karl and Karen Gotting Cozette T. Grabb Elizabeth Needham Graham Robert A. Green MD Leslie and Mary Ellen Guinn Helen C. Hall Alice and Clifford Hart Sivana Heller Diane S. Hoff Carolyn B. Houston Cheryl and Kevin Hurley Eileen and Saul Hymans Perry Irish Jean Jacobson Wallie and Janet Jeffries John E. Fetzer institute Timothy and Jo Wiese Johnson Shirley Y. and Thomas E. Kauper David and Gretchen Kennard Gloria and Bob Kerry Tom and Connie Kinnear Diane Kirkpatrick Drs. Paul and Dana Kissner Philip and Kathryn Klintworth Carolyn and Jim Knake Michael 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 I. Panchuk Judith Ann Pavitt Elaine and Bertram Pitt Stephen and Bettina Pollock Peter and Carol Polverini Richard and Lauren Prager Mrs. Gardner C. Quarton Mr. Donald Regan and
Ms. Elizabeth Axelson Ray and Ginny Reilly Malverne Reinhart Doug and Nancy Roosa Rosalie Edwards
Vibrant Ann Arbor Fund Jeffrey and
Huda Karaman Rosen Corliss and Dr. J. C. Rosenberg Doris E. Rowan David and Agnes Sarns Norma and Dick Sarns Maya Savarino Erik and Carol Serr Janet and Michael Shatusky Carl Simon and Bobbi Low Elaine and Robert Sims Rodney W. Smith MD Susan M. Smith and
Robert H. Gray Kate and Philip Soper Joseph H. Spiegel Michael B. Staebler Lloyd and Ted St. Antoine Lois and John Stegeman Victor and Marlene Stoeffler Dr. and Mrs. Stanley Strasius David and Karen Stutz Charlotte Sundelson Jan Svejnar and Katherine Terrell Brad and Karen Thompson Jeff and Lisa Tulin-Silver Susan B. Ullrich
Jack and Marilyn van der Velde Florence S. Wagner Harvey and Robin Wax W. Scott Westerman, Jr. Roy and JoAn Wetzel Dianne Widzinski and
James Skupski MD Dr. and Mrs. Max V. Wisgerhof II Charles Witke and
Aileen Gatten
BENEFACTOR
$500-$999
3Point Machine, Inc. Fahd Al-Saghir and Family Richard and Mona Alonzo
Family Fund
Helen and David Aminoff Anonymous Penny and Arthur Ashe J. Albert and Mary P. Bailey Reg and Pat Baker Nancy Barbas and Jonathan Sugar David and Monika Barera Frank and Lindsay Tyas Bateman James K. and Lynda W. Berg Ramon Berguer MD L.S. Berlin
Jack Belli and Sheryl Hirsch William and llene Birge Jerry and Dody Blackstone Paul and Anna Bradley Jane Bridges
David and Sharon Brooks Morton B. and Raya Brown Trudy and Jonathan Bulkley Frances E. Bull. MD Louis and Janet Callaway H.D. Cameron
Nathan and Laura Caplan
Jack and Wendy Carman
J. W. and Patricia Chapman
John and Camilla Chiapuris
Dr. Kyung and Young Cho
Janice Clark
Cheryl and Brian Clarkson
Alice S. Cohen
Jonathan Cohn
Wayne and Melinda Colquitt
Jean and Philip Converse
Jim and Connie Cook
Arnold and Susan Coran
Malcolm and Juanita Cox
Mr. Michael and Dr. Joan Crawford
Mary C. Crichton
Jean Cunningham and
Fawwaz Ulaby
Roderick and Mary Ann Daane Mr. and Mrs.
Robert L. Damschroder Timothy and Robin Damschroder Norma and Peter Davis Jean and John Debbink Ellwood and Michele Derr Linda Dintenfass and Ken Wisinski Steve and Judy Dobson Cynthia M. Dodd Bill and Marg Dunifon Eva and Wolf Duvernoy Dr. Alan S. Eiser Stefan and Ruth Fajans Harvey and Elly Falit Margaret and John Faulkner Carol Finerman David Fink and Marina Mata John and Karen Fischer Ray and Patricia Fitzgerald Howard P. and Margaret W. Fox Jerrold A. and Nancy M. Frost Tavi Fulkerson James M. and
Barbara H. Garavaglia Beverly Gershowitz Dr. and Mrs. Paul W. Gikas Zita and Wayne Gillis Jean and William Gosling Amy and Glenn Gottfried James and Maria Gousseff Dr. John and Renee M. Greden Arthur W. Gulick MD Don P. Haefner and
Cynthia J. Stewart Martin and Connie Harris Susan R. Harris
Jeanne Harrison and Paul Hysen Dan and Jane Hayes Alfred and Therese Hero Herb and Dee Hildebrandt Nina Howard Harry and Ruth Huff Jane Hughes Ann D. Hungerman John and Patricia Huntington Thomas and Kathryn 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. Lento 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 Orrmger Constance and David Osier Marysia Ostafin and George Smilhe Donna D. Park Shirley and Ara Paul Zoe and Joe Pearson Evelyn Pickard
Dr. Steven and Paula Poplawski Wallace and Barbara Prince Patricia L. Randle and James R. Eng Anthony L Reffells and
Elaine A. Bennett R.E. 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. Schnber David E. and Monica Schteingart Harriet Selin Julie and Mike Shea Howard and Aiiza Shevrin Johnson Shiue Edward and Kathy Silver Sandy and Dick Simon Irma J. Sklenar Andrea and William Smith Gregory and Margaret Smith Shelly Soenen and Michael Sprague MrsGretchen Sopcak Gus and Andrea Stager Gary and Diane Stahle Naomi and James Starr Virginia and Eric Stem James Christen Steward Eric and Ines Storhok Timothy W. Sweeney Manuel Tancer John and Geraldine Topliss Fr. Lewis W. Towier Louise Townley Claire and Jerry Turcotte Doug and Andrea Van Houweling Steven and Christina Vantrease Drs. Bill Lee and Wendy Wahl David C. and Elizabeth A Walker Liina and Bob Wallin Shaomeng Wang and Ju-Yun Li Jo Ann Ward
Arthur and Renata Wasserman Gary Wasserman
Zachary B. Wasserman
Angela and Lyndon Welch
Iris and Fred Whitehouse
Leslie C. Whit field
Nancy Wiernik
Rev. Francis E. Williams
Robert J. and Anne Marie Willis
I.W. and Beth Winsten
Dr. Lawrence and Mary Wise
Frances A. Wright
Jeanne and Paul Yhouse
ASSOCIATES
$250-$499
Judith Abrams
Chris and Tena Achen
Dorit Adler
Thomas and Joann Adler Family
Foundation
Martha Agnew and Webster Smith Dr. Diane M Agresta James and Catherine Allen Doug Anderson and Peggy McCracken Catherine M. Andrea Anonymous Arboreium Ventures Bert and Pat Armstrong Frank Ascione James and Doris August Susan and Michael Babinec Robert L. Baird
Bruce Baker and Genie Wolfson Daniel and Barbara Balbach John and Ginny Bareham Cheryl Barget and Tom Darnton Frank and Gail Beaver Gary M. Beckman and Karla Taylor Harry and Kathryn Benford Erlmg and Merete Blondal Bengtsson Linda Bennett and Bob Bagramian Dr. Rosemary R. Berardi Marc Bernstein and Jennifer Lewis Beverly J. Bole Mark D. Bomia Luciana Borbely Bob and Sharon Bordeau Amanda and Stephen Borgsdorf Victoria C. Botek and
William M. Edwards Susie Bozell Robert M. Bradley and
Charlotte M Mistretta William R Brashear Joel Bregman and Elaine Pomerantz Alexander and Constance Bridges Donald R and June G Brown Pamela Brown Richard and Karen Brown Tony and Jane Burton Heather Byrne Doris Caddell Brent and Valerie Carey Jim and Lou Carras Dennis J. Carter Albert C.Cattell
Andrew Caughey and Shelly Neitzel Samuel and Roberta Chappell Charles Stewart Mott Foundation Joan and Mark Chesler Andy and Dawn Chien Kwang and Soon Cho Reginald and Beverly Ciokajlo Donald and Astnd Cleveland Coffee Express Co Anne and Edward Comeau Nancy Connell Phelps and Jean Connell M.J. Coon Dr. Hugh Cooper and
Elly Rose-Cooper Ceha and Peter Copeland Katharine Cosovich Cliff and Kathy Cox Lloyd and Lois Crabtree Clifford and Laura Craig Merle and Mary Ann Crawford Jean C. Crump Sunil and Merial Das Arthur and Lyn Powrie Davidge Ed and Elite Davidson Alice and Ken Davis Dale and Gretchen Davis Mr. and Mrs. William J. Davis
Dawda. Mann. Mukahy & Sadler. PLC
Elena and Nicholas Delbanco
Sophie and Marylene Delphis
Judith and Kenneth DeWoskin
Elizabeth Dexter
Sally and Larry OiCarlo
Mark and Beth Dixon
Elizabeth A. Doman
Michael and Elizabeth Drake
Elizabeth Duell
Peter and Grace Duren
Swati Dutta
Jane E Dutton
Kim and Darlene Eagle
Morgan and Salty 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 Adnenne Fink
C. Peter and Beverly A. Fischer
Dr. Lydia Fischer
Jessica Fogel and Lawrence Werner
Scott and Janet Fogler
David Fox and Paula Bockenstedt
Howard and Margaret Fox
Philip and Renee Frost
Carol Gagliardi and Dave Flesher
Sandra Gast and Greg Kolecki
Martin Garber and Beth German
Richard LGarner
Michael Gatti and Lisa Murray
Beth Genne and Allan Gibbard
Deborah and Henry Gerst
Walter Z. Graves
Ronald Gibala and Janice Grichor
Milton and Susan Gross
Elmer G. Gilbert and
Lois M. Verbrugge J. Martin Gillespie and
Tara Gillespie Beverty Jeanne Giltrow Maureen and David Ginsburg Edie Goldenberg Richard Gonzalez and
Carrie Berkley Mitch and Barb Goodkin Enid Gosling and Wendy Comstock William and Jean Gosling Mr. and Mrs. Charles and Janet Goss Michael L. Gowing Steve and Carol Grafton Christopher and Elaine Graham Walter Z. Graves Martha and Larry Gray Jeffrey B. Green
Nancy Green and William Robinson Raymond and Daphne Grew Mark and Susan Griffin Werner H. Grilk Dick and Marion Gross Milton and Susan Gross Bob and Jane Grover Robin and Stephen Gruber Anna Grzymala-Busse and
Joshua Berke Ken and Margaret Guire George and Mary Haddad M. Peter and Anne Hagrwara Yoshiko Hamano MarryS Hamill Tom Hammond Walt and Charlene Hancock Martin and Connie Harris Abdelkader and Huda Hawasli Anne M. Heacock Rose and John Henderson J. Lawrence Henkel and
Jacqueline Stearns Keith and Marcelle Henley Dr. and Mrs. Michael Hertz Paul and Erin Hickman Peter Hinman and Elizabeth Young John Hogikyan and Barbara Kaye Ronald and Ann Holz Mabelle Hsueh
Dr. Howard Hu and Ms. Rani Kotha Hubert and Helen Huebl Robert B Ingltng Mr. and Mrs. Eugene 0. Ingram ISCIENCES. L.L.C. John H. and Joan L Jackson Mel and Myra Jacobs
Beverly P. Jahn Elizabeth Jahn Jerome Jelinek Harold R. Johnson Mark and Linda Johnson Mary and Kent Johnson The Jonna Companies Jack and Sharon Kalbfleisch Irving and Helen Kao Arthur A. Kaselemas MO Morris and Evelyn Katz Nancy Keppelman and
Michael Smerza Alfred Kellam
Drs. Nabil and Mouna Khoury Robert and Bonnie Kidd Don and Mary Kiel Fred and Sara King Richard and Patricia King James and Jane Kister Shira and Steve Klein Laura Klem
Rosalie and Ron Koenig Joseph and Manlynn 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 Lazebmk Cyril and Ruth Leder John and Theresa Lee Sue Leong
Melvyn and Joan Levitsky David Baker Lewis Jacqueline H Lewis Michael and Debra Usull Dr. Daniel Little and
Dr. Bernadette Lmtz Gail Solway Little Dr. and Mrs. Lennart Lofstrom Bill and Lois Lovejoy Charles and Judy Lucas Claire and Richard Marvin Melvm and Jean Mams Michael and Pamela Marcovitz Nancy and Philip Margolis Milan Manch W. Harry Marsden Irwin and Fran Martin H.L. Mason Regent Olivia Maynard and
Olof Karlstrom
Martha Mayo and Irwin Goldstein Laurie McCauley and Jessy Grizzle Margaret and Harris McClamroch James and Mary E. McConville Liam T. McDonald Eileen Mclntosh and
Charles Schaldenbrand Bill and Ginny McKeachie Sylvia M. Meloche Mercantile Bank of Michigan Warren and Hilda Merchant Russ and Brigitte Merz Liz and An Messiter Walter and Ruth Metzger Gabnelle M. Meyer Shirley and Bill Meyers Leo and Sally Miedler George Miller and Deborah Webster Kitty and Bill Moeller Olga Moir
William G. and Edith 0. Moller Mr. and Mrs. Michael Morgan Frieda H Morgenstern Sean Morrison and Theodora Ross Mark and Lesley Mozola Thomas and Hedi Mulford Douglas Mullkoff and Kathy Evaldson Drs. Louis and Julie Jaffee Nagel Gerry and Joanne Navarre Laura Nittberg Chnster 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 Saved Betina Schlossberg David and Marcia Schmidt Matthew Shapiro and Susan Garetz David and Elvera Shappirio Patrick and Carol Sherry James Shields George and Gladys Shirley Jean and Thomas Shope George and Nancy Shorney Hollis and Martha A. Showalter Bruce M. Siegan Dr. Terry M. Silver Gene and Alida Silverman Scott and Joan Singer Tim and Marie Slottow Carl and Jan Smith David and Renate Smith Robert W. Smith Doris and Larry Sperling Jim Spevak Jeff Spindler Judy and Paul Spradlin David and Ann Staiger Rick and Lia Stevens James L. Stoddard Cynthia Straub Bashar and Hoda Succar Barbara and Donald Sugerman Brian and Lee Talbot Peg Talburtt and Jim Peggs Louise Taylor Sam and Eva Taylor Steve and Diane Telian Mark and Patricia Tessler Mary H. Thieme Edwin J. Thomas Nigel and Jane Thompson Dr. Hazel M. and Victor C. Turner, Jr. Alvan and Katharine Uhle Drs Matthew and Alison Uzieblo Hugo and Karia Vandersypen Marie Vogt
Drs. Harue and Tsuguyasu Wada Virginia Wait
Charles R. and Barbara H. Wallgren Enid Wasserman Carol Weber
Jack and Jerry Weidenbach Connie Witt and John Glynn Charlotte A. Wolfe Bryant Wu and Theresa Chang Betty and Bob Wurtz Don and Charlotte Wyche Many Jean and John Yablonky Richard and Kathryn Yarmain MaryGrace and Tom York Zakhour and Androulla Youssef Erik and Lineke Zuiderweg Gail and David Zuk
ENDOWMENT FUND SUPPORT July 1, 2007-November 1, 2008
The University Musical Society is grateful to those have supported UMS endowment funds, which will generate income for UMS in perpetuity and benefit UMS audiences in the future.
$100,000 or more
Doris Duke Charitable
Foundation Estate of Eva Mueller The Power Foundation
S50,000-$99,999
Anonymous
llene H. Forsyth
Estate of Lillian G. Ostrand
S20,000-S49,999
Anonymous
Bernard and Raquel Agranoff Ralph G. Conger Trust Susan and Richard Gutow David and Phyllis Herzig
$10,000-519.999
Maxine and Stuart Frankel
Foundation Toni Hoover
Richard and Carolyn Lineback Robert and Pearson Macek Dr. Robert J. and Janet M. Miller Estate of Betty Ann Peck James and Nancy Stanley
$5,000-59,999
Herb and Carol Amster
Joan Akers Binkow
John R. Edman and Betty B. Edman
Robert and Frances Gamble Trust
Mrs. Robert E. Meredith
Stephen and Agnes Reading
Susan B. Ullrich
Marina and Robert Whitman
Ann and Clayton Wilhite
$1,000-54,999
Michael Allemang and
Janis Bobrin
Essel and Menakka Bailey Robert H. and Wanda Bartlett DJ and Dieter Boehm Jean W. Campbell Jean and Ken Casey Kathleen Crispell and Tom Porter Molly Dobson Jack and Betty Edman Charles and Julia Eisendrath Dede and Oscar Feldman Sid Gilman and Carol Barbour Paul and Anne Glendon David W. and
Kathryn Moore Heleniak Debbie and Norman Herbert Carl and Charlene Herstein Robert M. and Joan F. Howe Jim Irwin
Robert L. and Beatrice H. Kahn Gloria and Bob Kerry Richard and Stephanie Lord Natalie Matovinovic Jerry A. and Deborah Orr May Melinda Morris Susan and Mark Orringer Mrs. Charles Overberger (Betty) Richard N. Peterson and
Wayne T. Bradley Stephen and Bettina Pollock Jeffrey and Huda Karaman Rosen Corliss and Dr. J. C. Rosenberg Prue and Ami Rosenthal Nancy W. Rugani Norma and Dick Sarns Frances U. and Scott K. Simonds Herbert Sloan Lewis and Judy Tann Karl and Karen Weick Ronald and Eileen Weiser Jeanne and Paul Yhouse Jay and Mary Kate Zelenock
S100-S999
Jerry and Gloria Abrams Mrs. Bonnie Ackley Dr. Joann 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 Ddan
Hal and Ann Doster Janet Eilber
Cheryl and Bruce Elliott Beth B. Fischer Gerald B. and
Catherine L. Fischer Harold and Billie Fischer Jeanne and Norman Fischer Esther M. Floyd Bob and Terry Foster Neal and Meredith Foster Lucia and Doug Freeth Marilyn L. Friedman Bart and Cheryl Frueh Tavi Fulkerson Luis and L. April Gago Otto and Lourdes Gago Michael Gatti and
Lisa Murray
Beverley and Gerson Geltner Gail Gentes and
Phil Hanlon
Joyce and Steve Gerber Heather and Seth Gladstein Kathleen and Jack Glezen Tom and
Katherine Goldberg William and Jean Gosling Mr. and Mrs. Charles and
Janet Goss
Lewis and Mary Green Robert A. Green MD Larry and Sandy Grisham Charles Hamlen Walt and Charlene Hancock Alice and Clifford Hart Daniel and Jane Hayes Joyce and John Henderson Dr. John and
Mrs. Donna Henke J. Lawrence Henkel and
Jacqueline Stearns John and Martha Hicks Lorna and
Mark Hildebrandt Diane S. Hoff Jerry and Helga Hover Ralph M. Hulett Joyce M. Hunter Judith Hurtig
IATSE Local 395 Stagehands Richard Ingram and
Susan Froelich Keki and Alice Irani Mel and Myra Jacobs Dolores R. Jacobson Beverly P. Jahn Ellen Janke and Ian Lewis Marilyn G. Jeffs Ben Johnson Christopher Kendall and
Susan Schilperoort John B. Kennard, Jr. David and Sally Kennedy Paul and Leah Kileny Diane Kirkpatrick
Dr. David E. and
Heidi Castleman Klein Anne Kloack Mary L. Kramer Gary and Barbara Krenz Daniel H. Krichbaum Amy Sheon and
Marvin Krislov Edna LandauIMG Artists Wendy and Ted Lawrence Leslie Lazzerin Cyril and Ruth Leder Mary LeDuc Leo and Kathy Legatski
Elastizell Corporation
of America Melvin A. Lester MD Lewis & Company Marketing
Communications, Inc. David Baker Lewis Donald and
Carolyn Dana Lewis David Lieberman Ken and Jane Lieberthal Marilyn and
Martin Lindenauer Barbara and Michael Lott Jimena Loveluck and
Timothy Veeser Jonathan Trobe and
Joan Lowenstein Dale Schatzlein and
Emily Maltz Fund Shirley Dorsey Martin Mary and
Chandler Matthews Regent Olivia Maynard
and Olof Karlstrom Jon McBride Laurie McCauley and
Jessy Grizzle Susan McClanahan and
Bill Zimmerman Dores McCree Joe McCune and
Gigi Sanders
Bill and Ginny McKeachie Joanna McNamara and
Mel Guyer Barbara Meadows Joetta Mial Patricia E. Mooradian Jean M. Moran Mary Morse
Gerry and Joanne Navarre Fred Neidhardt Kay and Gayl Ness M. Haskell and
Jan Barney Newman Susan and Richard Nisbett Patricia and
Max Noordhoorn Jan Onder
Constance and David Osier Anne Parsons and
Donald Dietz
Frances and Arlene Pasley Michelle Peet and
Rex Robinson Steven and Janet Pepe Marv Peterson John and Dot Reed Marnie Reid Theresa Reid and
Marc Hershenson Kenneth J. Robinson and
Marcia Gershenson Doris E. Rowan Bill and Lisa Rozek Herbert and
Ernestine Ruben Harry and Elaine Sargous Maya Savarino Ann and Thomas J. Schriber Ingrid and Cliff Sheldon Mikki Shepard Don and Sue Sinta Carl and Jari Smith Rhonda SmithStanding
Ovation Productions Lois and John Stegeman Victor and
Marlene Stoeffler Ronald Stowe and
Donna Power Stowe David and Karen Stutz Teresa A. Sullivan and
Douglas Laycock Charlotte Sundelson Mark and Patricia Tessler Norman and
Marcia Thompson Carrie and Peter Throm Claire and Jerry Turcotte Frank and Amanda Uhle Elizabeth and
Stephen Upton Richard and
Madelon Weber W. Scott Westerman, Jr. Mary Ann Whipple Max Wicha and
Sheila Crowley Dianne Widzinski and
James Skupski MD Phyllis B. Wright
S1-S99
Joseph Ajlouny Friends at Alverno Arts Alliance of the
Ann Arbor Area Barbara Bach Jenny Bilfield-Friedman and
Joel Friedman Ed and Luciana Borbely Barbara Everitt Bryant Ruth Carey Simon Carrington Mark Clague
Edward 5. and Ruth P. Cogen Guy L. Cooper Richard and Edith Croake
Sally Cushing Diana R. Engel Madeleine Faith Stefan and Ruth Fajans Martha Fischer and Bill Lutes Kristin Fontichiaro John N. Gardner Enid and Richard Grauer Walter Helmreich Kenneth and Joyce Holmes John and Patricia Huntington Judie and Jerry Lax Shelley MacMillan and
Gary Decker
Jaclin L. and David H. Marlin Janice Mayer Ronald G. Miller Shelley and Dan Morhaim Warren and Shelley Perlove Julianne Pinsak Eileen Pollack Michael and
Lisa Psarouthakis Thomas and
Sue Ann Reisdorph Omari Rush Liz Silverstein Charles E. Sproger Lloyd and Ted St. Antoine Peg Talburtt and Jim Peggs Denise Thai and
David Scobey
Christina and Tom Thoburn Linda Tubbs Harvey and Robin Wax Zelma Weisfeld Warren Williams
Endowed Funds
The future success of the University Musical Society is secured in part by income from UMS's endowment. UMS extends its deepest apprecia?tion to the many donors who have established andor con?tributed to the following funds:
H. Gardner and Bonnie
Ackley Endowment Fund Herbert S. and
Carol Amster Fund Catherine S. Arcure
Endowment Fund Carl and Isabelle Brauer
Endowment Fund Frances Mauney Lohr Choral
Union Endowment Fund Hal and Ann Davis
Endowment Fund Doris Duke Charitable
Foundation Endowment
Fund
Ottmar Eberbach Funds Epstein Endowment Fund David and Phyllis Herzig
Endowment Fund
JazzNet Endowment Fund William R. Kinney
Endowment Fund Natalie Matovinovic
Endowment Fund NEA Matching Fund Palmer Endowment Fund Mary R. Romig-deYoung
Music Appreciation Fund Prudence and Amnon
Rosenthal K-12 Education
Endowment Fund Charles A. Sink Endowment
Fund Catherine S. Arcure
Herbert E. Sloan
Endowment Fund University Musical Society
Endowment Fund The Wallace Endowment Fund
Burton Tower Society
The Burton Tower Society recognizes and honors those very special friends who have included UMS in their estate plans. UMS is grateful for this important support, which will continue the great traditions of artistic excellence, educational opportunities, and community partnerships in future years.
Bernard and Raquel Agranoff Carol and Herb Amster Mr. Neil P. Anderson Dr. and Mrs.
David G. Anderson Catherine S. Arcure Barbara K. and
Laurence R. Baker Kathy Benton and
Robert Brown Linda and Maurice Binkow Elizabeth S. Bishop Mr. and Mrs.
W. Howard Bond Mr. and Mrs. Pal E. Borondy Carl and Isabelle Brauer Barbara Everitt Bryant Pat and George Chatas Mr. and Mrs.
John Alden Clark Mary C. Crichton H. Michael and
Judith L. Endres Dr. James F. Filgas Ken and Penny Fischer Ms. Susan Ruth Fischer Meredith L. and Neal Foster Beverley and Gerson Geltner Paul and Anne Glendon Debbie and Norman Herbert John and Martha Hicks Mr. and Mrs. Richard Ives Marilyn G. Jeffs
Thomas C. and
Constance M. 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 Fromes
E. James Gamble
Boris Gankin
Fred M. Ginsberg
Carl Herstein
Dr. Sidney S. Hertz
David and Phyllis Herzig
Dr. Julian T. Hoff
Ben Johnson
Doug Kelbaugh and Kat Nolan
Francis W. Kelsey
Elizabeth Earhart Kennedy
Marilyn Krimm
Robert Lazzerin
Charles Lovelace
Zelma K. Marich
Sharon Anne McAllister
Susan McClanahan
Bettie Metcalf
Valerie D. Meyer
Masud Mostaghim
Ella Baker Munger
Sophia Nanos
Holmes E. and Susan E. Newton
Betty Overberger
Brian Patchen
James Pattridge
Gwen and Emerson Powrie
Gail W. Rector
Steffi Reiss
Margaret E. Rothstein
Eric H. Rothstein
Nona Schneider
Barry Sloat
George E. Smith
Edith Marie Snow
James Stanley
Robert Strozier
Virginia W. Stuart
Sonja Astrid Stutz
Dr. and Mrs. E. Thurston Thieme
Charles R. Tieman
Francis V. Viola III
Elea C. and Alexandra Vlisides
Martha J. Whitney
Clayton Wilhite
Carl H. Wilmot '19
Maria Wolter
Peter Holderness Woods
Stanley Wrobel
Gifts In-Kind
16 Hands
4 Seasons Perfume and
LingerieAllure Boutique Wadad Abed Abracadabra Jewelry
Gem Gallery Acme Mercantile Benjamin Acosta-Hughes Bernie and Ricky Agranoff Alice Lloyd Residence Hall Carol and Herb Amster Blair Anderson Ann Arbor Art Center Ann Arbor Art Center
Gallery Shop
Ann Arbor Aviation Center Ann Arbor District Library Ann Arbor Framing Ann Arbor Hands-On Museum Ann Arbor Public Schools Ann Arbor Tango Club Ann Arbor's 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 Ktesler Tom and Liz Knight Knit A Round Yarn Shop Knit Pickers Joan Knoertzer Gayle LaVictoire Lynnae Lehfeldt Lori Lentini-Wilbur Richard LeSueur Bobbie and Myron Levine Lewis Jewelers Karen Lindenberg Logan An American Restaurant Eleanor Lord Stephanie Lord Martin and Jane Maehr
Mariachi Especial de Alma Martha Cook Residence Hall Marygrove College Dance
Department Masri Sweets
Chandler and Mary Matthews Marilyn McCormick Zarin Mehta Kate Mendeloff The Metro Cafe MFit Culinary Team MFit Fitness Center Michigan Theater Carla Milarch Miles of Golf
Jeff MoreAshley's Restaurant Morgan and York Mosaic Youth Theater Motawi Tileworks Vince Mountain Louis Nagel The Neutral Zone John Neville-Andrews M. Haskell and
Jan Barney Newman Sarah and Dan Nicoli Tom OgarMerrill Lynch Jane Onder and Pat Shure Opus One Marysia Ostafin Pacific Rim by Kana Paesano's Restaurant Kimberly Pearsall Penny Stamps Visiting
Distinguished Visitors Series Performance Network Peter's Palate Pleaser Pierre Paul Art Gallery Gregory and Allison Poggi The Polo Fields Golf and
Country Club David Potter Phil and Kathy Power Yopie Prins Purple Rose Theater Putterz Golf & Games The Quarter Bistro and Tavern Ingrid Racine
Paula RandJuliana Collezione Mamie Reid Huda Rosen Steve Rosoff Ellen Rowe Russell S. Bashaw Faux Finish
Studio, LLC
Afa Sadykhly
Sam's Clothing Store
Agnes and David Sarns
Jamie Saville and Rusty Fuller
Schakolad Chocolate Factory
Michael Schoenfeldt
Penny Schreiber
Ruth Scodel
SeloShevel Gallery
Sesi Lincoln Mercury Volvo Mazda
Seva Restaurant
Rabia Shafie
Shaman Drum Bookshop
Nelson Shantz Piano Service
Bright Sheng
George Shirley
John Shultz Photography
Silkmoons
Susan Silver-Fink
Loretta Skewes
Tim and Marie Slottow
Andrea Smith
Mandisa Smith
Elizabeth Southwick
Cynthia Sowers
The Spa at Liberty
Peter Sparling
Rick Sperling
Sphinx Organization
Jim and Nancy Stanley
StAnne's Church in Detroit
Bennett Stein
Stonebridge Golf Club
Cindy Straub
Ed and Natalie Surovell
Edward Surovell Realtors Sweet Gem Confections Swing City Dance Studio Ten Thousand Villages Tom Thompson Flowers Liz Toman Trader Joe's
Travis Pointe Country Club Sue Ullrich
U-M Alumni Association U-M Arts of Citizenship U-M Arts on Earth U-M Arts at Michigan U-M Black Arts Council U-M Center for Afroamerican
and African Studies U-M Center for Chinese Studies U-M Center for Latin American
and Caribbean Studies
U-M Center for Middle Eastern
and North African Studies U-M Center for Russian and
East European Studies U-M Department of Dance U-M Department of Internal
Medicine U-M Department of Musical
Theatre
U-M Gifts of Art U-M Golf Course U-M Hatcher Graduate Library U-M Honors Program U-M Institute for the
Humanities
U-M International Institute U-M Museum of Art U-M Office of New Student
Programs
U-M Residential College U-M School of Art and Design U-M School of Education U-M School of Law U-M School of Music.
Theatre and Dance Urban Jewelers Van Boven Shoes Arthur Verhoogt Vie Fitness and Spa Viking Sewing Center VOLUME Youth Poetry Project Martin Walsh
Washtenaw Community College Washtenaw Intermediate
School District Enid Wasserman Waterscape Wayne State University Dance
Department Weber's Inn and Hotel The West End Grill Steven Whiting Ann and Clayton Wilhite Cassie Williams Ralph Williams Debbie Williams-Hoak Yolles-Samrah Wealth
Management, LLC Yotsuba Japanese
Restaurant & Bar Tom Zimmerman Zingerman's Bakehouse Zingerman's Delicatessen
UMS ADVERTISERS
Alumni Association of U-M 28
Ann Arbor City Club 33
Ann Arbor Public Schools Ed. Found. 31
Ann Arbor Symphony Orchestra 38
Bank of Ann Arbor 24
Cardea Construction 18
Center for Plastic and Reconstructive
Surgery 26 Charles Reinhart 29 Credit Suisse 30 Detroit Jazz Festival 39 Donaldson and Gunther, 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
MEMBER ORGANIZATIONS
UMS is proud to be a member of the following organizations:
Ann Arbor Area Convention & Visitors Bureau
Ann Arbor Chamber of Commerce
Arts Alliance of the Ann Arbor Area
ArtServe Michigan
Association of Performing Arts Presenters
Chamber Music America
DanceUSA
International Society for the Performing Arts
Main Street Area Association
Michigan Association of Community
Arts Agencies
National Center for Nonprofit Boards State Street Association Think Local First
IN UNCOMMON AND ENGAGING EXPERIENCES FOR 131 YEARS