Press enter after choosing selection

UMS Concert Program, Thursday Apr. 16 To 26: University Musical Society: Winter 2009 - Thursday Apr. 16 To 26 --

Download PDF
Rights Held By
University Musical Society
OCR Text

Season: Winter 09
University Of Michigan, Ann Arbor

university musical society
Winter 09 University of Michigan Ann Arbor 2 Letters from the Presidents 5 Letter from the Chair
JMSLeadership 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
MSAnnals 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 P 39 UMS Volunteers 41 Annual Fund Support 45 Endowment Fund Support 48 UMS AdvertisersMember Organizations
Cpver: (R-L) Compagnie Marie Chouinard (photo: Michael Slobodian), Lorin Maazel and the New York Philharmonic (Chris Lee), Wynton Marsalis (Clay McBride), Batsheva Dance Company, Julia Fischer, Hill Auditorium audience (Spencer & Wycoff)

Welcome to this University Musical Society (UMS) performance. We at the University of Michigan are proud of UMS and of the world-class artists and ensembles that it brings each season to the University and southeast Michigan. As UMS marks its 130th continuous season, making it the oldest university-related presenter in the United States, we are also cele?brating the outstanding educational programs it offers to people of all ages and the new works in dance, theater, and music it commissions.
When I consider which UMS events best exemplify the melding of artistic performance and education, I point to the three-week residencies of the Royal Shakespeare Company (RSC) that we have enjoyed in 2001, 2003, and 2006, two of which were US exclusive presentations attracting audiences from 39 states and five countries.
I am pleased UMS has chosen to celebrate the partnership between the RSC, UMS, and U-M at this year's 14th Ford Honors Program. At the heart of this unique partnership has been the extraordinary artist-scholar relation?ship between the RSC's Olivier Award-winning Artistic Director Michael Boyd and U-M's beloved Professor Ralph Williams, both of whom will be honored at the program. This year's Ford Honors Program, usually held in May, will take place Saturday, January 24, 2009, so that students who have participated in the RSC residencies or who have had Professor Williams in class will be able to attend. Professor Williams will retire from U-M at the end of this academic year, and I hope you will join me at this very special event.
This UMS winter season also brings us multi-day performances combined with numerous educational opportunities when the New York Philharmonic visits on March 7 and 8, and when Yo-Yo Ma brings his Silk Road Project to campus March 13 and 14.
Audience members also have a chance to delve into the rich diversity of cultural expressions from the Arab world, as UMS completes its Performing Arts of the Arab World series this term. I encourage you to attend Gilgamesh in January, Aswat: Celebrating the Golden Age of Arab Music in March, and Mohammed Bennis and the Hmadcha Ensemble in April along with the educational programs surrounding them.
There are many other UMS events as well as performances, exhibitions, and cultural activities offered by our faculty and students in U-M's many other units. To learn more about arts and culture at Michigan, including the March 21 performance commemorating the 25th anniversary of U-M's acclaimed musical theater program and the March 28 grand re-opening of the restored and expanded U-M Museum of Art, please visit the University's website at
Mary Sue Coleman
President, University of Michigan
Welcome to this UMS performance. Thank you for supporting UMS through your attendance, especially during these challenging times. The entire UMS family of Board, Senate, and Advisory Committee members; staff colleagues; Choral Union members; ushers; and hundreds of other volunteers are grateful that you're here and hope that you'll enjoy the experience and attend more UMS events during this second half of our 130th season. You'll find all of our remaining performances listed on page 2 of your program insert.
At UMS, we try to make sure that our events offer a chance to learn something new, to look at the world through a different lens, or even to change lives. You'll find much to choose from as solo artists and ensembles from all over the world visit our community and engage with our audiences in many ways. Artists can lift the spirit, challenge perceptions, provide comfort, and deepen understanding. So whether it's the Guarneri Quartet's Farewell Tour concert; the New York Philharmonic's residency; Simon Shaheen's Aswat production; Yo-Yo Ma's two Silk Road events; Chick Corea and John McLaughlin's reunion; or our 2009 Ford Honors Program celebrating the Royal Shakespeare Company, its Artistic Director Michael Boyd, and U-M Professor Ralph Williams, we hope you'll find meaning and value as we connect you with our artists for uncommon and engaging experiences.
I have had the pleasure over the past two years of working in partnership with UMS Board Chair Carl Herstein, who has provided outstanding lay leader?ship to UMS. His term comes to an end in June. Be sure to read his letter on P5 of this program book, and you'll get a sense of how we've benefited from his knowledge of our history, his understanding of the power of the arts, and his deep appreciation of each member of the UMS family who attends our per?formances, donates to our organization, or volunteers their services. Thanks for your dedicated service, Carl.
Feel free to get in touch with me if you have any questions, comments, or problems. If you don't see me in the lobby, send me an e-mail message at or call me at 734.647.1174.
And thanks again for coming to this event.
Very best wishes,
Kenneth C. Fischer UMS President
In these times of economic uncertainty and unease about the future, the power of the arts reminds us of enduring values. In its 130 years, UMS and its numerous generations of patrons and audiences have seen many times of anxiety and turmoil, each of which was unprecedented in its day. Throughout that time, great artists performing important works helped the UMS community come to grips with the world. In some cases this occurred because the perform?ance of a classic work brought a sense of reassurance, harmony, and peace. In others, a modern work challenged the audience to come to terms with unsettling new realities. The best of these performances were transformative events, helping to shape the emotional and intellectual response of each audience member to contemporary events.
We are immensely fortunate that an appreciation of this powerful legacy led these audiences to steward UMS safely through the vicissitudes of world wars, global depression, demographic and cultural changes, and intellectual and sci?entific revolutions. The arts which UMS has presented and fostered have remained an indispensable part of our common ability to make sense of a world that never ceases to amaze, surprise, and sometimes frighten us. Succeeding generations have bequeathed to us a legacy of involvement and support so that we too are able to enjoy the sustenance and inspiration that is the gift of great art.
It is, therefore, critically important that we do our part to cherish and preserve the legacy that our community is so fortunate to enjoy. By bringing friends to performances, becoming involved with the UMS Advisory Committee, partici?pating in educational events, supporting youth performances, and providing the ever-critical financial support that makes the work of UMS possible, you are continuing the work of bringing the power of the arts to us all at a time when it is very much needed. We want to thank all of you who have participated in this work with your support of the UMS Difference Campaign, which has been a success due to the commitment not merely of a few, but of 4,279 of you who believe that what UMS does makes a real difference in the life of our community. If you are one of those 4,279, you have our deepest thanks and our encourage?ment to continue to be a vital part of the UMS family; if you have not yet con?tributed, please consider deepening your engagement with us. We think you will find, as so many others have before you, that it will make your UMS experience more meaningful, more personal, and will have the added benefit of making it more accessible to others who have not yet enjoyed the experiences that have been so important to you and to us.
Thank you for coming to this performance. Whether you have come a hun?dred times before or for the first time today, please know that you are always welcome in the UMS family; a group which gathers strength from its diversity, honors its extraordinary past, and works for a future of excellence no matter what transient challenges we may face.
Carl W. Herstein
Chair, UMS Board of Directors
James G. Vella
President, Ford Motor Company Fund $ and Community Services Through music and the arts, we are inspired to broaden our horizons, bridge differences among cultures, and set our spirits free. We are proud to support the University Musical Society and acknowledge the important role it plays in our community."
Douglas L. LaFleur
Managing Director, Global Power Group "We at TAQA New World, Inc. are proud to lend our support to UMS, and are extremely honored to be involved with the performing arts community. Truly, human potential is the most valuable commodity on earth. In joining with other Corporate and Foundation leaders supporting UMS, we find ourselves renewed and inspired."
Robert P. Kelch
Executive Vice President for Medical Affairs, University of Michigan Health System "The arts are an important part of the University of Michigan Health System. Whether it's through perform?ances for patients, families, and visitors sponsored by our Gifts of Art program, or therapies such as harmonica classes for pulmonary patients or music relaxation classes for cancer patients, we've seen firsthand the power of music and performance. That's why we are proud to support the University Musical Society's ongoing effort to bring inspiration and entertainment to our communities."
Douglass R. Fox
President, Ann Arbor Automotive "We at Ann Arbor Automotive are pleased to support the artistic variety and program excellence given to us by the University Musical Society."
Laurel R. Champion
Publisher, The Ann Arbor News "The people at The Ann Arbor News are honored and
pleased to partner with and be supportive of the University Musical Society, which adds so much depth, color, excite?ment, and enjoyment to this incredible community."
Hoda Succar
President, American Syrian Arab Cultural Association
"ASACA is a proud sponsor of the UMS 0809 season.
We applaud UMS's effort to diversify and globalize its
programs to reach different communities in the US."
Timothy G. Marshall
President and CEO, Bank of Ann Arbor "A commitment to the community can be expressed in many ways, each different and all appropriate. Bank of Ann Arbor is pleased to continue its long term support of the University Musical Society by our sponsorship of the 0809 season."
Habte Dadi
Manager, Blue Nile Restaurant "At the Blue Nile, we believe in giving back to the community that sustains our business. We are proud to support an organization that provides such an important service to Ann Arbor."
George Jones
President and CEO, Borders Group, Inc. "Borders embraces its role as a vital, contributing member of the community that reaches out to connect with people. We know that what our customers read, listen to, and watch is an integral part of who they are and who they aspire to be. Borders shares our community's passion for the arts and we are proud to continue our support of the University Musical Society."
Claes Fornell
Chairman, CFI Group, Inc.
"The University Musical Society is a marvelous magnet for attracting the world's finest in the performing arts. There are many good things in Ann Arbor, but UMS is a jewel. We are all richer because of it, and CFI is proud to lend its support."
Bruce Duncan
Ann Arbor Regional Bank President, Comerica Bank "Comerica is proud to support the University Musical Society and to sponsor the presentation of the world-renowned Tokyo String Quartet. UMS continues to enrich the local community by bringing the finest performing arts to Ann Arbor, and we're pleased to continue to support this long?standing tradition."
Fred Shell
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 Cohn LLP "Honigman is proud to support non-profit organizations in
the communities where our partners and employees live and work. We are thrilled to support the University Musical Society and commend UMS for its extraordinary programming, com?missioning of new work, and educational outreach programs."
Mark A. Davis
President and CEO, Howard & Howard "At Howard & Howard, we are as committed to
enriching the communities in which we live and work as we are to providing sophisticated legal services to businesses in the Ann Arbor area. The performing arts benefit us all, and we are proud that our employees have chosen to support the cultural enrichment provided by the University Musical Society."
Mohamad Issa
Director, Issa Foundation
"The Issa Foundation is sponsored by the Issa family, which has been established in Ann Arbor for the last 30 years, and is involved in local property management as well as area pub?lic schools. The Issa Foundation is devoted to the sharing and acceptance of culture in an effort to change stereotypes and promote peace. UMS has done an outstanding job bringing diversity into the music and talent of its performers."
Bill Koehler
District President, KeyBank
"KeyBank remains a committed supporter of the performing arts in Ann Arbor and we commend the University Musical Society for its contribution to the community. Thank you, UMS. Keep up the great work!"
Dennis Serras
Owner, Mainstreet Ventures, Inc. "As restaurant and catering service owners, we consider ourselves fortunate that our business provides so many opportunities for supporting the University Musical Society and its continuing success in bringing internationally acclaimed talent to the Ann Arbor community."
Sharon J. Rothwell
Vice President, Corporate Affairs and Chair, Masco Corporation Foundation Masco recognizes and appreciates the value the performing arts bring to the region and to our young people. We applaud the efforts of the University Musical Society for its diverse learning opportunities and the impact its programs have on our communities and the cultural leaders of tomorrow."
Scott Merz
CEO, Michigan Critical Care Consultants, Inc. (MC3) MC3 is proud to support UMS in recognition of its success in creating a center of cultural richness in Michigan."
Erik H. Serr
Principal, Miller, Canfield, Paddock and Stone, P.LC "Miller Canfield proudly supports the University Musical Society for bringing internationally-recognized artists from a broad spectrum of the performing arts to our community, and applauds UMS for offering another year of music, dance, and theater to inspire and enrich our lives."
Michael B. Staebler
Senior Partner, Pepper Hamilton LLP "The University Musical Society is an essential part of the great quality of life in southeastern Michigan. We at Pepper Hamilton support UMS with enthusiasm."
Joe Sesi
President, Sesi Lincoln Mercury Volvo Mazda "The University Musical Society is an important cultural asset for our community. The Sesi Lincoln Mercury Volvo Mazda team is delighted to sponsor such a fine organization."
Thomas B. McMullen
President, Thomas B. McMullen Co., Inc.
"I used to feel that a U-M-Ohio State football ticket was
the best ticket in Ann Arbor. Not anymore. UMS provides
the best in educational and artistic entertainment."
Robert R. Tisch
President, Tisch Investment Advisory "Thank you, Ann Arbor, for being a wonderful community in which to live, raise a family, and build a successful business."
Tom Thompson
Owner, Tom Thompson Flowers
"Judy and I are enthusiastic participants in the UMS family. We appreciate how our lives have been elevated by this relationship."
Shigeki Terashi
President, Toyota Technical Center "Toyota Technical Center is proud to support UMS, an organization with a long and rich history of serving diverse audiences through a wide variety of arts programming."
Jeff Trapp
President, University of Michigan Credit Union "Thank you to the University Musical Society for enriching our lives. The University of Michigan Credit Union is proud to be a part of another great season of performing arts."
UMS gratefully acknowledges the support of the following foundations and government agencies:
$100,000 or more
Doris Duke Charitable Foundation
W.K. Kellogg Foundation
Michigan Council for Arts and Cultural Affairs
The Power Foundation
Doris Duke Foundation for Islamic Art DTE Energy Foundation Esperance Family Foundation National Endowment for the Arts
Cairn Foundation
Maxine and Stuart Frankel Foundation Charles H. Gershenson Trust The Mosaic Foundation, Washington DC National Dance Project of the New England Foundation for the Arts
Bustan al-Funun Foundation for Arab Arts Community Foundation for Southeast Michigan Eugene and Emily Grant Family Foundation Martin Family Foundation THE MOSAIC FOUNDATION (of R. & P. Heydon) Performing Arts Fund
Consulate General of The Netherlands in New York Mohamed and Hayat Issalssa Foundation Sarns Ann Arbor Fund Target
Thomas and Joann Adler Family Foundation
UNIVERSITY MUSICAL SOCIETY of the University of Michigan
Carl W. Herstein,
Chair James C. Stanley,
Wee Chair Kathleen Benton,
Secretary Michael C. Allemang,
Treasurer Wadad Abed Carol L. Amster Lynda W. Berg
D.J. Boehm Charles W. Borgsdorf Robert Buckler Mary Sue Coleman Martha Darling Junia Doan Al Dodds Aaron P. Dworkin Maxine J. Frankel Patricia M. Garcia Chris Genteel
Anne Glendon David J. Herzig Christopher Kendall Melvin A. Lester Robert C. Macek Joetta Mial Lester P. Monts Roger Newton Todd Roberts A. Douglas Rothwell Edward R. Schulak
John J. H. Schwarz Ellie Serras Joseph A. Sesi Anthony L. Smith Cheryl L. Soper Michael D. VanHemert Masayo Arakawa,
Board Fellow Marcus Collins,
Board Fellow
Clayton E. Wilhite, Chair Marylene Delbourg-
Delphis John Edman
Janet Eilber Eugene Grant Charles Hamlen David Heleniak
Toni Hoover Judith Istock Wallis Klein Zarin Mehta
Herbert Ruben Russell Willis Taylor
UMS SENATE (former members of the UMS Board of Directors)
Robert G. Aldrich Herbert S. Amster Gail Davis Barnes Richard S. Berger Maurice 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 DiCario Robert F. DiRomualdo Cynthia Dodd James J. Duderstadt David Featherman Robben W. Fleming David J. Flowers George V Fornero Beverley B. Geltner William S. Hann Randy J. Harris Walter L. Harrison Deborah S. Herbert Norman G. Herbert Peter N. Heydon Toni Hoover Kay Hunt
Alice Davis Irani Stuart A. Isaac Thomas E. Kauper David B. Kennedy Gloria James Kerry Thomas C. Kinnear Marvin Krislov F. Bruce Kulp Leo A. Legatski Earl Lewis Patrick B. Long Helen B. Love Judythe H. Maugh Paul W. McCracken Rebecca McGowan Barbara Meadows Alberto Nacif Shirley C. Neuman
Jan Barney Newman Len Niehoff Gilbert S. Omenn Joe E. O'Neal John D. Paul Randall Pittman Philip H. Power John Psarouthakis Rossi Ray-Taylor John W. Reed Richard H. Rogel Prudence L. Rosenthal Judy Dow Rumelhart Maya Savarino Ann Schriber Erik H. Serr Harold T. Shapiro George I. Shirley
John O. Simpson Herbert Sloan Timothy P. Slottow Carol Shalita Smokier Jorge A. Solis Peter Sparling Lois U. Stegeman Edward D. Surovell James L. Telfer Susan B. Ullrich Eileen Lappin Weiser B. Joseph White Marina v.N. Whitman Clayton E. Wilhite Iva M. Wilson Karen Wolff
Phyllis Herzig, Chair Janet Callaway, Vice Chair Elizabeth Palms. Secretary Sarah Nicoli, Treasurer
Ricky Agranoff MariAnn Apley Lone Arbour Barbara Bach Rula Kort Bawardi Francine Bomar Luciana Borbety Mary Breakey Mary Brown Betty Byrne
Heather Byrne Laura Caplan Cheryl Cassidy Patricia Chapman Cheryl Clarkson Wendy Comstock Norma Davis Mary Dempsey Mary Ann Faeth Michaelene 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 Rate Juarez Jeri Kelch
Meg Kennedy Shaw Pam Krogness Mary LeDuc Joan Levitsky Eleanor Lord Jane Maehr Jennifer J. Maisch
Joanna McNamara Liz Messiter Robin Miesel Natalie Mobley Kay Ness Thomas Ogar Allison Poggi Lisa Psarouthakis Swanna Saltiel Agnes Moy Sarns Penny Schreiber Bev Seiford Aliza Shevrin Alida Silverman Loretta Skewes
Andrea Smith Becki Spangler Nancy Stanley Cariin C. Stockson Karen Stutz Eileen Thacker Janet Torno Louise Townley Amanda Uhle Dody Viola Enid Wasserman Ellen Woodman Mary Kate Zelenock
Kenneth C. Fischer, President Luciana Borbely,
Assistant to the President John B. Kennard, Jr.,
Director of Administration Beth Gilliland,
Gift ProcessorIT Assistant Patricia Hayes, Senior Accountant John Peckham,
Information Systems Manager
Choral Union
Jerry Blackstone,
Conductor and Music Director Jason Harris, Assistant Conductor Kathleen Operhall, Chorus Manager Nancy K. Paul, Librarian Jean Schneider, Accompanist Scott VanOrnum, Accompanist Donald Bryant, Conductor Emeritus
Susan McClanahan, Director Susan Bozell, Manager of
Corporate Partnerships Rachelle Lesko,
Development Assistant Lisa Michiko Murray,
Manager of Foundation and
Government Grants M. Joanne Navarre, Manager of
Annual Giving Marnie Reid, Manager of
Individual Support
Lisa Rozek, Assistant to the Director of Development
Cynthia Straub, Advisory Committee and Events Coordinator
EducationAudience Development
Claire C. Rice, Interim Director Bree Juarez, Education and
Audience Development Manager Mary Roeder,
Residency Coordinator Omari Rush, Education Manager
MarketingPublic Relations
Sara Billmann, Director James P. Leija, Public Relations
Mia Milton, Marketing Manager Stephanie Normann, Marketing
Douglas C. Witney, Director Emily Avers, Production
Operations Director Jeffrey Beyersdorf,
Technical Manager
Michael J. Kondziolka, Director Mark Jacobson,
Programming Manager Carlos Palomares,
Artist Services Coordinator Liz Stover, Programming
Ticket Services
Jennifer Graf, Ticket Services
Sally A. Cushing, Ticket Offke Associate Suzanne Davidson, Assistant Ticket
Services Manager Adrienne Escamilla,
Ticket Office Associate Sara Sanders, Front-of-House
Karen Zobel, Group Sales Coordinator Dennis Carter, Bruce Oshaben,
Brian Roddy, Head Ushers
Catherine Allan Gabriel Bilen Greg Briley Tyler Brunsman Allison Carron Shannon Deasy Vinal Desai Rebecca Dragonetti Kelsy Durkin Daniel Erben Carrie Fisk Natalie Freilich Charlie Hack Dana Harlan Jennifer Howard Andy Jones Bryan Langlitz Francesca Lollini Brooke Lundin Alejandro Manso Mary Martin Michael Matlock Bryan McGivern
Ashley McNees Michael Michelon Grace Morgan Paula Muldoon Leonard Navarro Jack O'Connell Stephanie Overton Andrew Smith Cahill Smith Trevor Sponseller Catherine Tippman Julie Wallace Sarah Wilbur Sophia Zhuo
Doug Rothwell,
Chair Albert Berriz
Bruce Browniee Bob Buckler Jim Garavaglia
Rob Gruen Steve Hamp Carl Herstein
Bob Kelch Mary Kramer Sharon Rothwell
Mike Staebler Jim Vella
Abby Alwin Fran Ampey Robin Bailey Greta Barfield Joey Barker Alana Barter Judy Barthwell Rob Bauman Brita Beitler Eli Bleiler Ann Marie Borders
David Borgsdorf Sigrid Bower Marie Brooks Susan Buchan Deb Clancy Carl Clark Ben Cohen Julie Cohen Leslie Criscenti Orelia Dann Saundra Dunn
Johanna Epstein Susan Fihpiak Katy Fillion Delores Flagg Joey Fukuchi Jeff Gaynor Joyce Gerber Barb Grabbe Joan Grissing Linda Jones Jeff Kass
Rosalie Koenig Sue Kohfeldt Laura Machida Fran Marroquin Jose Mejia Kim Mobley Eunice Moore Michelle Peet Anne Pengo Rebeca Pietrzak Cathy Reischl
Jessica Rizor Vicki Shields Sandra Smith Gretchen Suhre Julie Taylor Cayla Tchalo Dan Tolly Alex Wagner Barbara Wallgren Kimberley Wrighl Kathryn Young
Barrier-Free Entrances
For persons with disabilities, all venues have barrier-free entrances. Wheelchair locations vary by venue; visit www.ums.orgtickets or call 734.764.2538 for details. Ushers are available for assistance.
Listening Systems
For hearing-impaired persons, Hill Auditorium, Power Center, and Rackham Auditorium are equipped with assistive listening devices. Earphones may be obtained upon arrival. Please ask an usher for assistance.
Lost and Found
For items lost at Hill Auditorium, Lydia Mendelssohn Theatre, Power Center, or Rackham Auditorium, please call University Productions at 734.763.5213. For the Michigan Theater, call 734.668.8397. For St. Francis of Assisi, call 734.821.2111.
Please allow plenty of time for parking as the campus area may be congested. Parking is available in the Church Street, Maynard Street, Thayer Street, Fletcher Street, and Fourth Avenue structures for a minimal fee. Limited street parking is also available. Please allow enough time to park before the performance begins. UMS donors at the Patron level and above ($1,000) receive 10 complimentary park?ing passes for use at the Thayer Street or Fletcher Street structures in Ann Arbor.
UMS offers valet parking service for Hill Auditorium performances in the 0809 Choral Union series. Cars may be dropped off in front of Hill Auditorium beginning one hour before
each performance. There is a $20 fee for this service. UMS members at the Concertmaster level ($7,500) and above are invited to use this service at no charge.
Other recommended parking that may not be as crowded as on-campus structures: Liberty Square structure (formerly Tally Hall), entrance off of Washington Street between Division and State; about a two-block walk from most per?formance venues, $2 after 3 pm weekdays and all day SaturdaySunday. Maynard Street struc?ture, entrances off Maynard and Thompson between Willliam and Liberty, $.80hr, free on Sunday.
For up-to-date parking information, please visit www.ums.orgparking.
Refreshments are available in the lobby during intermissions at events in the Power Center, in the lower lobby of Hill Auditorium (beginning 75 minutes prior to concerts--enter through the west lobby doors), and in the Michigan Theater. Refreshments are not allowed in the seating areas.
Smoking Areas
University of Michigan policy forbids smoking in any public area, including the lobbies and restrooms.
Start Time
UMS makes every effort to begin concerts at the published time. Most of our events take place in the heart of central campus, which does have limited parking and may have several events occurring simultaneously in different theaters. Please allow plenty of extra time to park and find your seats.
Latecomers will be asked to wait in the lobby until seated by ushers. Most lobbies have been outfitted with monitors andor speakers so that latecomers will not miss the performance.
The late-seating break is determined by the artist and will generally occur during a suitable repertory break in the program (e.g., after the first entire piece, not after individual movements of classical works). There may be occasions where latecomers are not seated until intermis?sion, as determined by the artist. UMS makes every effort to alert patrons in advance when we know that there will be no late seating.
UMS tries to work with the artists to allow a flexible late-seating policy for family perform?ances.
Group Tickets
Treat 10 or more friends, co-workers, or family members to an unforgettable performance of live music, dance, or theater. Whether you have a group of students, a business gathering, a college reunion, or just you and a group of friends, the UMS Group Sales Office can help you plan the perfect outing. You can make it formal or casual, a special celebration, or just friends enjoying each other's company. The many advantages to booking as a group include:
Reserving tickets before tickets go on sale to the general public
Discounts of 15-25 for most performances
Accessibility accommodations
No-risk reservations that are fully refundable up to 14 days before the performance
1-3 complimentary tickets for the group organizer (depending on size of group). Complimentary tickets are not offered for performances without a group discount.
For more information, please contact 734.763.3100 or e-mail
Classical Kids Club
Parents can introduce their children to world-renowned classical music artists through the Classical Kids Club. For more information please see page P33.
Members of the UMS African American Arts Advocacy Committee receive discounted tickets to certain performances. For more information please see page P29.
Student Tickets
Discounted tickets are available for University students and teenagers. Information on all UMS University Student Ticketing programs can be found on page P34. Teen Ticket infor?mation can be found on page P33.
Gift Certificates
Available in any amount and redeemable for any of more than 60 events throughout our season, delivered with your personal message, the UMS Gift Certificate is ideal for weddings, birthdays, Christmas, Hanukkah, Mother's and Father's Days, or even as a housewarming pres?ent when new friends move to town.
UMS Gift Certificates are valid for 12 months from the date of purchase. For more information, please visit
If you are unable to attend a concert for which you have purchased tickets, you may turn in your tickets up to 15 minutes before curtain time by calling the Ticket Office. Refunds are not available; however, you will be given a receipt for an income tax deduction.
Ticket Exchanges
Subscribers may exchange tickets free of charge. Non-subscribers may exchange tickets for a $6 per ticket exchange fee. Exchanged tickets must be received by the Ticket Office (by mail or in person) at least 48 hours prior to the performance. The value of the tickets
may be applied to another performance or will be held as UMS Credit until the end of the season. You may also fax a copy of your torn tickets to 734.647.1171. Lost or misplaced tickets cannot be exchanged. UMS Credit for this season must be redeemed by April 26, 2009.
In Person:
League Ticket Office
911 North University Ave.
Mon-Fri: 9am-5pm
Sat: 10am-1 pm
By Phone:
Outside the 734 area code, call toll-free 800.221.1229
By Internet:
By Fax: 734.647.1171
By Mail:
UMS Ticket Office Burton Memorial Tower 881 North University Ave. Ann Arbor, Ml 48109-1011
On-site ticket offices at performance venues open 90 minutes before each performance.
Through a commitment to presentation, education, and the creation of new work, the University Musical Society (UMS) serves Michigan audiences by bringing to our community an ongo?ing series of world-class artists, who represent the diverse spectrum of today's vigorous and exciting live performing arts world. Over the past 130 years, strong leadership coupled with a devoted community has placed UMS in a league of internationally recognized performing arts presenters. Today, the UMS seasonal program is a reflection of a thoughtful respect for this rich and varied history, balanced by a commit?ment to dynamic and creative visions of where the performing arts will take us in this new millennium. Every day UMS seeks to cultivate, nurture, and stimulate public interest and participation in every facet of the live arts.
UMS grew from a group of local university and townspeople who gathered together for the study of Handel's Messiah. Led by Professor Henry Simmons Frieze and conducted by Professor Calvin Cady, the group assumed the name The Choral Union. Their first perform?ance of Handel's Messiah was in December of 1879 and this glorious oratorio has since been performed by the UMS Choral Union annually.
As many Choral Union members also belonged to the University, the University Musical Society was established in December, 1880. UMS included the Choral Union and University Orchestra, and throughout the year presented a series of concerts featuring local and visiting artists and ensembles.
Since that first season in 1880, UMS has expanded greatly and now presents the very best from the full spectrum of the performing arts--internationally renowned recitalists and orchestras, dance and chamber ensembles, jazz and world music performers, and opera and theater. Through educational endeavors, commissioning of new works, youth programs, artist residencies, and other collaborative projects, UMS has maintained its reputation for quality, artistic distinction, and innovation. UMS now hosts over 50 performances and more than 125 educational events each sea?son. UMS has flourished with the support of a generous community that this year gathers in eight different Ann Arbor venues.
The UMS Choral Union has likewise expanded its charge over its 130-year history. Recent collaborations have included the Grammy Award-winning recording of William Bolcom's Songs of Innocence and of Experience (2004), John Adams's On the Transmigration of Souls with the Detroit Symphony Orchestra (2007), and Shostakovich's Symphony No. 13 ("Babi Yar") with the Kirov Orchestra of St. Petersburg (2006).
While proudly affiliated with the University of Michigan, housed on the Ann Arbor campus, and a regular collaborator with many University units, UMS is a separate not-for-profit organi?zation that supports itself from ticket sales, corporate and individual contributions, founda?tion and government grants, special project support from U-M, and endowment income.
Hill Auditorium
After an 18-month $38.6-million dollar renova?tion overseen by Albert Kahn Associates, Inc. and historic preservation architects Quinn EvansArchitects, Hill Auditorium re-opened to the public in January 2004. Originally built in 1913, renovations have updated Hill's infra?structure and restored much of the interior to its original splendor. Exterior renovations include the reworking of brick paving and stone retaining wall areas, restoration of the south entrance plaza, reworking of the west barrier-free ramp and loading dock, and improvements to landscaping.
Interior renovations included the creation of additional restrooms, the improvement of barrier-free circulation by providing elevators and an addition with ramps, new seats to
increase patron comfort, introduction of barrier-free seating and stage access, the replacement of theatrical performance and audio-visual systems, and the complete replacement of mechanical and electrical infrastructure systems for heating, ventilation, and air conditioning. Hill Auditorium seats 3,575.
Michigan Theater
The historic Michigan Theater opened January 5, 1928 at the peak of the vaudevillemovie palace era. Designed by Maurice Finkel, the 1,710-seat theater cost around $600,000 when it was first built. As was the custom of the day, the theater was equipped to host both film and live stage events, with a full-size stage, dressing rooms, an orchestra pit, and the Barton Theater Organ. At its opening, the theater was acclaimed as the best of its kind in the country. Since 1979, the theater has been operated by the not-for-profit Michigan Theater Foundation. With broad community support, the Foundation has raised over $8 million to restore and improve the Michigan Theater. The beautiful interior of the theater was restored in 1986.
In the fall of 1999, the Michigan Theater opened a new 200-seat screening room addi?tion, which also included expanded restroom facilities for the historic theater. The gracious facade and entry vestibule was restored in 2000.
Power Center
The Power Center for the Performing Arts grew out of a realization that the University of Michigan had no adequate proscenium-stage theater for the performing arts. Hill Auditorium was too massive and technically limited for most productions, and the Lydia Mendelssohn Theatre was too small. The Power Center was built to supply this missing link in design and seating capacity.
In 1963, Eugene and Sadye Power, together with their son Philip, wished to make a major gift to the University, and amidst a list of University priorities "a new theater" was
mentioned. The Powers were immediately inter?ested, realizing that state and federal govern?ments were unlikely to provide financial .upport 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 :he seemingly contradictory combination of providing a soaring interior space with a jnique level of intimacy. Architectural features nclude two large spiral staircases leading from :he orchestra level to the balcony and the well-nown mirrored glass panels on the exterior. The lobby of the Power Center presently :eatures two hand-woven tapestries: Modern Tapestry by Roy Lichtenstein and Volutes 'Arabesque) by Pablo Picasso.
The Power Center seats approximately 1,400 people.
Arbor Springs Water Company is generously providing zomplimentary water to UMS artists backstage at the ?ower 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 Jniversity of Michigan.
Designed by architect William Kapp and architectural sculptor Corrado Parducci, Rackham Auditorium was quickly recognized
as the ideal venue for chamber music. In 1941, UMS presented its first chamber music festival with the Musical Art Quartet of New York per?forming three concerts in as many days, and the current Chamber Arts Series was born in 1963. Chamber music audiences and artists alike appreciate the intimacy, beauty, and fine acoustics of the 1,129-seat auditorium, which has been the location for hundreds of chamber music concerts throughout the years.
St. Francis of Assisi Catholic Church
Dedicated in 1969, St. Francis of Assisi Catholic Church has grown from 248 families when it first started to more than 2,800 today. The present church seats 1,000 people and has ample free parking. In 1994, St. Francis pur?chased a splendid three manual "mechanical action" organ with 34 stops and 45 ranks, built and installed by Orgues Letourneau from Saint Hyacinthe, Quebec. Through dedication, a commitment to superb liturgical music, and a vision to the future, the parish improved the acoustics of the church building, and the reverberant sanctuary has made the church a gathering place for the enjoyment and con?templation of sacred a cappella choral music and early music ensembles.
Burton Memorial Tower
Seen from miles away, Burton Memorial Tower is one of the most well-known University of Michigan and Ann Arbor landmarks. Designed by Albert Kahn in 1935 as a memorial to U-M President Marion Leroy Burton, the 10-story tower is built of Indiana limestone with a height of 212 feet. The carillon, one of only 23 in the world, is the world's fourth heaviest containing 55 bells and weighing a total of 43 tons. UMS has occupied administrative offices in this building since its opening, with a brief pause in the year 2000 for significant renovations.
Winter 2009 Season 130th Annual Season
General Information
On-site ticket offices at performance venues open 90 minutes before each performance.
Children of all ages are welcome at UMS Family and Youth Performances. Parents are encouraged not to bring children under the age of 3 to regular, full-length UMS performances. All children should be able to sit quietly in their own seats throughout any UMS performance. Children unable to do so, along with the adult accompany?ing them, will be asked by an usher to leave the auditorium. Please use discre?tion in choosing to bring a child.
Remember, everyone must have a ticket, regardless of age.
While in the Auditorium
Starting Time Every attempt is made to begin concerts on time. Latecomers are asked to wait in the lobby until seated by ushers at a predetermined time in the program.
Cameras and recording equipment
are prohibited in the auditorium.
If you have a question, ask your usher. They are here to help.
Please turn off your cellular phones and other digital devices so that everyone may enjoy this UMS event disturbance-free. In case of emergency, advise your paging service of auditorium and seat location in Ann Arbor venues, and ask them to call University Security at 734.763.1131.
In the interests of saving both dollars and the environment, please either retain this program book and return with it when you attend other UMS performances included in this edition or return it to your usher when leaving the venue.
Event Program Book
Thursday, April 16 through Sunday, April 26, 2009
Dedicated to You: 3
Kurt Elling Sings the ColtraneHartman Songbook
Thursday, April 16, 8:00 pm Michigan Theater
Takacs Quartet 9
Marc-Andre Hamelin
Friday, April 17, 8:00 pm Rackham Auditorium
UMS Choral Union 15
Thursday, April 23, 8:00 pm
St. Francis of Assisi Catholic Church
Julia Fischer 21
Milana Chernyavska
Friday, April 24, 8:00 pm Hill Auditorium
Compagnie Marie Chouinard
Saturday, April 25, 8:00 pm 27
Sunday, April 26, 4:00 pm 31
Power Center
UMS Educational Events ?
All UMS educational activities are free, open to the public, and take place in Ann Arbor unless otherwise noted. For complete details and updates, please visit or contact the UMS education department at 734.647.6712 or
Mohammed Bennis and the Hmadcha Ensemble
Back to Morocco: Stories from Inside the
Fes Festival of Sufi Culture
Saturday, April 18, 1:00 pm
U-M Museum of Art Multipurpose Room, 525
South State Street
UMS's presentation of Mohammed Bennis and the Hmadcha Ensemble attempts to recreate the authentic, late-night performances that are featured at the Fes Festival of Sufi Culture in Fez, Morocco. Zeyba Rahman, who served as the Fes Festival of World Sacred Music's North American Director from 1997-2007, will give a behind-the-scenes multimedia presentation on what it is like to participate in this historic festival.
Post-Performance Receptions
Saturday and Sunday, April 18 and 19, post-performance U-M Museum of Art, 525 South State Street
Join UMS and fellow audience members for sweets and tea following both performances of Mohammad Bennis and the Hmadcha Ensemble. You must have a ticket to the performance to attend.
A collaboration with the U-M Museum of Art.
Compagnie Marie Chouinard
Post-Performance Interview
Saturday, April 25, post-performance Power Center
Join members of the company for a post-performance interview from the stage of Power Center following the performance. You must have a ticket to the performance to attend.
Saturday, April 25, post-performance Please visit for further details
Keep the energy going following the Saturday-night performance of Compagnie Marie Chouinard at the official post-performance dance party with a DJ spinning live. Ages 18 and over; no cover. Beverages and light snacks provided.
Dedicated to You: Kurt Elling Sings the ColtraneHartman Songbook
Kurt Elling, Vocals
Ernie Watts, Tenor Saxophone
The Laurence Hobgood Trio
Laurence Hobgood, Piano Clark Sommers, Bass Ulysses Owens, Drums
Cornelius Dufallo, Violin Ralph Farris, Viola
Dorothy Lawson, Cello Mary Rowell, Violin
Thursday Evening, April 16, 2009 at 8:00 Michigan Theater Ann Arbor
Tonight's program will be announced from the stage by the artists and is approximately 90 minutes in duration performed without intermission.
From left: Johnny Hartman, John Coltrane, and McCoy Tyner
59th 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.
Media partnership provided by WEMU 89.1 FM, Between the Lines, and Metro Times.
Special thanks to Susan Filipiak, Willow Run High School, Chapelle Elementary, The Neutral Zone, the Ann Arbor School for the Performing Arts, and the U-M School of Music, Theatre & Dance for their participation in this residency.
The Steinway piano used in this evening's performance is made possible by the Steinway Piano Gallery of Detroit.
Mr. Elling appears by arrangement with Ted Kurland Associates, Boston, MA.
Large print programs are available upon request.
John Coltrane and Johnny Hartman: Anatomy of a Masterpiece
by Will Friedwald
In 1963, it seemed like the career of Johnny Hartman had fallen between the cracks: he hadn't recorded at all since 1959, and was finding it easier to get work overseas than in his native US. Hartman was performing in Japan in 1963 when Bob Thiele of Impulse! Records tracked him down and informed him that John Coltrane, then probably the number-one star of the jazz world, wanted to cut an album with him.
"I had never heard of Coltrane playing ballads, sol was a little reluctant," Hartman said. The singer first had to be assured that "it wasn't gonna be a lot of wild stuff going on." He later elaborated,
I was a Coltrane fan, and although I'd never met him, I'd been listening to him for years. I didn't think we'd fit too well. But Bob told me to go to Birdland when I got back to the States and listen to him. Then, after the show, when the place had closed, I tried a couple of tunes with him. I did--just me, Coltrane, and his pianist, Cedar Walton. [Walton may have been subbing for Coltrane's regular pianist, McCoy Tyner.J A week later we went out to Rudy Van Gelder's studio to make the album.
That album, John Coltrane and Johnny Hartman, has become, along with Frank Sinatra's Songs for Swingin' Lovers! and Nat King Cole's After Midnight, the Kind of Blue of vocal albums. It would be hard to think of a jazz singer of the last 40 years, or, for that matter, an instrumentalist who has worked with a singer, who hasn't been profoundly influenced by this classic record.
John and Johnny taped the entire album at one single session, on March 7, 1963, featuring the group later known to history as the Classic Quartet, with McCoy Tyner (piano), Jimmy Garrison (bass), and Elvin Jones (drums). Hartman says he had originally "lined up 10 songs to do. But as we were driving out, listening to the car radio, we heard Nat Cole sing 'Lush Life.' I said, 'That is a fantastic song' and I started singing it in the car, although I didn't know all the words." As the session started, someone managed to locate a complete set of Billy Strayhorn's lyrics. Coltrane already knew the tune: he had recorded it earlier as an instrumental for Prestige Records, although in both versions he altered the chord changes in such a way that irritated Strayhorn (who actually didn't care for Cole's recording, either).
Including "Lush Life," Hartman and Coltrane considered a total of 11 possible tunes. Of these, they recorded seven, one of which, Mongo Santamaria and Oscar Brown, Jr.'s "Afro Blue," has never been issued. "We did everything in one take," Hartman said, "except 'You Are So Beautiful.' We had to do two takes on that one, because Elvin dropped a drumstick on the first take." All seven tracks were recorded on the same day, with Hartman singing live with Coltrane and the rhythm section; however, the tenor saxophonist returned at a later date and overdubbed a few additional obligates.
When critic Leonard Feather asked Hartman to name his biggest influences, he selected Frank Sinatra, Nat King Cole, and Ella Fitzgerald; appropriately, there are songs on the album from all three: "Lush Life," as we've seen, was inspired by Cole; "Dedicated to You" was an early Fitzgerald hit; and "My One and Only Love," though on an early Capitol single (rather than one of the classic "concept" albums), was a Sinatra milestone.
"We did everything in one take except 'You Are So Beautiful.' We had to do two takes on that one, because Elvin dropped a drumstick on the first take."-Johnny Hartman
Coltrane had already shown the world his wildest side, as Hartman described it, with his almost frighteningly avant-garde blues "Chasin' The Trane" (on the 1961 Live At the Village Vanguard}, but in 1962-63 he gave the world his mellowest and most accessible music via two of his biggest-selling albums, Ballads and John Coltrane and Johnny Hartman. Here the Coltrane of "Chasin' the Trane" roared like a lion, the Coltrane of "You Are Too Beautiful" and "They Say It's Wonderful" purred like a pussycat.
It always seemed to me that the registers and ranges used to describe the members of the saxophone family are at least an octave off; the tenor saxophone doesn't correspond to the tenor human voice but has more in common sonically with the male baritone. If there ever was a jazz album that proved it, it's Coltrane and Hartman. The two men achieve a synergy that reaches a remarkably high level, preceded only by the musical relationship of Billie Holiday and Lester Young, and succeeded only by the two albums by Tony Bennett and Bill Evans. Unlike those two other collaborations, though, Coltrane and Hartman worked together on just this one occasion; they never collaborated on another album, and, other than those few songs done after-hours at Birdland, they never worked together live.
On his first solo recordings, done at the same time he was singing with Dizzy Gillespie's Orchestra around 1947, Hartman sounded like a cross between Sinatra and Billy Eckstine, leaning towards the former. But on Coltrane and Hartman, he sounds like no one else, and he created something that was uniquely his own. His singing, as described by A. B. Spellman in the original liner notes, "seems like pure communication." Hartman deplored anything that got in the way of that communication; later in his life, he was asked why he didn't act like other so-called jazz singers (including his favorite, Ella Fitzgerald) and go out of his way to significantly alter famous melodies or scat. His reply was priceless: "There's nothing else to do with a great song," he said, "but sing it."
Program note O2009 by Will Friedwald.
Kurt Elling is today's preeminent male jazz vocalist. Nightmoves, his first recording for ConcordUniversal, has propelled his career to new heights and earned him his eighth Grammy nomination for "Best Jazz Vocal Album." Mr. Elling has earned seven Grammy nominations for his six Blue Note albums, topped the Down Beat Critics' and Jazz Times Readers' polls, and won four Jazz Journalists Association Awards for "Best Male Vocalist" and the Prix Billie Holiday from the Academie du Jazz in Paris. His quartet has performed to critical acclaim around the world, and he has worked with an array of artists that includes Terence Blanchard, Dave Brubeck, The Clayton-Hamilton Orchestra, Benny Golson, Jon Hendricks, Fred Hersch, Charlie Hunter, Al Jarreau, David Liebman, Joe Lovano, Christian McBride, Marian McPartland, the Bob Mintzer Big Band,
Kurt Elling
Photo Christian Litry
Mark Murphy, John Pizzarelli, Kurt Rosenwinkel, and the Yellowjackets.
Mr. Elling's baritone spans four octaves and displays an astonishing technical facility and emotional depth. His repertoire ranges from his own compositions to modern interpretations of standards, both of which can be the springboard for free-form improvisation, scatting, spoken word, and poetry. In addition to the compositional work he has done with collaborator-in-chief Laurence Hobgood, Mr. Elling has collaborated in the creation of new pieces with John Clayton, Fred Hersch, Bob Mintzer, Charlie Hunter, and Orbert Davis.
One of Mr. Elling's major contributions is as a writer and performer of vocalese, the art of putting words to improvised solos of jazz artists. The natural heir to jazz pioneers Eddie Jefferson, King Pleasure, and Jon Hendricks, Mr. Elling is the contemporary voice in vocalese, setting the solos of Wayne Shorter, Keith Jarrett, Dexter Gordon, Pat Metheny, and others to his own deeply spiritual and compelling lyrics. Mr. Elling infuses his lyrics with passion, humor, and intellectual depth, often incorporating literary images and references into his work.
In addition to his work as an artist, Mr. Elling served as a national trustee for the National Academy of Recording Arts and Sciences beginning in 1999. In May 2003, he was elected Vice Chair of the 17,000-member organization and served two successful terms. During that time he co-created and hosted the first two annual Recording Academy Salutes to Jazz. He also oversaw the creation of the Academy's Lifetime Achievement and Trustees Awards Review Committee.
Two-time Grammy Award-winner Ernie Watts is one of today's most versatile and prolific saxophone players; his unforgettable trademark sound can be heard on more than 500 recordings by artists from Cannonball Adderley to Frank Zappa. Mr. Watts studied classical music and technique at the Wilmington Music School in Delaware. He started to learn jazz by ear, and soon won a Down Beat Scholarship to the Berklee College of Music in Boston. Mr. Watts left Berklee to tour with Buddy Rich's Big Band from 1966 to 1968, and then moved to Los Angeles and began working in the big bands of Gerald Wilson and
Oliver Nelson. It was with Nelson that he had the occasion to record with Thelonious Monk on Monk's Blues.
In 1983 the film composer Michel Colombier wrote an orchestral piece entitled "Nightbird" for Mr. Watts. At its inaugural performance in Los Angeles, he met Charlie Haden, and was soon performing with Mr. Haden's Liberation Music Orchestra and touring with Pat Metheny's Special Quartet, which included Charlie Haden. Mr. Watts' charter membership in Haden's critically acclaimed Quartet West and his body of work for the Japanese label JVC Music continued to demonstrate his talent and commitment to the jazz world.
A typical year finds Mr. Watts touring Europe with his own quartet, appearing in Asia as a featured guest artist, and performing at summer festivals throughout North America and Europe. He remains committed to music education by conducting student workshops around the globe.
Formed in 1998, ETHEL is four world-class, Juilliard-trained composermusicians. ETHEL has performed original works as well as those by notable contemporary composers at more than 300 concerts in 10 different countries as a favorite at countless festivals and venues. For its 10-year anniversary, in an effort to honor indigenous communities, cultures, and music, ETHEL explores the world's musical melting pot in a 10-city, 10-monthlong TruckStop residencyconcert tour beginning and ending in its hometown of New York City. Other season highlights include the Second Annual In the House of ETHEL; Solstice, a multimedia, site-specific concert at New York's Winter Garden; and the Second Annual ETHEL Fair, an evening at Symphony Space in honor of ETHEL'S decade of commissioned works, composers, and collaborations featuring special guest artists. ETHEL has shared the stage with poprock icons Todd Rundgren and Joe Jackson, and has appeared on Late Night with Conan O'Brien. Members of ETHEL have recorded andor performed with some of today's most compelling artists, including Sheryl Crow, Gorillaz, Roger Daltrey, Yo-Yo Ma, Ornette Coleman, Lenny Kravitz, Jill Sobule, Thomas Dolby, and Gutbucket.
A native of Dallas, Texas, Laurence Hobgood moved to Chicago in 1988 after studying piano at the University of Illinois' School of Music. He began collaborating with Kurt Elling in 1993, and produced, composed, arranged, and performed on Mr. Elling's 1994 demo, Close Your Eyes, the first of Mr. Elling's Grammy-nominated albums for the Blue Note label. Since then, the Laurence Hobgood Trio has performed with Mr. Elling at concert halls and festivals around the world. This ongoing collaboration has resulted in Grammy nominations for each of the singer's releases. In 2001 Mr. Hobgood received his own Grammy nomination for "Best Instrumental Arrangement Accompanying a Vocal Performance" for his work on the singer's fifth record, Flirting With Twilight.
In 1996 Mr. Hobgood formed a new trio, Union, with drummer Paul Wertico and bassist Brian Torff. Over the next three years they released two recordings on the Nairn label, each of which won spots on both the Chicago Tribune's and Sun-Times's listings of the "top 10 jazz recordings" of their respective years (1997 and 1999). In 1999, Mr. Hobgood debuted "In Your Own Way Suite," an original work dedicated to Dave Brubeck, with the chamber orchestra Sinfonia da Camera conducted by Ian Hobson. The performance drew critical praise, and Mr. Hobgood was subsequently commissioned to compose original works for Chicago's millennium celebration and to arrange music for a New York Shakespeare Festival production of Measure for Measure.
UMS Archives
Tonight's concert marks Kurt Elling's second appearance under UMS auspices. Mr. Elling made his UMS debut as solo male vocalist with the Fred Hersch Ensemble in performance of the evening-length Leaves of Grass at Lydia Mendelssohn Theatre in March 2005.
Saxophonist Ernie Watts also makes his second UMS appearance tonight, following his January 2002 UMS debut at Lydia Mendelssohn Theatre as a member of Charlie Haden's Quartet West.
UMS welcomes both the Laurence Hobgood Trio and ETHEL, who make their UMS debuts this evening.
Miller Canfield
Takacs Quartet
Edward Dusinberre, Violin Geraldine Walther, Viola KSroly Schranz, Violin Andras Fejer, Cello
Marc-Andre Hamelin,
Program Friday Evening, April 17, 2009 at 8:00
Rackham Auditorium Ann Arbor
Franz Josef Haydn String Quartet in G Major, Op. 77, No. 1 (Hob. Ill: 81)
Allegro moderato
Menuetto: Presto
Finale: Presto
Bela Bartdk String Quartet No. 1
Poco a poco accelerando all'allegretto
Introduzione Allegro
Allegro vivace
Robert Schumann Piano Quintet in E-flat Major, Op. 44
Allegro brillante
In modo d'una marcia, un poco largamente
Scherzo: Molto vivace
Allegro ma non troppo
Mr. Hamelin

60th Performance of the 130th Annual Season
46th Annual Chamber Arts Series
The photographing or sound and video recording of this concert or possession of any device for such recording is prohibited.
Tonight's performance is sponsored by Miller, Canfield, Paddock and Stone, P.L.C. Media partnership provided by WGTE 91.3 FM and Observers Eccentric Newspapers.
The Takacs Quartet appears by arrangement with Seldy Cramer Artists, and records for Hyperion and DeccaLondon Records.
The Takacs Quartet is Quartet-in-Residence at the University of Colorado in Boulder and are Associate Artists at the South Bank Centre, London.
Large print programs are available upon request.
String Quartet in G Major, Op. 77, No. 1
(Hob. 111:81) "Lobkowitz" (1799) Franz Josef Haydn
Born March 31, 1732 in Rohrau, Lower Austria Died May 31, 1809 in Vienna
In 1799, two years after completing his celebrated series of six string quartets for Count Erdb'dy (Op. 76), Haydn started work on yet another set, this time for Prince Lobkowitz. He only completed two of the six, however. (One contemporary document, perhaps mistakenly, suggests that he had completed four; if so, two works must have been destroyed.)
Around the same time Haydn was working on string quartets for Lobkowitz, a younger composer by the name of Ludwig van Beethoven was doing the very same thing. Beethoven completed his set of six string quartets (later published as Op. 18) in the spring of 1800. It may well be that Haydn withdrew from his project at least in part because of the arrival on the scene of the unruly young genius. Haydn used to call Beethoven, his rebellious erstwhile student, the "Grand Mogul," in a mocking reference to the younger man's boundless ambition, though he was the first to recognize Beethoven's exceptional talent. Yet it seems that around the time of Haydn's Op. 77 and Beethoven's Op. 18 the relationship between the two composers was far from ideal.
The least one can say of the two quartets of Op. 77--which are exactly 200 years old this year--is that the 67-year-old Haydn rose to his younger colleague's challenge. Some moments in the two works have even been said to resemble echoes or reflections of what we now call "early" Beethoven.
The first of the two quartets, in G Major, opens with an "Allegro moderato" that fills out its regular sonata-form scheme with many subtle surprises and delicate touches. The cheerful, march-like first theme, for instance, is almost immediately overshadowed by harmonies suggesting the minor mode. For a movement that began in such an unassuming way, the development section gets extremely agitated at times, though it also includes one of Haydn's favorite audience-fooling devices, the "false recapitulation," in which the main theme retums in the home key, only to disappear again after a few measures to make room for more development material.
The second movement is in E-flat Major, a tonality rather far removed from the original key of G Major. (In his later years, he became increasingly fond of such tonal juxtapositions, which create a quite audible jolt between movements.) It is one of Haydn's greatest Adagios, with themes of a rich singing quality and a harmonic range that is sometimes reminiscent of Beethoven. The first violin part adds elaborate ornaments to the highly expressive melodies.
The third movement ("Minuet and Trio") is even more "Beethovenian." Many of the movement's features are most unusual for Haydn and announce a new era. The tempo is extremely fast for a minuet (Presto). Off-beat accents abound in the theme. Almost all the repeats are written out (instead of being indicated by repeat signs), and important changes are introduced the second time. The first violin reaches high notes unheard of in the earlier quartet repertoire. No clear separation exists between minuet and trio; the trio arrives without warning by means of an unexpected jump into the key of E-flat Major, visiting that remote tonality for the second time in the quartet. The ending of this highly dramatic trio is left open, as the music gradually modulates back to G Major. Quite an astonishing movement!
The following "Presto" is Haydn's last word on the contradanse finale, one of his favorite finale types for decades. The main theme is presented twice at the beginning: the first time in unison and then with harmonies. This duality of simplicity and sophistication remains the principal driving force throughout the movement, right up to the ending, for which Haydn saved some delicious surprises.
String Quartet No. 1 (1908)
Bela Bartok
Born March 25, 1881 in Nagyszentmiklos,
Hungary [now Sinnicolau Mare, Romania] Died September 26, 1945 in New York
Looking back on his early years from the vantage point of his mid-40s, Bela Bartok considered his String Quartet No. 1, written at the age of 27, to be his first composition truly representative of his mature style. He had written a great deal of music before that time, including highly successful orchestral works like the Kossuth Symphony. But these were written in a nationalistic-Romantic manner that Bart6k later disavowed, having
discovered the old Hungarian peasant music that changed his life and his artistic outlook forever.
String Quartet No. 1, completed in 1908, is one of the first Bartok works to show signs of this major change. The work stands on the cusp of a new era, combining the influence of folk song with the other important influence that had reached Bart6k at around the same time, namely, the new French music of Debussy and Ravel. On a personal level, Bartbk was going through an emotional crisis at the time, having been rejected by the violinist Stefi Geyer, with whom he was passionately in love and for whom he had written a violin concerto the previous year. The opening motif in the quartet's mournful first movement is a kind of reversal of the Stefi Geyer theme (so identified by Bartbk) from the concerto; it is developed in a dense, highly chromatic post-Romantic polyphonic style introduced by a duo of violins. The fog lifts, first in an impassioned viola solo written in a distinctly Hungarian style (though not yet in the style of the old folksongs Bartok had discovered), and then in a flowing pentatonic melody intoned by the cello. One feels why Bartok's friend and colleague Zoltan Kodaly referred to this quartet as "return to life." The polyphony later retums, but, as Hungarian musicologist Janos Karpati has noted, it has been "transposed an octave higher into an 'ethereal sphere'[representing] a tone of 'transfiguration'," and bringing "solace" to the music.
The "return to life" continues in the second movement, which is in a moderately fast allegretto tempo, reachedgraduallyafteratransitional passage written, like the beginning of the first movement, for instrumental duos (viola-cello followed by first and second violins). The "allegretto" begins as a lyrical waltz but it eventually gathers momentum; tender, expressive passages alternate with intense dramatic outbursts. The ending, once more, is quiet and almost "transfigured."
The third and last movement is preceded by an "Introduzione" which presents a cello recitative, somewhat like in Beethoven's Symphony No. 9. But this cello recites in a distinctly Hungarian manner. It is still closer to 19th-century popular songs than to the ancient repertoire Bart6k had discovered in the villages, but even so, it serves to announce the stylistic change that is about to occur, in the manner of Beethoven, who had his soloist in Symphony No. 9 sing: "nicht diese Tone!" (not these sounds!) And in fact, the "Allegro vivace" that ensues makes the "return to life" complete with its exuberant and playful tone. At the movement's
culmination point, the tempo suddenly slows down to a solemn adagio, and the first violin plays an expressive pentatonic melody which is, finally, in the style of the ancient folksongs which Bart6k had saved up until this strategic moment. The folksong episode is rather brief, and is followed by a return of the "Allegro" material, including a humoristic fugato. The excitement keeps increasing to the end. There is a single moment of introspection before the end, when the ancient folksong makes a second appearance, even shorter than the first, evidently to drive home the point that this old-new style--which symbolizes spiritual renewal and the attainment of a new authenticity--is definitely here to stay.
Piano Quintet in E-flat Major, Op. 44 (1842)
Robert Schumann
Bom June 8, 1810 in Zwickau, Saxony
Died July 29, 1856 in Endenich, near Bonn
The year 1842 was Schumann's "chamber music year," just as 1841 had been his "symphony year" and 1840 his "song year." At this crucial point in his career, the composer who until then had concentrated mostly on solo piano music, made a conscious effort to conquer the other musical genres of the time. This expansion in Schumann's creative output certainly wouldn't have happened without another fortunate "conquest:" on September 12, 1840, he married Clara Wieck after a courtship of many years during which the couple had to overcome numerous obstacles (not least the objections of Friedrich Wieck, Clara's father and Schumann's former piano teacher).
The long-awaited union with his beloved released enormous creative energies in Schumann; in 1842, his "chamber music year" alone, Schumann completed his three string quartets (Op. 41), his Piano Quintet (Op. 44) and Piano Quartet (Op. 47), in addition to the Phantasiestucke for piano trio (Op. 88). It was an enormous amount of work, completed amidst the demands of a growing family and between bouts of the severe depression that had plagued him since his youth. (His condition would eventually worsen to the point where, in 1854, he attempted suicide and was committed to a mental hospital for the rest of his life. The nature of Schumann's illness is still being debated among psychiatrists; bipolar--manic-depressive--disorder is perhaps the most likely diagnosis.)
The Quintet in E-flat Major, one of Schumann's most popular works, plumbs those extreme mood swings that characterized the composer's mental state at the time of composition. Few works in the entire history of music are more despondent than the Quintet's second-movement funeral march, and few are more carefree than the third-movement "Scherzo" with its rapid scales scurrying up and down. Framing those two poles are an energetic "Allegro brillante" in sonata form that combines solemn, lyrical, and playful moments, and a finale full of zest, jumping happily from key to key and culminating in a grandiose fugue.
Schumann dedicated the Quintet to his wife Clara, one of the greatest pianists of the 19th century. Throughout her long life (she outlived her husband by 40 years), she participated in so many performances of this work that biographer Nancy Reich aptly called it her "signature piece."
In chamber music written for piano and strings, the piano traditionally plays the leading role. This was the case in the piano trios and quartets of Mozart and Beethoven, and even more so in the works of the early-19th-century virtuosos--people like Moscheles or Kalkbrenner, now forgotten but crucial to Schumann's development--who wrote for piano and instrumental ensembles of varying sizes. Schumann, while not taking anything away from the piano, raised the strings to a near-equal status, entrusting them with important melodic material both individually and as a group. He was the first major composer to combine the piano with a string quartet, well established by then as the most important type of chamber ensemble. (Schubert's "Trout" Quintet, an important predecessor, includes the double bass and has only one violin.) With this work, Schumann created a whole new genre, which inspired such later masterpieces as the piano quintets of Brahms, Dvorak, and Franck.
Program notes by Peter Laki.
Recognized as one of the world's premiere string quartets, the Takacs Quartet is renowned for its ability to fuse four distinct, expressive musical personalities into gripping, unified interpretations.
Based in Boulder at the University of Colorado, the TaWcs Quartet performs 90 concerts a year worldwide, performing throughout Europe as well as in Australia, New Zealand, Japan, and Korea.
The quartet members are Associate Artists at the South Bank Centre in London, performing several concerts there each year. In 0809 the quartet builds its London programs around the music of Schumann, culminating in a recording of the piano quintet with Marc-Andre Hamelin in May 2009. Other highlights of the current season include the world premiere and performances throughout Europe of a quartet written for them by Wolfgang Rihm, three concerts to celebrate the re-opening of New York's Alice Tully Hall (featuring the complete Bart6k Cycle), and a tour to Japan and Korea in June.
The Quartet's multi-award winning recordings include the Late Quartets by Beethoven which in 2005 won "Disc of the Year" and Chamber Award from BBC Music Magazine, a Gramophone Award, and a Japanese Record Academy Award. Their recordings of the early and middle Beethoven quartets collected a Grammy, another Gramophone Award, a Chamber Music of America Award, and two further awards from the Japanese Recording Academy.
In 2005 the TakScs Quartet signed a contract with Hyperion Records, for whom their first recording, of Schubert's D. 804 and D. 810, was released in 2006. A disc featuring the Schumann Piano Quintet with Marc-Andre Hamelin will be released in 2009. The Quartet has also made 16 recordings for the Decca label since 1988. The ensemble's recording of the six Bart6k String Quartets received the 1998 Gramophone Award for chamber music and, in 1999, was nominated for a Grammy.
The quartet is known for innovative programming. In 2007 it performed "Everyman" in Carnegie Hall with Academy Award-winning actor Philip Seymour Hoffman, inspired by the Philip Roth novel. In May 2008 the quartet performed a new piece commissioned by the South Bank by James Macmillan. The Takcs has performed a music and poetry program on a 14-city US tour with the poet Robert Pinsky.
At the University of Colorado, the TakScs Quartet has helped to develop a string program with a special emphasis on chamber music in a small tightly knit community where students work in a nurturing environment best designed to help them develop their artistry. The Quartet's commitment to teaching is enhanced by summer residencies at the Aspen Festival and at the Music and at the Academy of the West, Santa Barbara. The Takacs is a Visiting Quartet at the Guildhall
School of Music and Drama, London.
The TakScs Quartet was formed in 1975 at the Franz Liszt Academy in Budapest by Gabor Takcs-Nagy, Kaoly Schranz, Gabor Ormai, and Andres Fejer. It first received international attention in 1977, winning First Prize and the Critics' Prize at the International String Quartet Competition in Evian, France. The Quartet also won the Gold Medal at the 1978 Portsmouth and Bordeaux Competitions and First Prizes at the Budapest International String Quartet Competition in 1978 and the Bratislava Competition in 1981. Violinist Edward Dusinberre joined the Quartet in 1993 and violist Roger Tapping in 1995. Violist Geraldine Walther replaced Mr. Tapping in summer 2005. Of the original ensemble, Kaoly Schranz and Andres Fejer remain. In 2001 the Takto Quartet was awarded the Order of Merit of the Knight's Cross of the Republic of Hungary.
For further information, please visit
Marc-Andre Hamelin's startlingly original blend of musicianship and virtuosity has earned him legendary status as a true avatar of the piano. Long" known for his matchless exploration of unfamiliar pianistic
terrain, Mr. Hamelin is now recognized worldwide for the originality and technical brilliance of his performances of the classic repertoire.
Mr. Hamelin's exciting and diverse 0809 season includes a return to Wigmore Hall for the London Pianoforte Series and recitals in Belgium, Switzerland, Germany, Italy, Spain, and Turkey. His North American recitals include the opening of the 126th season of the Schubert Club in St. Paul, as well as recitals for the Columbus Chamber Music Society, Texas Tech, Cornell Concert Series, Music Toronto, Wheaton College, Harvard Musical Association, the Savannah Music Festival, and the Metropolitan Museum of Art.
Last month, the Pro Musica Society of Montreal marked its 60th anniversary season celebrating the art of Marc-Andre Hamelin. In a week of concerts, Mr. Hamelin collaborated with violinist Lara St. John, the Leipzig String Quartet, soprano Karina Gauvin, and Les Violins du Roy with Bernard Labadie, completing the festivities with a solo recital.
Under exclusive contract with Hyperion Records, Mr. Hamelin has received eight Grammy nominations, including a 2009 nomination for Marc-Andre Hamelin in a State of Jazz, released in May 2008. His latest release, Godowsky Strauss Transcriptions and Other Waltzes, has also received extraordinary critical acclaim. Mr. Hamelin has recorded over 35 CDs for Hyperion.
Mr. Hamelin was recently presented with a rarely bestowed lifetime achievement prize by the German Record Critic's Award (Preis der deutschen Schallplattenkritik). He was made an Officer of the Order of Canada in 2003 and a Chevalier de I'Ordre du Quebec in 2004; he is also a member of the Royal Society of Canada. He makes his home in Boston.
UMS Archives
This evening's concert marks the Takacs Quartet's 11th appearance under UMS auspices. The Quartet made their UMS debut in February 1984 and last appeared in Ann Arbor in January 2007 at Rackham Auditorium.
UMS welcomes Marc-Andre Hamelin who makes his UMS debut this evening.
Takacs Quartet
Photo: Peter Smith
UMS Choral Union
Jerry Blackstone, Music Director and Conductor
Scott Van Ornum, Organ and Piano
Jason Harris, Assistant Conductor
Joel Hastings, Piano
Dane Crazier, Dave Alcorn, Neil Sisauyhoat, and Scott Verduin, Percussion
Felix Mendelssohn
Sergei Rachmaninoff
Jonathan Dove
Carl Orff
Thursday Evening, April 23, 2009 at 8:00
St. Francis of Assisi Catholic Church Ann Arbor
Three Sacred Pieces
Veni Domine, Op. 39, No. 1 Frohlocket, ihr Volker auf Erden, Op. 79, No. 1 Mr. Harris
All-Night Vigil, Op. 37 (excerpts) No. 1: Pfiidife, pokloiiimsia No. 2: Blagoslovi, dushe moya, Ghospoda
Karla Manson, Alto No. 3: Blazhen muzh No. 5: Nine otpushchayeshT
Adrian Leskiw, Tenor No. 6: Bogoroditse Devo No. 13: Tropar "Dries spaseiiiye" No. 14: Tropar "Voskfes iz groba" No. IB: Vzbrannoy voyevode
Glenn Miller, Guest Basso Profundo
The Passing of the Year
The narrow bud opens her beauties to the sun
Linda Hagopian, Alto, Kelly Ritter, Soprano,
Michael Peterson, Baritone Answer July Hot sun, cool fire Ah, Sun-flower! Adieu! Farewell earth's bliss! Ring out, wild bells
Carmina Burana (excerpt) O Fortuna
Mr. Van Ornum, Mr. Hastings, Mr. Crazier, Mr. Alcorn, Mr. Sisauyhoat, and Mr. Verduin
63rd Performance of the 130th Annual Season
The Steinway pianos used in tonight's concert are made possible by the Steinway Piano Gallery of Detroit.
The photographing or sound and video recording of this concert or possession of any device for such recording is prohibited.
Large print programs are available upon request.
Three Sacred Pieces
Felix Mendelssohn
Born February 3, 1809 in Hamburg, Germany
Died November 4, 1847 in Leipzig
2009 marks the 200th anniversary of the birth of Felix Mendelssohn, and the UMS Choral Union is very pleased to present three of his most spectacular sacred works for chorus. These three pieces represent a wide spectrum of the human religious experience, from the inspired awe which may only stem from experiencing the everlasting presence of the omnipotent descending to our earthly realm, to the masses desperately imploring the arrival of their salvation, to the intense ecstasy of that same intense spiritual fervor.
While perhaps best known for his impressive orchestral works, Felix Mendelssohn produced a significant number of small-scale sacred and secular works for unaccompanied voices, many of which are seldom heard. Mendelssohn's ardent devotion to the music of Johann Sebastian Bach could provide the argument that Bach's own motets provided Mendelssohn with important compositional models. In fact, in the mold of Bach's St. Matthew Passion, two of these works are composed for double chorus.
"Heilig" is an unconventional setting of the familiar liturgical text "Holy, holy, holy" in which the listener initially hears the sound of what is perhaps sanctified light descending from the heavens. The serenity of the opening bars will eventually break into the ecstatic jubilation of two choirs of angels, conversing, and at times competing with each other about their belief in the eternal holiness of God.
"Veni Domine" and "Frohlocket, ihr Volkerauf Erden" are two Advent themed works which both revel in the impending arrival of the savior. "Veni Domine" (for treble voices and organ) is a very romantic, lush, and rhapsodic work, and is more indicative of the period in which Mendelssohn himself lived and worked. "Frohlocket, ihr Volker auf Erden" is another work for double chorus, and instead of working against each other as in "Heilig," both choirs sing together in communion in a more conservative, yet just as lovely musical language.
All-Night Vigil. Op. 37 (excerpts)
Sergei Rachmaninoff
Born April 1, 1873 in Oneg, Russia
Died March 28, 1943 in Beverly Hills, California
During the late 19th century, the Moscow Synodal School of Church Singing experienced a renaissance of sorts when many of the most prominent figures of Russian music ensured that the school would transform itself from what was a mediocre musical institution (largely because of a nationwide censorship of sacred music that occurred during the middle of the century) into the top choral ensemble in Russia. Tchaikovsky, who was on the Synodal School's supervisory council, led the charge to appoint his student Vasily Orlov as the Music Director of the choir. It was because of the new artistic and performing standards laid down by Orlov and his successors that the New Russian Choral School came into being, and the Synodal Choir was established as a vehicle for the performance of choral music that otherwise might never have come into existence. Upon the acquisition of this new outlet, Russian composers began writing at a frenetic pace to utilize the gifts of the ensemble, and what resulted were a number of settings of various hymns and liturgies, including Rachmaninoff's Ail-Night Vigil.
Rachmaninoff was not himself a specifically fervent churchgoer, nor was he thoroughly acquainted with the services and traditions of the Russian Orthodox Church. However, this lack of familiarity with ritual was his greatest asset in creating a work of art which stands above other choral settings in its high degree of compositional artistry and sensitivity. At the time the All-Night Vigil was composed, Rachmaninoff had just come off of the success of Isle of the Dead, his Piano Sonata No. 2, and the choral symphony The Bells. He seemed to be destined for a less romantic and more modernist direction with his compositions; however with the Vigil, Rachmaninoff looks back to the ancient traditions of the church, including utilizing chant melodies for a majority of the 15 hymns present within.
Rachmaninoff dedicated the work to Stepan Smolensky, Director of the Synodal School from 1886-1901. Specifically composed for the Synodal Choir, the music is fraught with lush, penetrating harmonies and the pianistic idiosyncrasies of the composer. One of the choristers participating in the premiere wrote, "This only appears to be
difficult. It's difficult to play on the piano, but in the chorus it's easy." The work as a whole, despite the subdivisions created by the various hymns, is a continuous prayer, constantly rising and falling with the mood of the penitent.
Despite the critical success of the All-Night Vigil, it was Rachmaninoff's final sacred choral work. In 1917, the Bolshevik Revolution abruptly closed the Synodal School, thereby cutting off Russian composers from the muse they had adored for decades.
The Passing of the Year
Jonathan Dove
Born July 18, 1959 in London, England
British composer Jonathan Dove is one of the modern era's most prolific, celebrated, and widely performed composers. His compositional output includes more than a dozen operas, numerous choral works, and countless commissions for film and television. In addition to composing, he has served as an advisor and music director of numerous British music festivals, including the Spitalsfield Festival, of which he served as Artistic Director from 2001-2006.
The Passing of the Year was commissioned by the London Symphony Chorus in 2000. The original composition was created for double chorus with piano accompaniment; however a new orchestration for two pianos and percussion ensemble was created for the 200th anniversary of Dove's publisher. Edition Peters.
The poetry used throughout the piece shares the common theme of the passage of time and its reflection in nature, and, to a lesser extent, death itself. The initial music that the audience will hear is the ticking of a clock, persistent and pervasive, and this musical motive will continue sporadically throughout the work. Dove's choral writing is dense, fully exploiting the vocal capabilities of an eight-part chorus harmonically and rhythmically. Although the thickness of the sound is most obvious, as is what lends to the common theme of the strands of time weaving within themselves (as well as the cries of the entire human race). Dove is extremely capable of composing with Monteverdian sensitivity, and displays his deft touch with great alacrity in numerous sections of this moving work.
Program notes by Jason Harris.
Carmina Burana (excerpt)
Carl Orff
Born July 10, 1895 in Munich, Germany
Died March 29, 1982 in Munich
Jerry Blackstone is Director of Choirs and Chair of the Conducting Department at the University of Michigan School of Music, Theatre & Dance. He conducts the Chamber Choir, teaches conducting at the graduate and undergraduate levels, and administers a choral program of 11 choirs. In February 2006, Dr. Blackstone won two Grammy Awards ("Best Choral Performance" and "Best Classical Album") as chorusmaster for the critically acclaimed Naxos recording of William Bolcom's Songs of Innocence and of Experience. In November, the Chamber Choir presented a special invitational performance under Dr. Blackstone's direction at the inaugural national convention of the National Collegiate Choral Organization in San Antonio. Dr. Blackstone is also the recent recipient of the Maynard Klein Lifetime Achievement Award announced at the annual convention of the Michigan chapter of the American Choral Directors' Association (ACDA) this past October.
Choirs prepared by Dr. Blackstone have appeared under the batons of Neeme Jarvi, Nicholas McGegan, Rafael Frubeck de Burgos,
Jerry Blackstone
James Conlon, and Itzhak Perlman. Dr. Blackstone serves as Director of the U-M School of Music, Theatre & Dance summer programs for high school students and adults, which includes MPulse Ann Arbor, a series of music and performing arts camps for high school students from around the world held on the Ann Arbor campus. He also leads the Michigan Youth Ensembles Program, offering advanced instrumental and choral ensemble opportunities in Ann Arbor during the academic year for talented high school students throughout Michigan. Dr. Blackstone was named Conductor and Music Director of the UMS Choral Union in April 2004.
Dr. Blackstone is considered one of the country's leading conducting teachers, and his students have received first-place awards and have been finalists in both the graduate and undergraduate divisions of the ACDA biennial National Choral Conducting Awards competition. US News and World Report ranks the graduate conducting programs at U-M first in the nation. Dr. Blackstone has appeared as festival guest conductor and workshop presenter in 28 states as well as New Zealand, Hong Kong, and Australia. Guest appearances for the current season include festivals and conference presentations in New Zealand, Hawaii, Texas, California, Indiana, Florida, Virginia, Idaho, Illinois, North Carolina, Montana, Wisconsin, Nebraska, and Michigan.
Throughout its 130-year history, the UMS Choral Union has performed with many of the world's distinguished orchestras and conductors.
Based in Ann Arbor under the aegis of UMS, the 175-voice Choral Union is known for its definitive performances of large-scale works for chorus and orchestra. Fourteen years ago, the UMS Choral Union further enriched that tradition when it began appearing regularly with the Detroit Symphony Orchestra (DSO). Amidst performances of Stravinsky's Symphony of Psalms and Beethoven's Symphony No. 9, the UMS Choral Union has also recorded Tchaikovsky's TTie Snow Maiden with the orchestra for Chandos, Ltd.
Led by Grammy Award-winning conductor and Music Director Jerry Blackstone, the UMS Choral Union was a participant chorus in a rare performance and recording of William Bolcom's
Songs of Innocence and of Experience in Hill Auditorium in April 2004 under the baton of Leonard Slatkin. Naxos released a three-disc set of this recording in October 2004, featuring the UMS Choral Union and U-M School of Music ensembles. The recording won four Grammy Awards in 2006, including "Best Choral Performance" and "Best Classical Album." The recording was also selected as one of the New York Times "Best Classical Music CDs of 2004."
Last season brought further collaborations with the DSO, including Detroit Orchestral Hall performances of the Verdi Requiem and Beethoven's Symphony No. 9, and a special Good Friday performance in Ann Arbor's Hill Auditorium of Bach's St. Matthew Passion. In December, the UMS Choral Union performed with the Detroit Symphony for its opening weekend of performances conducted by Leonard Slatkin as the orchestra's new Music Director. These performances featured Carl Orff's popular work Carmina Burana.
UMS Archives
The UMS Choral Union began performing on December 16, 1879 and has presented Handel's Messiah in annual performances ever since. This evening's performance marks the UMS Choral Union's 412th appearance under UMS auspices.
Tonight, Dr. Blackstone makes his 15th UMS appearance following his debut leading the Choral Union in performances of Messiah in 2003 at the Michigan Theater.
UMS Choral Union
Jerry Blackstone, Conductor and Musical Director
Jason Harris, Assistant Conductor
Scott Van Ornum, Accompanist
Kathleen Operhall, Chorus Manager
Nancy K. Paul, Librarian
Donald Bryant, Conductor Emeritus
Kathryn Borden Ann Marie Borders Jamie Bott Mary Bowman Debra Joy Brabenec Ann K. Burke Carol Callan Susan F. Campbell Antonia Chan Young Cho Cheryl D. Clarkson Joy Collman Elizabeth Crabtree Marie Ankenbruck Davis Carrie Deierlein Patricia Ehlers Jennifer Freese Kathleen Gage Keiko Goto Karen Isble Jessie Kirchner Etsuko Koyama Allison Lamana Loretta Lovalvo Katherine Lu Linda Selig Marshall Toni Marie Micik Ann Ophoff Nancy K. Paul Ann Payne Sara J. Peth Margaret Dearden
Petersen Julie Pierce Kelly Ritter Vera Sacharin Erin L. Scheffler Mary A. Schieve Susie Shaefer Elizabeth Starr Jennifer Steers Jennifer Stevenson Sue Ellen Straub Ashley Talsma Virgina A. Thorne-
Herrmann Katy Vaitkevicius-Wyner
Jane VanSteenis Barbara Hertz Wallgren Rachelle Barcus Warren Margie Warrick Barbara J. Weathers Jocelyn Webber Mary Wigton Abigail Wolfe Linda Kaye Woodman Karen Woolams Kathleen Young
Paula Allison-England Olga Astapova Carol Barnhart Dody Blackstone Melissa Doyle Jeannette Faber Marilyn Finkbeiner Katherine Fisher Grace K. Gheen Kat Hagedorn Linda Magopian Sook Han Brianne Hawes Nancy Heaton Lynn Heberlein Carol Kraemer Hohnke Stefanie Iwashyna Laura Kaplan Josephine Kasa-Vubu Katherine Klykylo Jan Leventer Jean Leverich Cynthia Lunan Karla K. Manson Jennifer McFarlane-Harris Beth McNally Nicole Michelotti Carol Milstein Mary Morse Stephanie Normann Kathleen Operhall Sherry Root Susan Schilperoort Cindy Shindledecker Sue Sinta -
Beverly N. Slater Hanna Song Connie Soves Katherine Spindler Gayle Beck Stevens Ruth A. Theobald Carrie Throm Barbara Trevethan Cheryl Utiger Alice VanWambeke Mary Beth Westin Sandra K. Wiley Rebecca Wiseman Heather Zettelmaier
Gary Banks
Philip Cheng
Jason Cloen
ft. Timothy J. Dombrowski
John W. Etsweiler III
Steven Fudge
Randy Gilchrist
Matthew Gray
Arthur Gulick
Jason Harris
Steve Heath
Nathan Kalmoe
Ezra Keshet
Bob Klaffke
Mark A. Krempski
Adrian Leskiw
Richard Marsh
David Schnerer
Ray Shuster
Carl Smith
Joshua Smith
Jim VanBochove
Vincent Zuellig
Dan A. Andrews Sam Baetzel William Baxter William Beumel David Bowen Todd Bowie Paul Bowling
Michael Coster John Dryden Don Faber Kenneth A. Freeman Philip J. Gorman James Head Jason Hurst John H. Kusmiss Steven K. Lundy Edward Maki-Schramm William Malone Joseph D. McCadden Gerald Miller Nicholas Mischel Michael Peterson James Cousins
Rhodenhiser Christopher Rountree Bradley Schick Donald Sizemore Jeff Spindler John Paul Stephens Robert Stevenson William Stevenson Alexander Sutton Steve Telian Jack Tocco Terril 0. Tompkins Tom Trevethan John Van Bolt Diaan Van der Westhuizen Alexander Von Hagen-
Jamar James Wessel Walker
Julia Fischer, Milana Chernyavska,
Wolfgang Amadeus Mozart
Sergei Prokofiev
Ludwig van Beethoven
Bohuslav Martinu
Friday Evening, April 24, 2009 at 8:00 Hill Auditorium Ann Arbor
Sonata for Violin and Piano No. 1 in C Major, K. 296
Allegro Andante Menuetto I & II Allegro molto
Sonata for Violin and Piano No. 1 in f minor, Op. 80
Andante assai Allegro brusco Andante Allegrissimo
Sonata for Violin and Piano No. 8 in G Major, Op. 30, No. 3
Allegro assai
Tempo di Minuetto, ma molto moderato e grazioso
Allegro vivace
Sonata for Violin and Piano No. 3, H. 303
Poco allegro
64th Performance of the 130th Annual Season
130th Annual Choral Union Series
The photographing or sound and video recording of this recital or possession of any device for such recording is prohibited.
Tonight's performance is co-sponsored by Dennis and Ellie Serras.
Additional support for tonight's performance is provided by the Gardner and Bonnie Ackley Endowment Fund.
Special thanks to Jim Toy for participating in tonight's Prelude Dinner.
Media partnership provided by WGTE 91.3 FM and Observer & Eccentric Newspapers.
Special thanks to Tom Thompson of Tom Thompson Flowers, Ann Arbor, for his generous contribution of floral art for this evening's recital.
The Steinway piano used in tonight's recital is made possible by William and Mary Palmer and by the Steinway Piano Gallery of Detroit.
Ms. Fischer appears by arrangement with Jack Mastroianni, IMG Artists, New York, NY. Ms. Fischer is exclusive to Decca Records.
Large print programs are available upon request.
Now that you're in your seat...
The duo sonata was born as a form of amateur chamber music, to serve as genteel entertainment in the homes of the nobility and the educated middle class in 18th-century Europe. There was a vast market for this kind of composition, and Mozart worked for that market from the age of eight, when he published his first violin sonatas in Paris. Later he invested this genre, like every other he touched, with the signs of his genius. Following in Mozart's footsteps, Beethoven placed much higher technical demands on both string players and pianists in his duo sonatas as the genre began gradually to outgrow the venues of amateur music-making and conquer the concert hails.
By the 20th century, many sonatas for violin and piano were written for the greatest concert artists of the day. Yet it is clear that both Prokofiev and Martinu composed their sonatas with the classical legacy in mind, largely preserving the traditional forms and movement sequences while introducing many innovations in harmony, rhythm, and instrumental technique.
Sonata for Violin and Piano No. 1 in
C Major, K. 296(1778) Wolfgang Amadeus Mozart Born January 27, 1756 in Salzburg, Austria Died December 5, 1791 in Vienna
Snapshot of History... In 1778:
George Washington's army spends the winter at Valley Forge and triumphs in the Battle of Monmouth
War of Bavarian Succession in Germany and Bohemia
Milan's La Scala opera house opens its doors
Voltaire and Rousseau die within a few weeks of each other
When Mozart and his mother lived in Mannheim in 1777-78, they stayed at the home of a certain Anton Joseph Serrarius, an official at the electoral court. They had free rent, firewood and candles in exchange for piano lessons Mozart had to give Serrarius's teenage stepdaughter Therese Pierron. The "house nymph," as Mozart called her in one of his letters, played well enough to "rattle off" the C-Major piano concerto (No. 8, K. 246); before leaving for Paris, Mozart presented her with the manuscript of the present sonata.
An effervescent and lyrical work, it offers equal challenges to the pianist and the violinist, which was still somewhat unusual at a time when duo sonatas were still regarded, first and foremost, as keyboard works with violin accompaniments. Yet the violin gets to share all the important melodic material, and even when it accompanies, as at
the beginning of both the second and the third movements, it contributes a special timbre that is by no means negligible.
Sonata for Violin and Piano No. 1 in
f minor. Op. 80(1946) Sergei Prokofiev
Born April 27, 1891 in Sontsovka, Ukraine Died March 5, 7953 in Moscow
The eight-year gestation period of this sonata (unusually long for the fast-working Prokofiev), encompasses the years of World War II, years the composer spent partly in evacuation in the Caucasus, later in Alma-Ata, Kazakhstan, and finally in the Ural mountains. It would be easy to jump to the conclusion that the dark and dramatic tone of the work has to do with those circumstances. But the likely truth is that Prokofiev did most of the actual work on this sonata at the beginning and at the end of the period in question (that is, before and after the war). In the meantime, and during the time spent in evacuation, he worked on other projects, including the Sonata No. 2 in D Major (originally for flute and piano and later transcribed for violin). That work, begun later but finished and published before the f-minor sonata, is a total opposite as far as mood and character are concerned: it is a bright and playful composition that has long been a universal favorite.
The f-minor work reveals a different Prokofiev, a composer who is clearly searching for new forms of expression. This search is evident from the start:
the sonata opens with a somber "Andante assai" whose first theme, played by the piano in octaves, seems to be literally "groping" for rhythmic and melodic direction. The violin answers with a more animated theme; these two themes provide much of the movement's material until the final section where the violin begins a series of very fast ascending and descending scales, played with mute and marked freddo (cold). Of this passage, Prokofiev told David Oistrakh (who played the work's premiere) that it had to sound as "wind in a graveyard."
The second-movement, "Allegro brusco," is one of the few instances where Prokofiev seems influenced by his younger colleague and rival, Dmitri Shostakovich. The way repeated single notes are used to generate the rhythmic momentum of the entire movement is strongly reminiscent of Shostakovich's scherzos. Yet Prokofiev fashioned this material into a sonata form complete with a contrasting (very melodious) second theme, development, and recapitulation. Prokofiev rarely used as many modern (non-triadic) harmonies and dramatic minor-second clashes as he did in this movement.
The third-movement, "Andante," is a true nocturne (although not identified as such by the composer). An expressive violin melody is surrounded by iridescent 16th-triplet figurations that move from key to key with a grace and elegance typical of Prokofiev. After a middle section built around a poignant three-note motif, the earlier melody retums. The frequent (and ever slower) repeats of a single rhythmic figure give the conclusion of the movement a rather ominous quality.
The finale is possibly the most ambiguous movement in the sonata. It starts out as a distorted dance where a symmetrical phrase structure is disguised by many extra beats and metric irregularities (5+7+7+88). After a second theme (a more conventional lyrical melody in a slower tempo), this material retums in an expanded form. A dramatic transition leads to the surprising return of the "wind-in-the-graveyard" music from the first movement. A few measures from the movement's lyrical second theme conclude the sonata in a poignant new harmonization, with many chromatic tones. There is a full cadence on the tonic (albeit a rather unorthodox one); still, one is left with a singular feeling of half-resolution at the end.
Sonata for Violin and Piano No. 8 in
G Major, Op. 30, No. 3 (1802) Ludwig van Beethoven
Bom December 15 or 76, 1770 in Bonn, Germany Died March 26, 1827 in Vienna
Snapshot of History... In 1802:
The West Point Military Academy is established
Napoleon Bonaparte is confirmed as First Consul in France
William Wordsworth writes his sonnet "Upon Westminster Bridge"
Victor Hugo is born
The first biography of J. S. Bach (written by J. N. Forkel) is published
Of the 10 Beethoven sonatas for piano and violin, the three that form Op. 30 were written in 1802 and published the following year with a dedication to Czar Alexander I of Russia. Central European musicians at one time dubbed the third sonata of the set the "Champagne Sonata" because of the way its first theme explodes, spurting up like sparkling wine when the bottle is opened. One can even hear the popping of the cork, represented by an unaccompanied high sforzato (accented) note on the violin. Of course, the name, which has reached this writer through oral tradition, is entirely apocryphal; yet it expresses something of the cheerful mood of the whole sonata. Both the first and the last movements are of a relentless, buoyant vitality; there is no time for a slow movement in between, only for a gentle and graceful minuet, with a slight touch of nostalgia for the 18th century which has just ended.
Sonata for Violin and Piano No. 3, H. 303
Bohuslav Martinu
Born December 8, 1890 in Policka, Bohemia Died August 28, 1959 in Liestal, Switzerland
Snapshot of History... In 1944:
Allied troops land in Normandy, virtually guaranteeing the defeat of Germany in World War II
Bertolt Brecht writes The Caucasian Chalk Circle
In the US, Bela Bartbk writes his Sonata for Unaccompanied Violin; Paul Hindemith's Symphonic Metamorphosis of Themes by Carl Maria von Weber and Aaron Copland's Appalachian Spring are heard for the first time
Piet Mondrian dies in New York and Vasily Kandinsky in Paris
Judy Garland stars in Meet me in St. Louis, Cary Grant in Arsenic and Old Lace, and Laurence Olivier in Henry V
The present sonata is an unusually effusive, almost Romantic work by a composer more frequently associated with neo-classicism and "new objectivity." The difficult times certainly had something to do with this outpouring of emotions. An emigre twice over, the Czech-born Martinu had to leave France, where he had lived for many years, at the outbreak of World War II and flee to the US with his French wife. The composer's heart was filled with anguish over those left behind, homesickness, hope, and so many other feelings, all of which found expression in this sonata, composed in New York in December 1944.
Like the vast majority of Martinu's sonatas, this work was originally planned in three movements but ended up having four. As biographer Harry Halbreich reports, the first movement the composer was inspired to write was the scherzo--the "extra" movement, after which he still had to complete the "regular" fast-slow-fast sequence.
The sonata was premiered at Carnegie Hall on December 18, 1945, by Cuban-born violinist Angel Reyes (who later taught at the University of Michigan) and Polish-born pianist Artur Balsam. The following day, writer-composer Paul Bowles wrote in the New York Herald Tribune:
It is a discursive piece, full of bright, confusing shimmer, vigorous dance rhythms, and very listenable bits of melodic writing. It is also eclectic in its influences, with
Brahms winning out over other romantic and impressionistic contestants. [The second movement contains a passage strongly reminiscent of the Alto Rhapsody, Op. 53! --P.L.] Probably this stylistic mixture, more than any other element, makes the work seem episodic. Still, it is so well done that one's final impression is simply that he would like to hear it again.
Program notes by Peter Laki.
German violinist Julia Fischer is recognized worldwide for possessing a talent of uncommon ability and as an exceptionally gifted performer, reflected in the numerous awards and effusive acclaim she has received for both her live performances and recordings, including being named Gramophone magazine's youngest ever "Artist of the Year" in 2007.
A student of famed violinist Ana Chumachenco, at 25 years old Julia Fischer is herself Germany's youngest Professor of Violin at the Hochschule fur Musik und Darstellende Kunst Frankfurt am Main. At just 11 years old she won the Yehudi Menuhin International Violin Competition, an event that catapulted her toward a career as a soloist and that has subsequently seen her perform with major orchestras throughout Europe and North America.
During the current season, Ms. Fischer will perform with the Chicago Symphony and Los Angeles Philharmonic, return to the New York Philharmonic, Carnegie Hall with the Bavarian Radio Symphony Orchestra, Boston Symphony, Philadelphia Orchestra, Cincinnati Symphony, and San Francisco Symphony. She also performed in 10 North American cities in March as leader and soloist for the 50th-Anniversary tour of the Academy of St. Martin-in-the-Fields, a tour that also visited nine German and Austrian cities in January. A prolific recitalist, Ms. Fisher performs in nine North American cities with pianist Milana Chernyavska in April and May 2009 and during the 0910 season, will tour her solo Bach sonatas and partitas in Europe and the US.
Ms. Fischer is an exclusive recording artist for Decca. Her first album of Bach concerti recorded with the Academy of St. Martin-in-the-Fields-featuring her as both leader and soloist--was released in January 2009. Previous recordings were
released on the PentaTone label; her final recording for the label will be of Schubert's complete piano and violin sonatas with Martin Helmchen. Ms. Fischer resides in Munich, Germany.
Milana Chernyavska was born in Kiev in the Ukraine. At the age of five she took her first piano lessons before entering the School for Gifted Children at the Tchaikovsky Conservatoire two years later. At seven, she performed her first concert in the Great Philharmonic Hall in Kiev and then went on to win the first international chamber music competition Concertino Praga at only 12 years of age.
In 1990, Ms. Chernyavska graduated with distinction from the Tchaikovsky Conservatoire, where she studied with Professor Sagaidachny. She later undertook master classes with Professors Baschkirov and Bloch, and continued her studies at the Academy for Music and Theatre in Munich with Professors Hoehenneder and Oppitz.
Her artistic abilities have won her many prizes at both national and international levels, including a Gold Medal at the Vladimir and Regina Horowitz Competition in 1994. Since 1994, she has also
held the title "Outstanding Artist in the Ukraine." Since 1998 Ms. Chernyavska has appeared as soloist with a number of orchestras, including the Munich Chamber and Ukrainian National Symphonic Orchestras. Additionally, she was recorded at performances with the Bavarian, Hessian, Middle German (MDR), and North German (NDR) Radio; as well as for the BBC, the VRS, Radio France, and the National Ukrainian Radio. She has produced solo and chamber music recordings for EMI, Naxos, Claves, Avie, and Ars Musici. With EMI she also produced a CD which was selected as one of the "Best CDs of 2001" by the BBC Music Magazine.
Ms. Chernyavska has performed around the globe, including at Wigmore Hall in London, Concertgebouw in Amsterdam, Carnegie Hall in New York, Herkulessaal in Munich, the Conservatoire in Moscow, the St. Petersburg Philharmonic Hall, and the Suntory Hall in Tokyo. Ms. Chernyavska is highly sought after as a chamber musician: besides with her own quartet-the Milander Quartet--she has collaborated with Julia Fischer, Elisabeth Batiashwili, Adrian Brendel, Daniel Miiller-Schott, Vogler-Quartett, Daniel Rohn, Rudens Turku, Susanna Henkel, and Nikolas Koeckert.
Ms. Chernyavska has previously taught at the Academy for Music and Theatre in Munich and at the Conservatory of Feldkirch, Austria.
UMS Archives
This evening's recital marks Julia Fischer's second appearance under UMS auspices. Ms. Fischer made her UMS debut as violin soloist with the St. Petersburg Philharmonic Orchestra in November 2007 at Hill Auditorium.
UMS welcomes Milana Chernyavska who makes her UMS debut this evening.
Julia Fischer
Compagnie Marie Chouinard
Marie Chouinard, Executive and Artistic Director
Mark Eden-Towle, Eve Gamier, Genevieve Gauvreau, Masaharu Imazu, Lucie Mongrain, Carol Prieur, Gerard Reyes, Lucie Vigneault, James Viveiros, Won Myeong Won
Saturday Evening, April 25, 2009 at 8:00 Power Center Ann Arbor
Orpheus and Eurydice (2008)
Ballet in one act; duration approximately 65 minutes performed without intermission.
Choreography and Artistic Direction: Marie Chouinard
Original Music: Louis Dufort
Lighting, Set Design,and Props: Marie Chouinard
Costumes: Vandal
Make-up: Jacques-Lee Pelletier
Text: Excerpts from Profanations by Giorgio Agamben, with the author's permission
Lighting Design Assistants: Alexis Bowles and Erwann Bernard Set Design Assistant: Eric Belley Sound Advisor: Edward Freedman Props Construction: Marilene Bastien Production Manager: Guylaine Savoie
65th Performance of the 130th Annual Season
18th Annual Dance Series
The photographing or sound and video recording of this performance or possession of any device for such recording is prohibited.
Tonight's performance is funded in part by the National Dance Project of the New England Foundation for the Arts, with lead funding from Doris Duke Charitable Foundation. Additional funding provided by The Andrew W. Mellon Foundation, the Ford Foundation and MetLife Foundation.
Media partnership provided by Metro Times, Between the Lines, and Michigan Radio 91.7 FM.
Large print programs are available upon request.
Orpheus and Eurydice (2008)
Touring Crew Pamela Newell, Rehearsal Director and Artistic Director on Tour
Jean La Haye, Tour Director
Francois Marceau, Technical Director and Lighting Manager Marilene Bastien, Stage Manager Pierre-Olivier Perron, Sound Engineer
A production of the Compagnie Marie Chouinard, in co-production with the Canada Dance Festival (Ottawa), Carolina Performing Arts (Chapel Hill), Festival TransAmeriques (Montreal), Fondazione Musica per Roma (Roma), the Gulbenkian Foundation (Lisbon), Movimentos Festwochender Autostadt (Wolfsburg), the National Arts Centre (Ottawa), Place des Arts (Montreal), Theatre de la Ville (Paris), with the support of ImPulsTanz (Vienna), and the financial support of the New England Foundation for the Arts and the Imperial Tobacco Foundation.
The Compagnie Marie Chouinard wishes to thank the Conseil des arts et des lettres du Quebec, the Canada Council for the Arts, the Conseil des Arts de Montreal, the Department of Foreign Affairs, and International Trade (Canada).
Photo: Marie Chouinard
Note on the Program
We are talking to you here about creation, transgression, derision-veneration, confusion-fusion, the manufacturing of meaning, the emergence of consciousness.
A journey through hell in broad daylight. A flashback to a time before death. "Being-in-the-world." "Staking one's life." "Living together." A space-time like a strange object reverberating with light, later, farther....
Orpheus is the essential poet, but no trace of his works remains: as if all the letters and sounds of his poems had compacted to black holes in the cosmos, the mouth open, black with horror, with love. While Eurydice, a tree nymph, gives us her fruit to this day.
Out of the darkness you will hear excerpts from Giorgio Agamben's magnificent Profanations, spoken by Carol Prieur:
To be moved is to feel the impersonal within us, to experience Genius...
On the threshold of the zone of nonconsciousness. Ego must lay down its properties, it must be moved. And passion is the tightrope, stretched between us and Genius, on which our life moves back and forth.
...renounces its charms and knows that whatever strength he has left belongs to him. Gestures: for the first time, gestures that are truly our own. shady and twisted forms...
...elements of the final state are hidden precisely in that which today seems odious and trivial...
...claim in each thing its part of forgetting. And this part has to do with the end of time, just as absence of mind is only the herald of redemption.
The bead of light that breaks in our defects and petty abjections was nothing less than redemption.
This is time exhausted and suspended, the sudden penumbra in which we begin to forget about Genius; this is night fulfilled.
We have been accompanied by Claude Gauvreau (1925-1971) and its explorean poems:
" ghederassann omniomnemm wakule orod ecmon zdhal irchpt...."
--Marie Chouinard
Louis Dufort (Composer) was born in Montreal in 1970. Trained as a classical guitarist, he became interested in electroacoustic composition and completed his master's degree at the Conservatoire de Musique de Montreal. His musical compositions have resulted in several international awards. A regular contributor to Compagnie Marie Chouinard since 1996, he is a member of the artistic committee of the Quebec Association for electroacoustic composition and research (ACREQ).
Liz Vandal (Costumes) began her career in 1990 as a fashion designer, quickly establishing a solid reputation. She is a costume designer, make-up artist, and hairstylist, and her work in film, theater, and dance provides opportunities to fully explore her creativity. She has worked with the likes of La La La Human Steps and Les Grands Ballets Canadiens de Montreal. Liz Vandal has designed the costumes for eight works in Compagnie Marie Chouinard's repertoire.
In an article in 1985 on his living sculptures, Germany's Mode Trend magazine termed Jacques-Lee Pelletier (Make-up) an avant-garde make?up artist, a fashion designer, a philosopher, and a poet of beauty. In addition to teaching at the National Theatre School of Canada, Jacques-Lee Pelletier works with top directors and specialists in theater, dance, photography, video, advertising, hairdressing, and television. He has been one of Marie Chouinard's collaborators since 1987.
Pamela Newell (Rehearsal Director) danced for Compagnie Marie Chouinard for six years (1992-1998). Before re-joining the company as Rehearsal Director and Artistic Director on Tour in 2007, she completed a master's degree in dance at Universite du Quebec a Montreal (UQAM). On the dance faculty of Concordia University since 1998, Pamela has also taught at UQAM, Harvard University, and the Boston Ballet Summer Dance Program. She is a regular contributor to The Dance Current magazine.
Please refer to page 35 in your program book for a biography of Marie Chouinard and Compagnie Marie Chouinard.
Compagnie Marie Chouinard
Marie Chouinard, Executive and Artistic Director
Tessa Goulet, Executive Direction Coordinator
Paul Tanguay, Director of International Development
Guylaine Savoie, Production Director
Monika Gruszka, Administrative Coordinator
Audraine Houel, Communications Coordinator
Julie Emery, Office Clerk
Pamela Newell, Rehearsal Director
Martha Carter, Isabelle Poirier, and Ami Shulman,
Additional Rehearsal Directors
Mark Eden-Towle, Eve Gamier, Masaharu Imazu, Carla Maruca, Lucie Mongrain, Carol Prieur, Manuel Roque, Dorotea Saykaly, James Viveiros and Won Myeong Won -Kimberley de Jong (on maternity leave)
Julie George (Europe), Cathy Pruzan, Art Becofsky Associates (US), Pilar de Yzaguirre, YSARCA S.L (Spain), Paul Tanguay (Europe, Asia, America--except US)
Board of Directors
Marcel Cote, President
Stephane Leclerc, Treasurer
Francine Allaire, Patrick Beauduin, Marie Chouinard,
Pierre Despres, Josette Murdock, Pierre Paquet, Francois
Taschereau, Anik Trudel
Compagnie Marie Chouinard
Marie Chouinard, Executive and Artistic Director
Sunday Afternoon, April 26, 2009 at 4:00 Power Center Ann Arbor
Prelude to the Afternoon of a Faun (1994) Choreography and Artistic Direction: Marie Chouinard
Duration: approximately 10 minutes
Created at the Taipei International Festival, Taiwan, 1994
Dancer: Lucie Mongrain
Music: Prelude a I'apres-midi d'un faune, Claude Debussy (1894)
Lighting: Alain Lortie
Costume: Luc Courchesne, Louis Montpetit, and Marie Chouinard
Make-up: Jacques-Lee Pelletier
The Rite of Spring (1993)
Choreography and Artistic Direction: Marie Chouinard
Duration: approximately 50 minutes
Created at the National Arts Centre, Ottawa, Canada, 1993
Dancers: Mark Eden-Towle, Eve Gamier, Genevieve Gauvreau, Masaharu Imazu, Lucie Mongrain, Carol Prieur, Gerard Reyes, Lucie Vigneault, James Viveiros, Won Myeong Won
Music: Signatures sonores, Rober Racine (1992)
The Rite of Spring, Igor Stravinsky (1913), by arrangement with
Boosey & Hawkes, Inc., publisher and copyright owner
Lighting: Marie Chouinard
Props: Zaven Pare
Make-up: Jacques-Lee Pelletier
Hairstylist: Daniel Ethier
66th Performance of the 130th Annual Season
18th Annual Dance Series
The photographing or sound and video recording of this performance or possession of any device for such recording is prohibited.
This afternoon's performance is funded in part by the National Dance Project of the New England Foundation for the Arts, with lead funding from Doris Duke Charitable Foundation. Additional funding provided by The Andrew W. Mellon Foundation, the Ford Foundation and MetLife Foundation
Media partnership provided by Metro Times, Between the Lines, and Michigan Radio 91.7 FM.
Large print programs are available upon request.
Prelude to the Afternoon of a Faun (1994)
Marie Chouinard Choreography and Artistic Direction
Duration: approximately 10 minutes
Created at the Taipei International Festival, Taiwan, 1994
Lucie Mongrain
Prelude a I'apres-midi d'un faune. Claude Debussy (1894)
Alain Lortie
Luc Courchesne, Louis Montpetit, and Marie Chouinard
Jacques-Lee Pelletier
A Compagnie Marie Chouinard production, co-produced with the National Arts Centre (Ottawa) and the Laidlaw Foundation (Toronto).
The Rite of Spring (1993)
Marie Chouinard Concept, Choreography, and Artistic Direction
Duration: approximately 50 minutes
Created at the National Arts Centre, Ottawa, Canada, 1993
Dancers Mark Eden-Towle, Eve Gamier, Genevieve Gauvreau, Masaharu Imazu, Lucie
Mongrain, Carol Prieur, Gerard Reyes, Lucie Vigneault, James Viveiros, Won Myeong Won
Music Signatures sonores, Rober Racine (1992)
The Rite of Spring, Igor Stravinsky (1913), by arrangement with Boosey & Hawkes, Inc., publisher and copyright owner
Lighting Marie Chouinard
Costumes Vandal
Props Zaven Pare
Make-up Jacques-Lee Pelletier
Hair Stylist Daniel Ethier
Touring Crew
A Compagnie Marie Chouinard production, co-produced with the National Arts Centre (Ottawa), the Festival international de nouvelle danse (Montreal), and the Kunstencentrum Vooruit (Ghent, Belgium).
Pamela Newell, Rehearsal Director and Artistic Director on Tour
Jean La Haye, Tour Director
Francois Marceau, Technical Director and Lighting Manager
Marilene Bastien, Stage Manager
Pierre-Olivier Perron, Sound Engineer
The Compagnie Marie Chouinard wishes to thank the Conseil des arts et des lettres du Quebec, the Canada Council for the Arts, the Conseil des Arts de Montreal, and the Department of Foreign Affairs, and International Trade (Canada).
Rober Racine (Music, The Rite of Spring) studied literature, art history, and film at the Universite de Montreal. His works have been presented in numerous galleries and museums in Canada, the US, Europe, Australia, and Japan. He exhibited his works at the Sydney Biennial in Australia (1990), the Venice Biennial (1990), and at Documenta in Kassel, Germany (1992). In 2001, the National Gallery of Canada mounted a retrospective of his works. He has published the following novels: Le Mai de Vienne (1992), La-bas, tout pres (1997), and L'Ombre de la terre (2002); a short narrative: Le Dictionnaire (1998); and a dramatic text: Le Cceur de Mattingly. In 1999, he was awarded two prestigious Canadian awards: the Prix Ozias Leduc and the Prix Louis Comtois for the body of his work. Rober Racine has collaborated with Marie Chouinard since 1978.
Alain Lortie's (Lighting, Prelude to the Afternoon of a Faun) personal style is well known. His colors and above all his great sensitivity to the work of other artists have earned him fruitful collaborations with the most prestigious names in song, music, dance, and theater. Self-taught, he is constantly developing on a technical and artistic level and has won a number of awards for his talented work. Alain Lortie is also a consultant and designer for many architectural projects and numerous cultural events and festivals.
Luc Courchesne (Costumes, Prelude to the Afternoon of a Faun) holds a bachelor's degree in communication and a master's in visual science. He has been interested in interactive video since 1984 and, in collaboration with a group from MIT, made Elastic Movies, one of the first works in the genre. His installations and works have been shown in a dozen countries, notably at the Museum of Modern Art (MOMA) in New York. He has been a professor at the School of Industrial Design at the Universite de Montreal since 1986.
Louis Montpetit (Costumes, Prelude to the Afternoon of a Faun) studied science and electroacoustic music and has simultaneously pursued numerous creative paths, leading him from costume design to structural topography. He is equally interested in illustration and composition. His images have illustrated the covers of numerous
books and magazines. He has composed music for several works of choreography as well as soundtracks for films and videos. He also works with computer-generated illustration and designs multidisciplinary CD-ROMs.
Liz Vandal (Costumes, The Rite of Spring) began her career in 1990 as a fashion designer, quickly establishing a solid reputation. She is a costume designer, make-up artist, and hairstylist, and her work in film, theater, and dance provides opportunities to fully explore her creativity. She has worked with the likes of La La La Human Steps and Les Grands Ballets Canadiens de Montreal. Liz Vandal has designed the costumes for eight works in Compagnie Marie Chouinard's repertoire.
In an article in 1985 on his living sculptures, Germany's Mode Trend magazine termed Jacques-Lee Pelletier (Make-up, Prelude to the Afternoon of a Faun and The Rite of Spring) an avant-garde make-up artist, a fashion designer, a philosopher, and a poet of beauty. In addition to teaching at the National Theatre School of Canada, Jacques-Lee Pelletier works with top directors and specialists in theater, dance, photography, video, advertising, hairdressing, and television. He has been one of Marie Chouinard's collaborators since 1987.
Pamela Newell (Rehearsal Director) danced for Compagnie Marie Chouinard for six years (1992-1998). Before re-joining the company as Rehearsal Director and Touring Artistic Director in 2007, she completed a master's degree in dance at Universite du Quebec a Montreal (UQAM). On the dance faculty of Concordia University since 1998, Pamela has also taught at UQAM, Harvard University, and the Boston Ballet Summer Dance Program. She is a regular contributor to The Dance Current magazine.
Between 1978 to 1990, Marie Chouinard, performing alone throughout the world, created and interpreted over 50 solo choreographic productions, action-performances, vocal works, installations, and films. Her travels (to New York, Berlin, Bali, and Nepal), her curiosity, her eclectic studies, and her understanding of various techniques allow her to explore the body in different ways. In 1990 she formed the Compagnie Marie Chouinard. In July 2007, the company moved into its new home, La Bibliotheque--Espace Marie Chouinard, located at 4499 avenue de I'Esplanade in Montreal.
Since its creation, the company has presented over 900 performances around the world. The company receives invitations from the world's most prestigious theaters and festivals. Compagnie Marie Chouinard regularly receives invitations from some of the top arts presenters in the world: the Biennale de Venise, the ImPulsTanz-Vienna International Dance Festival, the Theatre de la Ville in Paris, the Gulbenkian Foundation in Lisbonne, Movimentos Festwochender Autostadt in Wolfsburg, Fondazione Musica Per Roma in Rome, as well as Festival TransAmeriques, Place des Arts in Montreal, and the National Arts Centre in Ottawa. The company often has the honor of opening or closing festivals, and it is regularly invited to present more than one piece from
its repertory. Fifteen years after its creation, for instance, the masterpiece The Rite of Spring is still presented. Another work by Marie Chouinard, 24 Preludes by Chopin, became part of the National Ballet of Canada's repertory in 2008.
For the past few years, Marie Chouinard has designed the lights for her own choreography; she also signs scenagrophies and production pictures. Marie Chouinard's opus includes multimedia (the interactive installation Cantique no 3, the video installation Icones, created with Luc Courchesne), and film (the movie bODY_rEMIXgOLDBERG_ VARIATIONS) projects. Marie Chouinard has written a poetry book, Chantier des extases, published by les editions du passage, and she made an appearance in Jean-Daniel Lafond's film Folle de Dieu.
Marie Chouinard was appointed Officer of the Order of Canada in 2007. She has also received several awards for her contribution to the world of dance and arts: in 2006, the Grand Prix du Conseil des arts de Montreal; in 2003, the Governor General's Performing Arts Awards in Ottawa; in 2000, a Bessie Award in New York ; and in 1994, the Paper Boat Award in Glasgow.
This weekend's performances mark Compagnie Marie Chouinard's UMS debut.
Marie Chouinard
Photo: Laurence Labat
LJMS's Education Program deepens the relation?ship between audiences and art, while efforts in Audience Development raise awareness of the positive impact the performing arts and education can have on the quality of life in our community. The program creates and presents the highest quality arts education and community engagement experiences to a broad spectrum of community constituencies, proceeding in the spirit of partnership and collaboration. Details about all educational and residency events are posted online at approximately one month before the performance date. Join the UMS Email Club to have updated event information sent directly to you. For immediate event info, please email, or call the numbers listed below.
Please call 734.647.6712 or email for more information.
The UMS Adult and Community Engagement Program serves many different audiences through a variety of educational events. With over 100 unique regional, local, and university-based partnerships, UMS has launched initiatives for the area's Arab American, African,
MexicanLatino, AsianChinese, and African American audiences. UMS has earned national acclaim for its work with diverse cultural groups, thanks to its proactive stance on part?nering with and responding to individual com?munities. Though based in Ann Arbor, UMS Audience Development programs reach the entire southeastern Michigan region.
Public Programs
UMS hosts a wide variety of educational and community events to both inform the public about arts and culture and provide forums for discussion and celebration of the performing arts. These events include:
PREPs Pre-performance lectures
Meet the Artists Post-performance Q&A with the artists
Artist Interviews Public dialogues with performing artists
Master Classes Interactive workshops
PanelsRound Tables In-depth adult edu?cation related to a specific artist or art form
Artist-in-Residence Artists teach, create, and meet with community groups, university units, and schools
Book Clubs Discussions on UMS-related literature
Community Receptions Opportunities for audiences to network and socialize with each other and with artists
UMS is grateful to the University of Michigan for its support through the U-MUMS Partner?ship Program of many educational activities
scheduled in the 0809 season. These activities '"......'
provide opportunities for students, faculty, and other members of the University and southeast Michigan communities to deepen their connection with the artists on the UMS series.
The NETWORK: UMS African American Arts Advocacy Committee
Celebrate. Socialize. Connect. 734.615.0122 I www.ums.orgnetwork
The NETWORK was launched during the 0405 season to create an opportunity for African-Americans and the broader community to cele?brate the world-class artistry of today's leading African and African-American performers and creative artists. NETWORK members connect, socialize, and unite with the African-American community through attendance at UMS events and free preor post-concert receptions. NET?WORK members receive ticket discounts for selected UMS events; membership is free.
Rubberbandance Group
Lawrence Brownlee Martin Katz
Sweet Honey In The Rock
Jazz at Lincoln Center Orchestra with Wynton Marsalis
Please call 734.615.0122 or email for more information.
UMS has one of the largest K-12 education ini?tiatives in the state of Michigan. Designated as a "Best Practice" program by ArtServe Michigan and the Dana Foundation, UMS is dedicated to making world-class performance opportunities and professional development activities available to K-12 students and educators.
UMS Youth
0809 Youth Performance Series
These daytime performances give pre-K through high school students the opportunity to see the same internationally renowned per?formances as the general public. The Winter 2009 season features special youth presenta?tions of Rubberbandance Group, Sweet Honey
In The Rock, Jazz at Lincoln Center Orchestra, Aswat: Celebrating the Golden Age of Arab Music, and Dan Zanes & Friends. Tickets range from $3-6 depending on the performance; each school receives free curriculum materials.
Teacher Workshop Series
UMS is part of the Kennedy Center Partners in Education Program, offering educators mean?ingful professional development opportunities. Workshops, cultural immersions, and book clubs bring the best in local and national arts education to our community, through presen?tations by Kennedy Center teaching artists, UMS performing artists, and local arts and cul?ture experts. This series focuses on arts integra?tion, giving teachers techniques for incorporating the arts into everyday classroom instruction.
Some think anticipation.
We think track record.
New York Philharmonic
Private Banking Investment Banking Asset Management
We look at things from a different perspective for the benefit of our clients. An approach we share with the New York Philharmonic. As Global Sponsor we are proud to support a renowned institution that continuously sets new standards in innovation redefining classical music. This mutual tradition of challenging conventional thinking helps us to realize new opportunities for our clients. This has been our ambition since 1856.
Thinking New Perspectives. CREDIT SUISSE
K-12 Arts Curriculum Materials
UMS creates teacher curriculum packets, CDs, and DVDs for all of the schools participating in UMS's Youth Education Program. Further, the UMS curricular materials are available online at no charge to the general public. All materials are designed to connect to the curricular stan?dards via the Michigan Grade Level Content Expectations.
Teacher Appreciation Month!
March 2009 has been designated UMS Teacher Appreciation Month. All teachers will be able to purchase tickets for 50 off at the venue on the night of the performance (subject to availability). Limit of two tickets per teacher, per event. Teachers must present their official school ID when purchasing tickets. Check out for March events!
School FundraisersGroup Sales
Raise money for your school and support the arts. UMS offers a wide range of fundraising opportunities and discount programs for schools. It is one of the easiest and most rewarding ways to raise money. For information contact UMS Group Sales at or 734.763.3100.
Teacher Advisory Committee
This group of regional educators, school administrators, and K-12 arts education advo?cates advises and assists UMS in determining K-12 programming, policy, and professional development. If you would like to participate, please contact
UMS is in partnership with the Ann Arbor Public Schools and the Washtenaw Intermediate School District as part of the Kennedy Center: Partners in Education Program. UMS also participates in the Ann Arbor Public Schools' "Partners in Excellence" program.
UMS Teen Teen Tickets
Teens can attend UMS performances at signifi?cant discounts. Tickets are available to teens for $10 the day of the performance (or on the Friday before weekend events) at the Michigan League Ticket Office and $15 beginning 90 minutes before the performance at the venue. One ticket per student ID, subject to availability.
Breakin' Curfew
In a special collaboration with the Neutral Zone, Ann Arbor's teen center, UMS presents this yearly performance highlighting the area's best teen performers. This show is curated, designed, marketed, and produced by teens under the mentorship of UMS staff. This year's Breakin' Curfew takes place on Friday, May 8, 2009.
UMS Family
The Winter 2009 season features family per?formances of Rubberbandance Group and Dan Zanes & Friends. Family-friendly performances also include the Silk Road Ensemble and Kodo. Please visit for a complete list of family-friendly performances.
The 0809 Family Series is sponsored by TOYOTA
Classical Kids Club
Parents can introduce their children to world-renowned classical music artists through the Classical Kids Club. Designed to nurture and cre?ate the next generation of musicians and music lovers, the Classical Kids Club allows students in grades 1-8 to purchase tickets to all classical music concerts at a significantly discounted rate. Parents can purchase up to two children's tickets for $10 each with the purchase of a $20 adult ticket beginning two weeks before the concert. Seating is subject to availability. UMS reserves a limited number of Classical Kids Club tickets to each eligible performance--even those that sell out! For information, call 734.764.2538 or visit and sign up for UMS E-News and check the box for Classical Kids Club.
Education Program Supporters
iifam&f Ford Motor Company Fund sand Community Services
Michigan Council for Arts and Cultural Affairs University of Michigan
Anonymous Arts at Michigan Bank of Ann Arbor Bustan al-Funun Foundation
for Arab Arts The Dan Cameron Family
FoundationAlan and
Swanna Saltiel CFI Group Community Foundation for
Southeast Michigan Doris Duke Charitable
DTE Energy Foundation The Esperance Family Foundation GM Powertrain
Willow Run Site David and Phyllis Herzig
Endowment Fund Honigman Miller Schwartz
and Cohn UP JazzNet Endowment WK Kellogg Foundation Masco Corporation
Miller, Canfield. Paddock and
Stone, P.L.C. The Mosaic Foundation,
(of R. & P. Heydon) National Dance Project of the
New England Foundation
for the Arts
National Endowment for the Arts Performing Arts Fund Prudence and Amnon
Rosenthal K-12 Education
Endowment Fund Rick and Sue Snyder Target
UMS Advisory Committee University of Michigan Credit Union University of Michigan
Health System U-M Office of the Senior Vice
Provost for Academic Affairs U-M Office of the Vice
President for Research Wallace Endowment Fund
UMS offers four programs designed to fit stu?dents' lifestyles and save students money. Each year, 18,000 students attend UMS events and collectively save over $350,000 on tickets through these programs. UMS offers students additional ways to get involved in UMS, with internship and workstudy programs, as well as a UMS student advisory committee.
Half-Price Student Ticket Sales
At the beginning of each semester, UMS offers half-price tickets to college students. A limited number of tickets are available for each event in select seating areas. Simply visit www.ums.orgstudents, log in using your U-M unique name and Kerberos password, and fill out your form. Orders will be processed in the order they are received. You will pay for and pick up your tickets at a later date at the Michigan League Ticket Office.
Winter Semester: Begins Sunday, January 11, 2009 at 8 pm and ends Tuesday, January 13 at 5 pm.
Sponsored by UMM5
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 UMSKJS5 JUS With support from the U-M Alumni Association
Internships and College Work-Study
Internships with UMS provide experience in performing arts administration, marketing, ticket sales, programming, production, and arts education. Semesterand year-long unpaid internships are available in many of UMS's departments. For more information, please call 734.615.1444.
Students working for UMS as part of the College Work-Study program gain valuable experience in all facets of arts management including concert promotion and marketing, ticket sales, fundraising, arts education, arts programming, and production. If you are a University of Michigan student who receives work-study financial aid and are interested in working at UMS, please call 734.615.1444.
Student Advisory Committee
As an independent council drawing on the diverse membership of the University of Michigan community, the UMS Student Advisory Committee works to increase student interest and involvement in the various pro?grams offered by UMS by fostering increased communication between UMS and the student community, promoting awareness and accessi?bility of student programs, and promoting the student value of live performance. For more information or to participate on the Committee, please call 734.615.6590.
There are many ways to support the efforts of UMS, all of which are critical to the success of our season. We would like to welcome you to the UMS family and involve you more closely in our exciting programming and activities. This can happen through corporate sponsorships, business advertising, individual donations, or through volunteering. Your financial investment andor gift of time to UMS allows us to continue connecting artists and audiences, now and into the future.
When you advertise in the UMS program book you gain season-long visibility among ticket buyers while enabling an important tradition of providing audiences with the detailed program notes, artist biographies, and program descrip?tions that are so important to the performance experience. Call 734.764.6833 to learn how your business can benefit from advertising in the UMS program book.
As a UMS corporate sponsor, your organization comes to the attention of an educated, diverse, and growing segment not only of Ann Arbor, but all of southeastern Michigan. You make possible one of our community's cultural treas?ures and also receive numerous benefits from your investment. For example, UMS offers you a range of programs that, depending on your level of support, provide a unique venue for:
Enhancing corporate image
Cultivating clients
Developing business-to-business relationships
Targeting messages to specific demographic groups
Making highly visible links with arts and education programs
Recognizing employees
Showing appreciation for loyal customers
For more information, please call 734.647.1176.
We could not present our season without the invaluable financial support of individual donors. Ticket revenue only covers half of the cost of our performances and educational events. UMS donors help make up the differ?ence. If you would like to make a gift, please fill out and mail the form on page P40 or call 734.647.1175.
UMS Advisory Committee
The UMS Advisory Committee is an organization of 70 volunteers who contribute approximately 7,000 hours of service to UMS each year. The purpose of the UMS Advisory Committee is to raise community awareness and funds for UMS's nationally acclaimed arts education program. Members contribute their time and talents in a wide variety of ways consistent with their interests.
Fundraising projects include the Ford Honors Program Gala, On the Road Auction, and Delicious Experiences. Advisory Ambassadors and Youth Performance Ushering are two projects that involve direct contact with local school?children, teachers, and community groups.
All Advisory Committee members serve as UMS advocates to the greater community by encouraging attendance at UMS performances and participation in UMS and Advisory Committee programs and events.
Two upcoming events include:
Ford Honors Program and Gala January 24, 2009
This year's program will honor the Royal Shakespeare Company, RSC Artistic Director Michael Boyd, and U-M Professor Ralph Williams with UMS Distinguished Artists awards. Following the program and award presenta?tions, the UMS Advisory Committee will host a Gala reception and dinner to benefit UMS Education Programs.
On the Road Auction
For each of the last three years, approximately 300 people have enjoyed an evening of food, music, and silent and live auctions, netting more than $70,000 each year to support UMS Education Programs. On the Road 2009 will be held on September 11, 2009.
Please call 734.764.8489 for more information.
UMS Ushers
Without the dedicated service of UMS's Usher Corps, our events would not run as smoothly as they do. Ushers serve the essential functions of assisting patrons with seating, distributing pro?gram books, and providing that personal touch which sets UMS events apart from others.
The UMS Usher Corps is comprised of over 500 individuals who volunteer their time to make your concert-going experience more pleasant and efficient. Orientation and training sessions are held each fall and winter, and are open to anyone 18 years of age or older. Ushers may commit to work all UMS perform?ances in a specific venue or sign up to substi?tute for various performances throughout the concert season.
If you would like information about becoming a UMS volunteer usher, contact our UMS Front-of-House Coordinator at 734.615.9398 or e-mail
July 1, 2007-November 1, 2008
Thank you to those who make UMS programs and presentations possible. The cost of presenting world-class performances and education programs exceeds the revenue UMS receives from ticket sales. The difference is made up through the generous support of individuals, corporations, foundations, and government agencies. We are grateful to those who have chosen to make a difference for UMS! This list includes donors who made an annual gift to UMS between July 1, 2007 and November 1, 2008. Due to space constraints, we can only list those who donated $250 or more. Every effort has been made to ensure the accuracy of this list. Please call 734.647.1175 with any errors or omissions. Listing of donors to endowment funds begins on page P45.
$100,000 or more
Maurice S. and Linda G. Binkow
Leonore M. Delanghe Trust
Doris Duke Charitable Foundation
Ford Motor Company Fund and
Community Services W.K. Kellogg Foundation Michigan Council for Arts and Cultural Affairs Pfizer Global Research & Development:
Ann Arbor Laboratories University of Michigan Health System
$50,000-$99,999 Doris Duke Foundation for Islamic Art Esperance Family Foundation National Endowment for the Arts TAQA New World, Inc.
Brian and Mary Campbell
Cairn Foundation
Charles H. Gershenson Trust
DTE Energy Foundation
Maxine and Stuart Frankel Foundation
Lillian A. Ives
Robert and Pearson Macek
Masco Corporation Foundation
Natalie Matovinovic
Mosaic Foundation, Washington, DC
National Dance Project of New England
Foundation For The Arts National Endowment for the Arts Gilbert Omenn and Martha Darling Laurence and Beverly Price Jane and Edward Schulak Dennis and Ellie Serras Toyota University of Michigan Office of the
Vice President for Research
$10,000-$ 19,999
Michael Allemang and Janis Bobrin
Arts at Michigan
Beverly Franzblau Baker
Emily Bandera and Richard Shackson
Bank of Ann Arbor
Linda and Maurice Binkow Philanthropic Fund
Carl and Isabelle Brauer Fund
Bustan al-Funun Foundation for Arab Arts
Mary Sue and Kenneth Coleman
Community Foundation for Southeast Michigan
Alice B. Dobson
Eugene and Emily Grant
David W. and Kathryn Moore Heleniak
David and Phyllis Herzig
Honigman Miller Schwartz and Cohn
Frank Legacki and Alicia Torres
Lawrence and Rebecca Lohr
Charlotte McGeoch Mrs. Robert E. Meredith Donald L. Morelock Performing Arts Fund A. Douglas and Sharon J. Rothwell University of Michigan Credit Union Marina and Robert Whitman Ann and Clayton Wilhite
Amgen Foundation
Rachel Bendit and Mark Bernstein
Comerica Bank
Carl and Charlene Herstein
Miller, Canfield, Paddock and
Stone, P.LC. Pfizer Foundation Herbert and Ernestine Ruben Loretta M. Skewes Barbara Furin Sloat
$5,000-$7,499 American Syrian Arab
Cultural Association Herb and Carol Amster Ann Arbor Automotive Anonymous
Essel and Menakka Bailey Blue Nile Restaurant Marilou and Tom Capo Dennis Dahlmann and Patricia Garcia Marylene Delbourg-Delphis The Doan Family Foundation Jim and Patsy Donahey Ken and Penny Fischer llene H. Forsyth General Motors Powertrain--
Willow Run
Paul and Anne Glendon Debbie and Norman Herbert Howard & Howard Attorneys, PC Keki and Alice Irani ISSA Foundation Judy and Verne Istock David and Sally Kennedy Gay and Doug Lane Jill Latta and David Bach Leo and Kathy LegatskiElastizell
Corporation of America Richard and Carolyn Lineback Mainstreet Ventures Martin Family Foundation Masco Corporation Susan McClanahan and
Bill Zimmerman Marion T. Wirick and
James N. Morgan National City Pepper Hamilton LLP Prue and Ami Rosenthal
Don and Judy Dow Rumelhart Alan and Swanna Saltiel Sesi Investment Nancy and Brooks Sitterley Rick and Sue Snyder James and Nancy Stanley Ed and Natalie Surovell
Edward Surovell Realtors Thomas B. McMullen Company Tisch Investment Advisory United Bank & Trust Max Wicha and Sheila Crowley Jay and Mary Kate Zelenock
Jerry and Gloria Abrams Bernard and Raquel Agranoff Anonymous
Kathy Benton and Robert Brown Raymond and Janet Bernreuter Suzanne A. and Frederick J. Beutler Edward and Mary Cady Sara and Michael Frank Susan and Richard Gutow H. David and Dolores Humes Martin Neuliep and Patricia Pancioli M. Haskell and Jan Barney Newman Virginia and Gordon Nordby Eleanor and Peter Pollack Duane and Katie Renken Kenneth J. Robinson and
Marcia Gershenson John J. H. Schwarz MD Craig and Sue Sincock Rick and Sue Snyder Lois A. Theis Dody Viola
Robert 0. and Darragh H. Weisman Keith and Karlene Yohn
Jim and Barbara Adams Barbara A. Anderson and
John H. Romani Janet and Arnold Aronoff Bob and Martha Ause Paulett Banks DJ and Dieter Boehm Gary Boren
Charles and Linda Borgsdorf Jeannine and Robert Buchanan Robert and Victoria Buckler Barbara and Al Cain Bruce and Jean Carlson Jean and Ken Casey Pat and Dave Clyde Anne and Howard Cooper Stuart and Heather Dombey John Dryden and Diana Raimi David and Jo-Anna Featherman Fidelity Investments Stephen and Rosamund Forrest William and Ruth Gilkey Sid Gilman and Carol Barbour Tom and Katherine Goldberg Linda and Richard Greene John and Helen Griffith Janet Woods Hoobler
Robert L. and Beatrice H. Kahn
Robert and Jeri Kelch
Jim and Patti Kennedy
Samuel and Marilyn Krimm
Donald and Carolyn Dana Lewis
Jeffrey Mason and Janet Netz
Ernest and Adele McCarus
William C. Parkinson
Jim and Bonnie Reece
John and Dot Reed
Dr. and Mrs. Nathaniel H. Rowe
Frances U. and Scott K. Simonds
Muaiad and Aida Shihadeh
Lewis and Judy Tann
Jim Toy
Don and Carol Van Curler
Don and Toni Walker
Elise Weisbach
Roger Albin and Nili Tannenbaum
Robert and Katherine Aldrich
Susan and Alan Aldworth
Michael and Suzan Alexander
Anastasios Alexiou
Dr. and Mrs. David G. Anderson
Dr. and Mrs. Rudi Ansbacher
Harlene and Henry Appelman
Jonathan Ayers and Teresa Gallagher
Laurence R. and Barbara K. Baker
Dr. Lesli and Mr. Christopher Ballard
Norman E. Barnett
Robert H. and Wanda Bartlett
Bradford and Lydia Bates
Dr. Astrid B. Beck
Linda and Ronald Benson
Ruth Ann and Stuart Bergstein
Anne Beaubien and Philip Berry
Naren and Nishta Bhatia
John Blankley and Maureen Foley
Howard and Margaret Bond
Laurence and Grace Boxer
Dr. and Mrs. Ralph R. Bozell
Dale E. and Nancy M. Bnggs
Barbara Event! Bryant
Lawrence and Valerie Bullen
Charles and Joan Burleigh
Letitia J. Byrd
Amy and Jim Byrne
Betty Byrne
Jean W. Campbell
David and Valerie Canter
Carolyn M. Carty and Thomas H. Haug
John and Patricia Carver
Janet and Bill Cassebaum
Tsun and Siu Ying Chang
Anne Chase
Pat and George Chatas
Leon S. Cohan
Hubert and Ellen Cohen
Cynthia and Jeffrey Colton
Consulate General of The Netherlands
in New York
Jane Wilson Coon and A. Rees Midgley, Jr. Paul N. Courant and Marta A. Manildi Connie D'Amato Julia Donovan Darlow and
John Corbett O'Meara Susan Tuttle Darrow Dr. and Mrs. Charles Davenport Hal and Ann Davis Andrzej and Cynthia Dlugosz Molly Dobson
Robert J. and Kathleen Dolan Domino's Pizza
Dallas 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
Melvyn and Linda Korobkin Bud and Justine Kulka Scott and Martha Larsen Wendy and Ted Lawrence Melvin A. Lester MD Richard LeSueur Myron and Bobbie Levine Carolyn and Paul Lichter Jean E. Long
John and Cheryl MacKrell Cathy and Edwin Marcus Ann W. Martin and
Russ Larson
Claude and Marie Martin Marilyn Mason and
William Steinhoff Mary and Chandler Matthews Judythe and Roger Maugh Raven McCrory Griff and Pat McDonald Bernice and Herman Merte Lester and Jeanne Monts Alan and Sheila Morgan Melinda Morris Cyril Moscow Susan and Richard Nisbett William Nolting and
Donna Parmelee NuStep, Inc. Marylen S. Oberman
Mohammad and
J. Elizabeth Othman Marie L Panchuk Judith Ann Pavitt Elaine and Bertram Pitt Stephen and Bettina Pollock Peter and Carol Polverini Richard and Lauren Prager Mrs. Gardner C. Quarton Mr. Donald Regan and
Ms. Elizabeth Axelson Ray and Ginny Reilly Malverne Reinhart Doug and Nancy Roosa Rosalie Edwards
Vibrant Ann Arbor Fund Jeffrey and
Huda Karaman Rosen Corliss and Dr. J. C. Rosenberg Doris E. Rowan David and Agnes Sams Norma and Dick Sams 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 Kathehne Terrell Brad and Karen Thompson Jeff and Lisa Tulin-Silver Susan B. Ullrich
Jack and Marilyn van der Velde Florence S. Wagner Harvey and Robin Wax W. Scott Westerman, Jr. Roy and JoAn Wetzel Dianne Widzinski and
James Skupski MD Dr. and Mrs. Max V. Wisgerhof II Charles Witke and
Aileen Gatten
3Point Machine, Inc. Fahd Al-Saghir and Family Richard and Mona Alonzo
Family Fund
Helen and David Aminoff Anonymous Penny and Arthur Ashe JAlbert and Mary P. Bailey Reg and Pat Baker Nancy Barbas and Jonathan Sugar David and Monika Barera Frank and Lindsay Tyas Bateman James K. and Lynda W. Berg Ramon Berguer MD L.S. Berlin
Jack Billi and Sheryl Hirsch William and llene Birge Jerry and Dody Blackstone Paul and Anna Bradley Jane Bridges
David and Sharon Brooks Morton B. and Raya Brown Trudy and Jonathan Bulkley Frances E. Bull, MD Louis and Janet Callaway H.D. Cameron
Nathan and Laura Caplan
Jack and Wendy Carman
J. W. and Patricia Chapman
John and Camilla Chiapuris
Dr. Kyung and Young Cho
Janice Clark
Cheryl and Brian Clarkson
Alice S. Cohen
Jonathan Cohn
Wayne and Mehnda 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 Manna 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 fman Khagani Ehe R. and Farideh Khoury Rhea Kish
Hermine Roby Khngler 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 Macintosh Martin and Jane Maehr Manpower, Inc. of Southeastern
Michigan Carole J. Mayer Margaret E. McCarthy James H. Mclntosh and
Elaine K Gazda Merrill Lynch
Henry D. Messer and Carl A House Fei Fei and John Metzler Don and Lee Meyer Joetta Mial James M. Miller and
Rebecca H. Lehto Myrna and Newell Miller Bert and Kathy Moberg Lewis and Kara Morgenstern Kay and Gayl Ness Randolph and Margaret Nesse Eugene W. Nissen Elizabeth Ong Susan and Mark Ornnger Constance and David Osier Marysia Ostafin and George Smillie Donna D. Park Shirley and Ara Paul Zoe and Joe Pearson Evelyn Pickard
Dr. Steven and Paula Poplawski Wallace and Barbara Prince Patricia L Randle and James R. Eng Anthony L. Reffells and
Elaine A. Bennett R.E. 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 Win
Ann and Thomas J. Schnber David E. and Monica Schteingart Harriet Selin Julie and Mike Shea Howard and Aliza Shevnn Johnson Shiue Edward and Kathy Stiver Sandy and Dick Simon Irma J. Sklenar Andrea and William Smith Gregory and Margaret Smith Shelly Soenen and Michael Sprague Mrs. Gretchen Sopcak Gus and Andrea Stager Gary and Diane Stahle Naomi and James Starr Virginia and Eric Stein James Christen Steward Eric and Ines Storhok Timothy W. Sweeney Manuel Tancer John and Geraldine Tophss Fr. Lewis W. Towler Louise Townley Claire and Jerry Turcotte Doug and Andrea Van Houweling Steven and Christina Vantrease Drs. Bill Lee and Wendy Wahl David C. and Elizabeth A. Walker Lima and Bob Wallin Shaomeng Wang and Ju-Yun Li Jo Ann Ward
Arthur and Renata Wasserman Gary Wasserman
Zachary 6. Wasserman
Angela and Lyndon Welch
Ins and Fred Whitehouse
Leslie C. Whitfield
Nancy Wiernik
Rev. Francis E. Williams
Robert J. and Anne Marie Willis
I.W. and Beth Winsten
Dr. Lawrence and Mary Wise
Frances A. Wright
Jeanne and Paul Yhouse
Judith Abrams
Chris and Tena Achen
Don: Adler
Thomas and Joann Adler Family
Martha Agnew and Webster Smith Or. Diane M Agresta James and Catherine Allen Doug Anderson and Peggy McOacken Catherine M. Andrea Anonymous Arboretum Ventures Bert and Pat Armstrong Frank Ascione James and Doris August Susan and Michael Babinec Robert L. Baird
Bruce Baker and Genie Wolfson Daniel and Barbara Balbach John and Ginny Bareham Cheryl Barget and Tom Darnton Frank and Gail Beaver Gary M. Beckman and Karla Taylor Harry and Kathryn Benford Eriing and Merete BlOndal Bengtsson Linda Bennett and Bob Bagramian Dr. Rosemary R. Berardi Marc Bernstein and Jennifer Lewis Beverly J. Bole Mark D. Bomia Luciana fiorbely Bob and Sharon Bordeau Amanda and Stephen Borgsdorf Victoria C. Botekand
William M. Edwards Susie Bozell Robert M. Bradley and
Charlotte M. Mistretta William R. Brashear Joel Bregman and Elaine Pomerantz Alexander and Constance Bridges Donatd R. and June G Brown Pamela Brown Richard and Karen Brown Tony and Jane Burton Heather Byrne Doris Caddell Brent and Valerie Carey Jim and Lou Carras Dennis J. Carter Albert C.Cattell
Andrew Caughey and Shelly Neitzel Samuel and Roberta Chapped Charles Stewart Mott Foundation Joan and Mark Chesler Andy and Dawn Chien Kwang and Soon Cho Reginald and Beverly Ciokajlo Donald and Astrid Cleveland Coffee Express Co Anne and Edward Comeau Nancy Connell Phelps and Jean Connell M.J. Coon Dr. Hugh Cooper and
Elly Rose-Cooper Celia and Peter Copeland Katharine Cosovich Cliff and Kathy Cox Lloyd and Lois Crabtree Clifford and Laura Craig Merle and Mary Ann Crawford Jean C Crump Sunil and Merial Das Arthur and Lyn Powrie Davidge Ed and Elhe 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 Oelphis
Judith and Kenneth DeWoskin
Elizabeth Dexter
Sally and Larry DiCarto
Mark and Beth Dixon
Elizabeth A Doman
Michael and Elizabeth Drake
Elizabeth Ouell
Peter and Grace Duren
Swan Dutta
Jane E. Outton
Kim and Dartene Eagle
Morgan and Sally Edwards
The Equisport Agency
Mary Ann Faeth
Dr. and Mrs. S.M. Farhat
Inka and David Felbeck
Phil and Phyllis Fellin
James and Flora Ferrara
Sidney and Jean Fine
Herschel and Adrienne Fink
C. Peter and Beverty A Fischer
Dr. Lydia Fischer
Jessica Fogel and Lawrence Weiner
Scott and Janet Fogler
David Fox and Paula Bockenstedt
Howard and Margaret Fox
Philip and Renee Frost
Carol Gagliardi and Dave Flesher
Sandra Gast and Greg Kolecki
Martin Garber and Beth German
Richard L. Garner
Michael Gatti and Lisa Murray
Beth Genne and Allan Gibbard
Deborah and Henry Gerst
Walter Z. Graves
Ronald Gibala and Janice Grichor
Milton and Susan Gross
Elmer G. Gilbert and
Lois M. Verbrugge J. Martin Gillespie and
Tara Gillespie Beverly Jeanne Giltrow Maureen and David Gmsburg Edie Goldenberg Richard Gonzalez and
Carne 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 Marlys Hamill Tom Hammond Walt and Charlene Hancock Martin and Connie Harris Abdelkader and Huda Hawaslt Anne M Heacock Rose and John Henderson J. Lawrence Henkel and
Jacqueline Stearns Keith and Marcelle Henley Dr. and Mrs. Michael Hertz Paul and Erin Hickman Peter Hinman and Elizabeth Young John Hogikyan and Barbara Kaye Ronald and Ann Holz Mabelle Hsueh
Dr. Howard Hu and Ms. Rani Kotha Hubert and Helen Huebl Robert B. Ingling Mr. and Mrs. Eugene 0. Ingram ISCIENCES, LLC. John H. and Joan L. Jackson Mel and Myra Jacobs
Beverly P. Jahn Elizabeth Jahn Jerome Jelinek Harold R. Johnson Mark and Linda Johnson Mary and Kent Johnson The Jonna Companies Jack and Sharon Kalbfteisch Irving and Helen Kao Arthur A. Kaselemas MD Morns and Evelyn Katz Nancy Keppelman and
Michael Smerza Alfred Keltam
Drs Nabil and Mouna Khoury Robert and Bonnie Kidd Don and Mary Kiel Fred and Sara King Richard and Patricia King James and Jane Kisier Shira and Steve Klein Laura Klem
Rosalie and Ron Koemg Joseph and Manlynn Kokoszka Alan and Sandra Kortesoja Barbara and Ronald Kramer Donald and Doris Kraushaar Mary and Charles Krieger Dorothea Kroell and
Michael Jonietz Bert and Geraldine Kruse Kathy and Timothy Laing Lucy and Kenneth Langa Neal and Anne Uurance Jean Lawton and James Ellis Bob and Laurie Lazebnik Cyril and Ruth Leder John and Theresa Lee Sue Leong
Melvyn and Joan Levitsky David Baker Lewis Jacqueline H. Lewis Michael and Debra Lisull Dr. Daniel Little and
Dr Bernadette Untz Gail SoKvay Uttle Dr. and Mrs. Lennart Lofstrom Bill and Lois Lovejoy Charles and Judy Lucas Claire and Richard Marvin Melvi n and Jean Manis Michael and Pamela Marcovitz Nancy and Philip Margolis Milan Manch W. Harry Marsden irwm and Fran Martin HI Mason Regent Olivia Maynard and
Olof Kartstrom
Martha Mayo and Irwm 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 Sank of Michigan Warren and Hilda Merchant Russ and Bngitte Merz Liz and Art Messiter Walter and Ruth Metzger Gabrielle M. Meyer Shirley and Bill Meyers Leo and Sally Miedler George Miller and Deborah Webster Kitty and Bill Moeller Olga Moir
William G and Edith 0. Moller Mr. and Mrs. Michael Morgan Frieda H. Morgenstern Sean Morrison and Theodora Ross Mark and Lesley Mozola Thomas and Hedi Mulford Douglas Mullkoff and Kathy Evaldson Drs. Louis and Julie Jaffee Nagel Gerry and Joanne Navarre Laura Nitzberg Christer and Outi Nordman Arthur S. Nusbaum Kathleen I. Operhall David and Andrea Page Betty and Steve Palms Karen Park and John Beranek John and Mary Pedley
Jean and Jack Peirce
David and Renee Pinsky
Donald and Evonne Plantinga
Allison and Gregory Poggi
Pomeroy Financial Services, Inc.
Bill and Diana Pratt
Ann Preuss
Richard and Mary Price
The Produce Station
Peter Railton and Rebecca Scott
Stephen and Agnes Reading
Mamie Reid
Marc Renouf
Timothy and Teresa Rhoades
Alice Rhodes
Jack and Avrva Robinson
Jonathan and Anala Rodgers
Stephen J. Rogers
Dr. Susan M Rose
Stephen Rosenblum and
Rosatyn 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 Shappino Patrick and Carol Sherry James Shields George and Gladys Shirley Jean and Thomas Shope George and Nancy Shorney Hollis and Martha A. Showalter Bruce M. Siegan Dr. Terry M. Silver Gene and Alida Silverman Scott and Joan Singer Tim and Marie Slottow Carl and Jan Smith David and Renate Smith Robert W. Smith Doris and Larry Sperling Jim Spevak Jeff Spindler Judy and Paul Spradlin David and Ann Staiger Rick and Lia Stevens James L. Stoddard Cynthia Straub Bashar and Hoda Succar Barbara and Donald Sugerman Brian and Lee Talbot Peg Talburtt and Jim Peggs Louise Taylor Sam and Eva Taylor Steve and Diane Telian Mark and Patricia Tessler Mary H. Thieme Edwin J. Thomas Nigel and Jane Thompson Dr. Hazel M. and Victor C. Turner, Jr. Ahan and Katharine Uhle Drs. Matthew and Alison Uzieblo Hugo and Karla Vandersypen Marie Vogt
Drs. Harue and Tsuguyasu Wada Virginia Wait
Charles R. and Barbara H. Wallgren Enid Wasserman Carol Weber
Jack and Jerry Weidenbach Connie Witt and John Glynn Charlotte A. Wolfe Bryant Wu and Theresa Chang Betty and Bob Wurtz Don and Charlotte Wyche Mary Jean and John Yablonky Richard and Kathryn Yarmain MaryGrace and Tom York Zakhour and Androulia Youssef Erik and Lineke Zuiderweg Gail and David Zuk
July 1, 2007-November 1, 2008
The University Musical Society is grateful to those have supported UMS endowment funds, which will generate income for UMS in perpetuity and benefit UMS audiences in the future.
S100.000 or more
Doris Duke Charitable
Foundation Estate of Eva Mueller The Power Foundation
llene H. Forsyth
Estate of Lillian G. Ostrand
Bernard and Raquel Agranoff Ralph G. Conger Trust Susan and Richard Gutow David and Phyllis Herzig
Maxine and Stuart Frankel
Foundation Toni Hoover
Richard and Carolyn Lineback Robert and Pearson Macek Dr. Robert J. and Janet M. Miller Estate of Betty Ann Peck James and Nancy Stanley
Herb and Carol Amster
Joan Akers Binkow
John R. Edman and Betty B. Edman
Robert and Frances Gamble Trust
Mrs. Robert E. Meredith
Stephen and Agnes Reading
Susan B. Ullrich
Marina and Robert Whitman
Ann and Clayton Wilhite
Michael Allemang and
Janis Bobrin
Essel and Menakka Bailey Robert H. and Wanda Bartlett DJ and Dieter Boehm Jean W. Campbell Jean and Ken Casey Kathleen Crispell and Tom Porter Molly Dobson Jack and Betty Edman Charles and Julia Eisendrath Dede and Oscar Feldman Sid Gilman and Carol Barbour Paul and Anne Glendon David W. and
Kathryn Moore Heleniak Debbie and Norman Herbert Carl and Charlene Herstein Robert M. and Joan F. Howe Jim Irwin
Robert L. and Beatrice H. Kahn Gloria and Bob Kerry Richard and Stephanie Lord Natalie Matovinovic Jerry A. and Deborah Orr May Melinda Morris Susan and Mark Orringer Mrs. Charles Overberger (Betty) Richard N. Peterson and
Wayne T. Bradley Stephen and Bettina Pollock Jeffrey and Huda Karaman Rosen Corliss and Dr. J. C. Rosenberg Prue and Ami Rosenthal Nancy W. Rugani Norma and Dick Sarns Frances U. and Scott K. Simonds Herbert Sloan Lewis and Judy Tann Karl and Karen Weick Ronald and Eileen Weiser Jeanne and Paul Yhouse Jay and Mary Kate Zelenock
Jerry and Gloria Abrams Mrs. Bonnie Ackley Dr. Joann Aebersold Barbara A. Anderson and
John H. Romani Anonymous
Arts League of Michigan Lynne Aspnes Bob and Martha Ause John U. Bacon Daniel and Barbara Balbach Emily Bandera and Richard Shackson Harvey Berman and
Rochelle Kovacs Berman Inderpal and Martha Bhatia Stan and Sandra Bies Sara Billmann and Jeffrey Kuras Maurice and Linda Binkow Martha and David Bloom Blue Nile Restaurant Paul Boylan Carl A. Brauer, Jr. Dale E. and Nancy M. Briggs Jeannine and Robert Buchanan Andrew and Emily Buchholz John and Janis Burkhardt David Bury and Marianne Lockwood Letitia J. Byrd
Carolyn Carty and Thomas Haug Sue and Bill Chandler Shana Meehan Chase Dr. Kyung and Young Cho Edward M. and Rebecca Chudacoff Toby Citrin and Phyllis Blumenfeld Astrid and Donald Cleveland Hilary and Michael Cohen Sandra and Ted Cole Phelps and Jean Connell Katharine Cosovich Malcolm and Juanita Cox George and Connie Cress Mary C. Crichton Dana Foundation Linda Davis and Robert Richter Neeta Delaney and Ken Stevens Macdonald and Carolin Dick Steve and Lori Director Steve and Judy Dobson Cynthia M. Dodd Robert J. and Kathleen Dolan
Hal and Ann Doster Janet Eilber
Cheryl and Bruce Elliott Beth B. Fischer Gerald B. and
Catherine L. Fischer Harold and Billie Fischer Jeanne and Norman Fischer Esther M. Floyd Bob and Terry Foster Neal and Meredith Foster Lucia and Doug Freeth Marilyn L. Friedman Bart and Cheryl Frueh Tavi Fulkerson Luis and L. April Gago Otto and Lourdes Gago Michael Gatti and
Lisa Murray
Beverley and Gerson Geltner Gail Gentes and
Phil Hanlon
Joyce and Steve Gerber Heather and Seth Gladstein Kathleen and Jack Glezen Tom and
Katherine Goldberg William and Jean Gosling Mr. and Mrs. Charles and
Janet Goss
Lewis and Mary Green Robert A. Green MD Larry and Sandy Grisham Charles Hamlen Walt and Charlene Hancock Alice and Clifford Hart Daniel and Jane Hayes Joyce and John Henderson Dr. John and
Mrs. Donna Henke J. Lawrence Henkel and
Jacqueline Stearns John and Martha Hicks Lorna and
Mark Hildebrandt Diane S. Hoff Jerry and Helga Hover Ralph M. Hulett Joyce M. Hunter Judith Hurtig
IATSE Local 395 Stagehands Richard Ingram and
Susan Froelich Keki and Alice Irani Mel and Myra Jacobs Dolores R. Jacobson Beverly P. Jahn Ellen Janke and Ian Lewis Marilyn G. Jeffs Ben Johnson Christopher Kendall and
Susan Schilperoort John B. Kennard, Jr. David and Sally Kennedy Paul and Leah Kileny Diane Kirkpatrick
Dr. David E. and
Heidi Castleman Klein Anne Kloack Mary L. Kramer Gary and Barbara Krenz Daniel H. Krichbaum Amy Sheon and
Marvin Krislov Edna LandauIMG Artists Wendy and Ted Lawrence Leslie Lazzerin Cyril and Ruth Leder Mary LeDuc Leo and Kathy Legatski
Elastizell Corporation
of America Melvin A. Lester MD Lewis & Company Marketing
Communications, Inc. David Baker Lewis Donald and
Carolyn Dana Lewis David Lieberman Ken and Jane Lieberthal Marilyn and
Martin Lindenauer Barbara and Michael Lott Jimena Loveluck and
Timothy Veeser Jonathan Trobe and
Joan Lowenstein Dale Schatzlein and
Emily Maltz Fund Shirley Dorsey Martin Mary and
Chandler Matthews Regent Olivia Maynard
and Olof Karlstrom Jon McBride Laurie McCauley and
Jessy Grizzle Susan McClanahan and
Bill Zimmerman Dores McCree Joe McCune and
Gigi Sanders
Bill and Ginny McKeachie Joanna McNamara and
Mel Guyer Barbara Meadows Joetta Mial Patricia E. Mooradian Jean M. Moran Mary Morse
Gerry and Joanne Navarre Fred Neidhardt Kay and Gayl Ness M. Haskell and
Jan Barney Newman Susan and Richard Nisbett Patricia and
Max Noordhoorn Jan Onder
Constance and David Osier Anne Parsons and
Donald Dietz
Frances and Arlene Pasley Michelle Peet and
Rex Robinson Steven and Janet Pepe Marv Peterson John and Dot Reed Marnie Reid Theresa Reid and
Marc Hershenson Kenneth J. Robinson and
Marcia Gershenson Doris E. Rowan Bill and Lisa Rozek Herbert and
Ernestine Ruben Harry and Elaine Sargous Maya Savarino Ann and Thomas J. Schriber Ingrid and Cliff Sheldon Mikki Shepard Don and Sue Sinta Carl and Jari Smith Rhonda SmithStanding
Ovation Productions Lois and John Stegeman Victor and
Marlene Stoeffler Ronald Stowe and
Donna Power Stowe David and Karen Stutz Teresa A. Sullivan and
Douglas Laycock Charlotte Sundelson Mark and Patricia Tessler Norman and
Marcia Thompson Carrie and Peter Throm Claire and Jerry Turcotte Frank and Amanda Uhle Elizabeth and
Stephen Upton Richard and
Madelon Weber W. Scott Westerman, Jr. Mary Ann Whipple Max Wicha and
Sheila Crowley Dianne Widzinski and
James Skupski MD Phyllis B. Wright
Joseph Ajlouny Friends at Alverno Arts Alliance of the
Ann Arbor Area Barbara Bach Jenny Bilfield-Friedman and
Joel Friedman Ed and Luciana Borbely Barbara Everitt Bryant Ruth Carey Simon Carrington Mark Clague
Edward 5. and Ruth P. Cogen Guy L. Cooper Richard and Edith Croake
Sally Cushing Diana R. Engel Madeleine Faith Stefan and Ruth Fajans Martha Fischer and Bill Lutes Kristin Fontichtaro John N. Gardner Enid and Richard Grauer Walter Helmreich Kenneth and Joyce Holmes John and Patricia Huntington Judie and Jerry Lax Shelley MacMillan and
Gary Decker
Jaclin L. and David H. Marlin Janice Mayer Ronald G. Miller Shelley and Dan Morhaim Warren and Shelley Perlove Julianne Pinsak Eileen Pollack Michael and
Lisa Psarouthakis Thomas and
Sue Ann Reisdorph Omari Rush Liz Silverstein Charles E. Sproger Lloyd and Ted St. Antoine Peg Talburtt and Jim Peggs Denise Thai and
David Scobey
Christina and Tom Thoburn Linda Tubbs Harvey and Robin Wax Zelma Weisfeld Warren Williams
Endowed Funds
The future success of the University Musical Society is secured in part by income from UMS's endowment. UMS extends its deepest apprecia?tion to the many donors who have established andor con?tributed to the following funds:
H. Gardner and Bonnie
Ackley Endowment Fund Herbert S. and
Carol Amster Fund Catherine S. Arcure
Endowment Fund Carl and Isabelle Brauer
Endowment Fund Frances Mauney Lohr Choral
Union Endowment Fund Hal and Ann Davis
Endowment Fund Doris Duke Charitable
Foundation Endowment
Ottmar Eberbach Funds Epstein Endowment Fund David and Phyllis Herzig
Endowment Fund
JazzNet Endowment Fund William R. Kinney
Endowment Fund Natalie Matovinovic
Endowment Fund NEA Matching Fund Palmer Endowment Fund Mary R. Romig-deYoung
Music Appreciation Fund Prudence and Amnon
Rosenthal K-12 Education
Endowment Fund Charles A. Sink Endowment
Fund Catherine S. Arcure
Herbert E. Sloan
Endowment Fund University Musical Society
Endowment Fund The Wallace Endowment Fund
Burton Tower Society
The Burton Tower Society recognizes and honors those very special friends who have included UMS in their estate plans. UMS is grateful for this important support, which will continue the great traditions of artistic excellence, educational opportunities, and community partnerships in future years.
Bernard and Raquel Agranotf 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 Lazzerm
Charles Lovelace
Zelma K. Marich
Sharon Anne McAllister
Susan McClanahan
Bettie Metcalf
Valerie D. Meyer
Masud Mostaghim
Ella Baker Munger
Sophia Nanos
Holmes E. and Susan E. Newton
Betty Overberger
Brian Patchen
James Pattridge
Gwen and Emerson Powrie
Gail W. Rector
Steffi Reiss
Margaret E. Rothstein
Eric H. Rothstein
Nona Schneider
Barry Sloat
George E. Smith
Edith Marie Snow
James Stanley
Robert Strozier
Virginia W. Stuart
Sonja Astrid Stutz
Dr. and Mrs. E. Thurston Thieme
Charles R. Tieman
Francis V. Viola III
Elea C. and Alexandra Vlisides
Martha J. Whitney
Clayton Wilhite
Carl H. Wilmot'19
Maria Wolter
Peter Holderness Woods
Stanley Wrobel
Gifts In-Kind
16 Hands
4 Seasons Perfume and
LingerieAllure Boutique Wadad Abed Abracadabra Jewelry
Gem Gallery Acme Mercantile Benjamin Acosta-Hughes Bernie and Ricky Agranoff Alice Lloyd Residence Hall Carol and Herb Amster Blair Anderson Ann Arbor Art Center Ann Arbor Art Center
Gallery Shop
Ann Arbor Aviation Center Ann Arbor District Library Ann Arbor Framing Ann Arbor Hands-On Museum Ann Arbor Public Schools Ann Arbor Tango Club Ann Arbor's 107one Arbor Brewing Company Avanti Hair Designers Ayla & Company John U. Bacon Bailey, Banks & Biddle Bana Salon and Spa Bob and Wanda Bartlett Joseph W. Becker Gary Beckman Bellanina Day Spa Kathy Benton and Robert Brown Yehonatan Berick Lynda Berg
Berry Goldsmiths
The Betty Brigade
Nishta Bhatia
Maurice and Linda Binkow
Jerry Blackstone
Bloomfield Gourmet Shoppe
Blue Nile
Boychoir of Ann Arbor
Enoch Brater
Beth BruceThe Carlisle Collection
Bob Buckler
Jim Bumstein
Patty ButzkeOrbit Hair Design
Cafe Zola
Cake Nouveau
Lou and Janet Callaway
Camp Michigania
Mary CampbellEveryday Wines
Nathan and Laura Caplan
Casey's Tavern
Cass Technical High School
Cesar Chavez High School
Mignonette Cheng
Cherry Republic
The Chippewa Club
Mark Clague
Deb Clancy
Coach Me Fit
Cole Street Salon & Spa
The Common Grill
Community High School
Community High School
Dance Program Complete Chiropractic and
Bodywork Therapy Howard CooperHoward
Cooper Import Center Liz Copeland James Corbett and
Mary Dempsey Curves Habte Dadi Gary Decker Judith DeWoskin Sally and Larry DiCarlo Andrew S. DixonPersonal
Computer Advisor Heather Dombey Downtown Home & Garden DTE Energy
Duggan Place Bed and Breakfast Aaron Dworkin The Earle Restaurant Eastern Michigan University
Dance Department Eastern Michigan University
Department of Theater
Education Gillian Eaton Jack and Betty Edman Lisa and Jim Edwards El Bustan Funoun Anthony Elliott Julie Ellison Equilibrium Espresso Royale Mary Ann Faeth Fantasy Forest
Jo-Anna and David Featherman Susan Filipiak Ucal Finley
Susan Fisher and John Waidley Kristin Fontichiaro Frame Factory Fran Coy Salon Sara Frank
Maxine and Stuart Frankel Traianos Gagos Deborah Gabrion
Zvi Gitelman
Glass Academy LLC
Anne Glendon
Kathy and Tom Goldberg
The Golden Apple
Larry Greene
Greenstone's Fine Jewelry
Linda Gregerson
Tim Grimes
Groom & Go
Susan Guiheen
Susan and Richard Gutow
Walt and Charlene Hancock
Lavinia Hart
Heather's Place
David W. and
Kathryn Moore Heleniak Carl and Charlene Herstein Hill Top Greenhouse and Farms Barbara Hodgdon The Homestead Bed
and Breakfast Hong Hua
Howell Nature Center Carol and Dan Huntsbarger
The Moveable Feast Iguanaworks Integrated Architecture Inward Bound Yoga Julie's Music Imagining America Mohammad Issa Andrew Jennings Mercy and Stephen Kasle Meg Kennedy Shaw Ken's Flower Shops Kerrytown Concert House Patty and David Kersch Iman Khagani Kenneth Kiesler Tom and Liz Knight Knit A Round Yarn Shop Knit Pickers Joan Knoertzer Gayle LaVictoire Lynnae Lehfeldt Lori Lentini-Wilbur Richard LeSueur Bobbie and Myron Levine Lewis Jewelers Karen 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 Mansia 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 Marnie Reid Huda Rosen Steve Rosoff Ellen Rowe Russell S. Bashaw Faux Finish
Studio. LLC
Afa Sadykhly
Sam's Clothing Store
Agnes and David Sams
Jamie SaviEle and Rusty Fuller
Schakolad Chocolate Factory
Michael Schoenfeldt
Penny Schreiber
Ruth Scodel
SeloShevel Gallery
Sesi Lincoln Mercury Volvo Mazda
Seva Restaurant
Rabia Shade
Shaman Drum Bookshop
Nelson Shantz Piano Service
Bright Sheng
George Shirley
John Shultz Photography
Susan Silver-Fink
Loretta Skewes
Tim and Marie Slottow
Andrea Smith
Mandisa Smith
Elizabeth Southwick
Cynthia Sowers
The Spa at Liberty
Peter Sparling
Rick Sperling
Sphinx Organization
Jim and Nancy Stanley
St. Anne's Church in Detroit
Bennett Stein
Stonebridge Golf Club
Cindy Straub
Ed and Natalie Surovell
Edward Surovell Realtors Sweet Gem Confections Swing City Dance Studio Ten Thousand Villages Tom Thompson Flowers Liz Toman Trader Joe's
Travis Pointe Country Club Sue Ullrich
U-M Alumni Association U-M Arts of Citizenship U-M Arts on Earth U-M Arts at Michigan U-M Black Arts Council U-M Center for Afroamerican
and African Studies U-M Center for Chinese Studies U-M Center for Latin American
and Caribbean Studies
U-M Center for Middle Eastern
and North African Studies U-M Center for Russian and
East European Studies U-M Department of Dance U-M Department of Internal
Medicine U-M Department of Musical
U-M Gifts of Art U-M Golf Course U-M Hatcher Graduate Library U-M Honors Program U-M Institute for the
U-M International Institute U-M Museum of Art U-M Office of New Student
U-M Residential College U-M School of Art and Design U-M School of Education U-M School of Law U-M School of Music,
Theatre and Dance Urban Jewelers Van Boven Shoes Arthur Verhoogt Vie Fitness and Spa Viking Sewing Center VOLUME Youth Poetry Project Martin Walsh
Washtenaw Community College Washtenaw Intermediate
School District Enid Wasserman Waterscape Wayne State University Dance
Department Weber's Inn and Hotel The West End Grill Steven Whiting Ann and Clayton Wilhite Cassie Williams Ralph Williams Debbie Williams-Hoak Yolles-Samrah Wealth
Management, LLC Yotsuba Japanese
Restaurant & Bar Tom Zimmerman Zingerman's Bakehouse Zingerman's Delicatessen
Alumni Association of U-M 28
Ann Arbor City Club 33
Ann Arbor Public Schools Ed. Found. 31
Ann Arbor Symphony Orchestra 38
Bank of Ann Arbor 24
Cardea Construction 18
Center for Plastic and Reconstructive
Surgery 26 Charles Reinhart 29 Credit Suisse 30 Detroit Jazz Festival 39 Donaldson and Gunther, DDS 25 Edward Surovell Realtors 18 Edwards Brothers 36 Honigman Miller Schwartz and
Conn LLP 4
Howard Cooper Imports 16 IATSE 38 Iris Cleaners 35
Jaffe Raitt Heuer and Weiss 26 Kellogg Eye Center 6 Kensington Court inside front cover Measure For Measure 36 Michigan RadioWUOM 26 Paul and Charlie HickmanThe
Collaboration18 Performance Network 25 Red Hawk 32 Schakolad-16
Stacey M. Washington, Attorney 16 Tisch Investments 38 Totoro Japanese Restaurant 18 United Bank and Trust 4 U-M Museum of Art 20 WEMU inside back cover WGTE 35 WKAR 32
Wright Griffen Davis 24 Zanzibar-32
UMS is proud to be a member of the following organizations:
Ann Arbor Area Convention & Visitors Bureau
Ann Arbor Chamber of Commerce
Arts Alliance of the Ann Arbor Area
ArtServe Michigan
Association of Performing Arts Presenters
Chamber Music America
International Society for the Performing Arts
Main Street Area Association
Michigan Association of Community
Arts Agencies
National Center for Nonprofit Boards State Street Association Think Local First

Download PDF