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UMS Concert Program, Sunday Sep. 13 To Oct. 08: University Musical Society: Fall 2009 - Sunday Sep. 13 To Oct. 08 --

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University Musical Society
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Season: Fall 2009
University Of Michigan, Ann Arbor

University Musical Society of the University of Michigan Ann Arbor
ums 09/10
Fall 2009 Season
university musical society
Fall 09 University of Michigan Ann Arbor
P2 Letters from the Presidents
P5 Letter from the Chair
UMSLeadership P7 UMS Corporate and Foundation Leaders
P14 UMS Board of DirectorsNational Council
SenateAdvisory Committee
P15 UMS StaffCorporate Council
Teacher Advisory Committee
UMSlnfo P17 General Information
P19 UMS Tickets
UMSAnnals 21 UMS History
P22 UMS Venues and Burton Memorial Tower
Event Program 24 Your event program content follows page 24
UMSExperience 25 UMS Education and Audience Development
UMSSupport 33 Corporate Sponsorship and Advertising
P33 Individual Donations
35 UMS Advisory Committee
37 Annual Fund Support
P44 Endowment Fund Support
P48 UMS AdvertisersMember Organizations
Cover Gal Costa, Grizzly Bear, Ravi Shankar (photo: Ken Howard),
Bill I JonesArnie Zane Dance Company (photo: Paul B. Goode)

Welcome to this University Musical Society (UMS) performance. At the University of Michigan we are proud of UMS and of the world-class artists and ensembles it brings each season to the University and southeast Michigan.
We are also proud of the outstanding educa?tional programs UMS offers to people of all ages and the new works in dance, theater, and music it commissions and premieres. Through the U-
UMS Partnership Program, the University is pleased to pro?vide support to UMS as it car?ries out its commitment to education, creation, and pres?entation, paralleling the University's commitment to teaching, research, and public engagement.
UMS offers a variety of programs designed to engage
U-M students in the arts. These include programs that provide academic context and background for arts performances, or combine arts performances with social activities; initiatives to make ticket pur?chases more affordable and convenient; and opportunities for students to gain direct experience in arts administration. The programs include:
Curricular Connections: The live performing arts can often help illuminate what cannot be taught in the traditional classroom setting. Accordingly, UMS works with its U-M academic partners to offer many points of entry for students to become engaged in the arts through classroom-based events. These include in-class lectures by UMS artists; master classes; panels and symposia; lunches or other informal events with the artists; and opportunities for technical theater students to "shadow" professional counterparts during actual performances. Faculty members have also designed special courses to complement UMS programs.
Student Discount Ticket Programs: UMS
offers students three ways to purchase discounted tickets to UMS events: Half-Price Student Ticket Sales, Rush Tickets, and UMS Rush Bucks. Each year, U-M students purchase more than 17,000 discounted tickets, saving more than $375,000.
Arts & Eats: Launched during Winter Semester 2006, Arts & Eats is an initiative pairing perform?ance attendance with a social function in hopes that, as students meet new people who are also interested in attending arts events, they will con?tinue to attend more frequently. The popular pro?gram combines a pizza dinner, a brief talk about the artist or program (often a graduate student), and a ticket to that evening's performance, all for $15. The project is a collaborative effort between Arts at Michigan, the U-M Alumni Association, and the U-M Credit Union.
Work-Study and Intern Students: UMS works to provide meaningful mentorship experiences for all of its part-time student employees and volun?teers, offering high-quality, high-responsibility positions in each department and unique learning experiences at both UMS and at professional con?ferences and seminars. Evidence of the program's success can be seen in the commitment of student interns to the field of arts management: 30 of the UMS staff began their careers as UMS interns, and many other interns continue to work in the performing arts field.
In addition to UMS events, I encourage you to attend University performances, exhibitions, and cultural activities offered by our faculty and stu?dents across the campus. To learn more about arts and culture at Michigan, please visit the University's website at
Mary Sue Coleman
President, University of Michigan
Welcome to this UMS performance. The entire UMS family is grateful that you're here. We hope you'll enjoy the experience and attend more UMS events during our 131st season. You'll find a listing of events on page 2 of your program insert.
There are lots of things I'd like you to know about UMS, and you'll discover many of them elsewhere in this program book. Here are four things I'd especially like you to know:
1. Guest artists tell us all the time that they love you, the UMS audience, and that you're a major reason they want to come back.
Why Because you are knowledgeable, apprecia?tive, open to adventuresome programming, include lots of students, know when to maintain your silence at the end of one piece and when to applaud with enthusiasm at the end of another, and-here's what amazes them-you constitute the largest audience on most international tours although Ann Arbor is the smallest tour stop by far. These were the very things that the Berlin Philharmonic told us at the end of a tour that included Moscow, Bonn, Paris, London, New York, Washington DC, Boston, Chicago...and Ann Arbor. Look who's coming back to Hill on November 17.
2. The special relationship between UMS and U-M is greatly admired--and envied--by pre?senters at other major research universities.
Why A long time ago U-M and UMS leaders saw the benefit of having UMS be a separate non?profit organization with a deep affiliation with U-M, and this unique arrangement has served both institutions extraordinarily well. Over the years UMS has created significant educational partner-
ships with 57 academic units and 175 individual fac?ulty members, and has developed great relation?ships with U-M students who now constitute 21 of our audience. UMS rents the remarkable performance venues both on campus and in the Ann Arbor communi?ty for most of its events, but has the freedom to create
its own venues in alternative spaces, like the Sports Coliseum, Michigan Union, or Arboretum, if these spaces can better serve the artist's vision.
3. UMS is a significant player in southeastern Michigan's revitalization efforts. UMS board and staff representatives serve on economic development task forces throughout the region.
. you constitute the largest audience most international tours although Ann Arbor is the smallest tour stop by far.
With arts and culture as a key driver of quality of life, and thus a prime motivator for companies choosing new loca?tions or recruiting new talent, UMS often hosts visiting corporate representatives.
With arts and culture as a key driver of quality of life, and thus a prime motivator for companies choosing new locations or recruiting new talent, UMS often hosts visiting corporate representatives. When the Royal Shakespeare Company was here three years ago for an exclusive US residency, UMS, working in partnership with the Michigan Economic Development Corporation, Ann Arbor SPARK, and the Ann Arbor Convention and Visitors Bureau, hosted 10 corporate executives from around the country to familiarize them with the rich cultural, educational, and other quality-of-life assets in our community. The result: two compa?nies chose to locate here.
4. Volunteers are central to everything we do.
A 500-person usher corps, a 150-voice UMS Choral Union, a 93-member Senate, student interns, a Teacher Advisory Committee, a National Council, a Corporate Council, and countless others help us with strategic planning, special event planning, fund-raising, project-based assistance, backstage support, and promoting performances. The hours donated by our talented 90-member Advisory Committee equal the effort of four-and-a-half full-time staff members. Among the hardest working volunteers are the 36 members of the UMS Board of Directors. On July 1, UMS welcomed six new members to the board: David Canter, Julia Donovan Darlow, Joel D. Howell, S. Rani Kotha, Stephen G. Palms, and Sharon Rothwell. Also serving on the Board this year is
Advisory Committee Chair Janet Callaway. Newly elected officers are Chair James C. Stanley, Vice Chair David J. Herzig, Secretary Martha Darling, and Treasurer Robert C. Macek.
Completing six years of distinguished service are Michael C. Allemang, Aaron P. Dworkin, Carl W. Herstein, and A. Douglas Rothwell. Carl
Herstein will remain on the Board as Past Chair for the coming season. We simply couldn't do business without the support of all of these volunteers, who collectively donate over 45,000 hours each year.
Feel free to get in touch with me if you have any questions, comments, or problems.. .or if you'd like to become a UMS volunteer. 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
How fortunate we are to be part of a UMS audience that values and supports the performing arts. That is of little surprise given the role UMS has in inspir?ing us, enriching our community, and broadening our understandings of each other. Be it the sound of music, the movement of dance, or the voice of the?ater, UMS has brought high quality performances and new experiences from some of the world's most distinctive artists to audiences for 130 years. The result is that UMS is regarded as one of the most respected presenting organizations in the country.
The artistic expressions experienced at UMS events occur in diverse venues, all of which create an unusual bond between the performers and audience. The sea?soned attendee and the newcomer each quickly grasp this unique connection. When UMS performances conclude, the artists know they have been understood and deeply appreciated by the audience. Lasting ovations and the knowledgeable chatter of those leaving the hall reflect the maturity of our patrons. That atmos?phere is not always so visible in other halls, and for the performers it establishes a special tie to UMS. It's been that way for generations, and for good reasons.
Today's challenging times of world conflict and economic stresses are not new to us. It is important to remember that our forbearers have sustained their emotional and intellectual health by revisiting their cultural roots, and so will we. UMS plays a critical role in our own well being. The 20092010 season provides such an example, be it with the classical music of the Berlin Philharmonic, the moods of Wynton Marsalis and the Jazz at Lincoln Center Orchestra, the singing of Patti LuPone or the Vienna Boys Choir, the movement of Hubbard Street Dance Chicago ensemble, the voices of London's Shakespeare's Globe Theatre, or the wit of The New Yorker maga?zine's music critic Alex Ross. That's just a small bit of what UMS is doing for us this season. It just doesn't get any better, anywhere.
The UMS Board and I encourage all of you to stand with us and the entire UMS team. Engage yourself in the experiences afforded by UMS. Attend many of this season's UMS performances and dare yourself to be exposed to the different sounds and colors that are part of our ever-shrinking planet. Become a donor and enjoy the pride in being among those that fund more than half the expenses of bringing worldwide performances to our doors each year. Learn about us and talk to us at We like to listen.
Participate as advocates for the cultural contributions that UMS offers to our greater community. Do it for yourselves and those who follow. We owe so much to the many who preceded us and made UMS what it is today. They have set an exceptional standard. And remember, how very fortunate we are.
@@@@James C. Stanley
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."
Dr. Ora Hirsch Pescovitz
Executive Vice President for Medical Affairs, University of Michigan, and CEO, University of Michigan Health System "When I was young, I contemplated becoming a concert pianist. Though I didn't pursue that career path, the arts have remained a prominent fixture in my life, both personally and professionally. Music and the arts feed our imaginations, heal our spirits, and inspire us to evolve and grow. We are very fortunate to have the University Musical Society as part of our community, and the University of Michigan Health System is privileged to sponsor such a creative, vibrant part of our culture. Here's to a great year!"
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."
Timothy G. Marshall
President and CEO, Bank of Ann Arbor "Bank of Ann Arbor is pleased to continue its longstanding tradition of supporting the arts and cultural organizations in our town and region. The University Musical Society provides all of us a wonderful and unique opportunity to enjoy first-class performances covering a wide range of artists from around the world. We are proud to continue our support of UMS for the 0910 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."
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. UMS continues to enrich the local community by bringing the finest performing arts to Ann Arbor, and we're pleased to continue to support this long-standing tradition."
Fred Shell
Wee President, Corporate and Government Affairs, DTE Energy
"The DTE Energy Foundation is pleased to support exemplary organizations like UMS that inspire the soul, instruct the mind, and enrich the community."
Edward Surovell
President, Edward Surovell Realtors
"Edward Surovell Realtors and its 300 employees and sales asso?ciates are proud of our 21-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."
Joseph A. Maffesoli
Branch ManagerVice President, Ann Arbor Investor Center "The Fidelity Investments Ann Arbor Investor Center is proud to support the University Musical Society and the continued effort to inspire our community through the arts. We look forward to another season of great performances!"
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 Kerby
Owner, Kerby's Kurb Service
"Kerby's Kurb Service has been a part of the University Musical Society for over a decade. It has been a pleasure working with the UMS staff and an organization that has brought world-renowned artists to the local area for the cultural benefit of many, especially the Ann Arbor community."
Tim Gretkierewicz
Market President, Key Bank
"KeyBank remains a committed supporter of the performing arts in Ann Arbor and we commend the University Musical Society for bringing another season of great performances to the community. Thank you, UMS, for continuing the tradition.
Dennis Serras
Owner, Mainstreet Ventures, Inc. "As restaurant and catering service owners, we consider ourselves fortunate that our business provides so many opportunities for supporting the University Musical Society and its continuing success in bringing internationally acclaimed talent to the Ann Arbor community."
Sharon J. Rothwell
Wee President, Corporate Affairs and Chair, Masco Corporation Foundation "Masco recognizes and appreciates the value the performing arts bring to the region and to our young people. We applaud the efforts of the University Musical Society for its diverse learning opportunities and the impact its programs have on our communities and the cultural leaders of tomorrow."
Scott Merz
CEO, Michigan Critical Care Consultants, Inc. (MC3) "MC3 is proud to support UMS in recognition of its success in creating a center of cultural richness in Michigan."
Erik H. Serr
Principal, Miller, Canfield, Paddock and Stone, P.L.C. "Miller Canfield proudly supports the University Musical Society for bringing internationally-recognized artists from a broad spectrum of the performing arts to our community, and applauds UMS for offering another year of music, dance, and theater to inspire and enrich our lives."
John W. McManus ,
Market President, South Central Michigan, National City "National City Bank is proud to support the efforts of the University Musical Society and the Ann Arbor community."
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."
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 and above
Doris Duke Charitable Foundation W.K. Kellogg Foundation National Endowment for the Arts
Doris Duke Foundation for Islamic Art DTE Energy Foundation Esperance Family Foundation
Cairn Foundation
Maxine and Stuart Frankel Foundation
Charles H. Gershenson Trust
The Mosaic Foundation, Washington DC
Arts Midwest's Performing Arts Fund Eugene and Emily Grant Foundation Martin Family Foundation Michigan Council for Arts and Cultural Affairs THE MOSAIC FOUNDATION (of R. & P. Heydon)
Consulate General of The Netherlands in New York
Mohamed and Hayat Issalssa Foundation
National Dance Project of the New England Foundation
for the Arts Sarns Ann Arbor Fund Target
James C. Stanley,
Chair David J. Herzig,
Wee Chair Martha Darling,
Secretary Robert C. Macek,
Treasurer Carl W. Herstein,
Past Chair
Wadad Abed Carol L. Amster
Kathleen Benton Lynda W. Berg DJ Boehm
Charles W. Borgsdorf Robert Buckler David Canter Mary Sue Coleman Julia Donovan Darlow Junia Doan Maxine J. Frankel Patricia M. Garcia Chris Genteel Anne Glendon
Joel D. Howell Christopher Kendall S. Rani Kotha Melvin A. Lester Joetta Mial Lester P. Monts Roger Newton Stephen G. Palms Todd Roberts Sharon Rothwell Edward R. Schulak John J.H. Schwarz Ellie Serras
Joseph A. Sesi Anthony L. Smith Cheryl L. Soper
Clayton E. Wilhite,
Chair, National
Council A. Douglas Rothwell,
Chair, Corporate
Council Janet Callaway,
Chair, Advisory
Clayton E. Wilhite, Chair Marylene Delbourg-Delphis John Edman Janet Eilber
Eugene Grant Charles Hamlen Katherine Hein David Heleniak
Toni Hoover Judith Istock Wallis Klein Zarin Merita
Herbert Ruben Russell Willis Taylor
Carl W. Herstein, Ex-officio
UMS SENATE (former members of the UMS Board of Directors)
Robert G. Aldrich Michael C. Allemang Herbert S. Amster Gail Davis Barnes Richard S. Berger Maurice S. Binkow Lee C. Bollinger Janice Stevens
Botsford Paul C. Boylan Carl A. Brauer William M. Broucek Barbara Everitt Bryant Letitia J. Byrd Kathleen G. Charla Leon S. Cohan Jill A. Corr Peter B. Corr Ronald M. Cresswell
Hal Davis
Sally Stegeman DiCarlo Robert F. DiRomualdo Cynthia Dodd Al Dodds
James J. Duderstadt Aaron P. Dworkin 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 Carl W. Herstein 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 A. Douglas Rothwell Judy Dow Rumelhart Maya Savarino Ann Schriber Erik H. Serr Harold T. Shapiro
George I. Shirley John 0. Simpson Herbert Sloan Timothy P. Slottow Carol Shalita Smokier Jorge A. Solis Peter Sparling Lois U. Stegeman Edward D. Surovell James L. Telfer Susan B. Ullrich Michael D. VanHemert Eileen Lappin Weiser B. Joseph White Marina v.N. Whitman Clayton E. Wilhite Iva M. Wilson Karen Wolff
Janet Callaway, Chair Betty Palms,
Vice Chair
Karen Stutz, Secretary Sarah Nicoli,
Treasurer Phyllis Herzig,
Past Chair
Ricky Agranoff MariAnn Apley Sandy Aquino Lone Arbour Barbara Bach Pat Bantle
Francine Bomar Luciana Borbely Mary Breakey Heather Byrne Dennis J. Carter Stefani Carter Cheryl Cassidy Patricia Chapman Cheryl Clarkson Wendy Comstock Sheila Crowley Doug Czinder Norma Davis Mary Dempsey Mary Ann Faeth
Michaelene Farrell Sara Fink Susan A. Fisher Susan R. Fisher Rosamund Forrest Kathy Goldberg Walter Graves Linda Grekin Nicki Griffith Joe Grimley Susan Gross Susan Gutow Lynn Hamilton Charlene Hancock Shelia Harden
Alice Hart
Meg Kennedy Shaw Pam Krogness Mary LeDuc Joan Levitsky Jean Long Eleanor Lord Jane Maehr Jennifer J. Maisch Melanie Mandell Ann Martin Fran Martin Joanna McNamara Deborah Meadows Liz Messiter
Robin Mieset Natalie Mobley Bonita Davis Neighbors Kay Ness Thomas Ogar Liz Othman Allison Poggi Lisa Psarouthakis Marci Raver Agnes Moy Sarns Penny Schreiber Bev Seiford Aliza Shevrin Alida Silverman
Loretta Skewes Andrea Smith Becki Spangler Nancy Stanley Carlin C. Stockson Gail Ferguson Stout Eileen Thacker Janet Torno Louise Townley Amanda Uhle Enid Wasserman Kirsten Williams Ellen Woodman
Kenneth C. Fischer, President Kathy M. Brown, Executive Assistant 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 Craig, Senior Manager
for Marketing and Corporate
Partnerships Rachelle Lesko, Development
Administrative Assistant Lisa Michiko Murray,
Manager of Foundation and
Government Grants M. Joanne Navarre, Manager of
Annual Giving Marnie Reid, Manager of
Individual Support Cynthia Straub, Advisory Committee
and Events Coordinator
EducationAudience Development
Claire C. Rice, Interim Director Mary Roeder,
Residency Coordinator Omari Rush, Education Manager
MarketingPublic Relations
Sara Billmann, Director
Susan Bozell Craig, Senior Manager
for Marketing and Corporate
Partnerships James P. Leija, Public Relations
Manager Stephanie Normann, Marketing
Michael J. Kondziolka, Director Jeffrey Beyersdorf,
Technical Director Mark Jacobson,
Programming Manager Carlos Palomares,
Artist Services Coordinator Liz Stover, Programming
Ticket Services
Jennifer Graf, Ticket Services
Manager Sally A. Cushing, Ticket Office
Associate Suzanne Davidson, Assistant Ticket
Services Manager Adrienne Escamilla,
Ticket Office Associate Sara Sanders, Front-of-House
Coordinator Dennis Carter, Bruce Oshaben,
Brian Roddy, Head Ushers
Greg Briley Tyler Brunsman Allison Carron Shannon Deasy Kelsy Durkin Carrie Fisk Dana Harlan Catherine Herzog Jennifer Howard Andy Jones Toniesha Jones Brooke Lundin
Mary Martin Michael Matlock Bryan McGivern Michael Michelon Paula Muldoon Leonard Navarro Steven Rish Andrew Smith Cahill Smith Trevor Sponseller Catherine Tippman Julie Wallace Sophia Zhuo
Doug Rothwell,
Chair Albert Berriz
Bruce Brownlee Bob Buckler Jim Garavaglia
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 Barihwell Rob Bauman Suzanne Bayer Eli Bleiler Ann Mane Borders
David Borgsdorf Sigrid Bovver Marie Brooks Susan Buchan Deb Clancy Carl Clark Ben Cohen Julie Cohen Leslie Criscenti Orelia Dann Saundra Dunn
Johanna Epstein Susan Filipiak Katy Fillion Delores Ftagg Joey Fukuchi Jeff Gaynor Joyce Gerber Barb Grabbe Joan Grissing Linda Jones Jeff Kass
Rosalie Koenig Sue Kohfeldt Laura Machida Jose Mejia Kim Mobley Eunice Moore Michelle Peet Anne Perigo Rebeca Pietrzak Cathy Reischl Jessica Rizor
Vicki Shields Sandra Smith Grelchen Suhre Julie Taylor Cayla Tchalo Dan Tolly Alex Wagner Barbara Wallgren Kimberley Wright Kathryn Young
Barrier-Free Entrances
For persons with disabilities, all venues have barrier-free entrances. Wheelchair locations vary by venue; visit www.ums.orgtickets or call 734.764.2538 for details. Ushers are available for assistance.
Listening Systems
For hearing-impaired persons, Hill Auditorium, Power Center, and Rackham Auditorium are equipped with assistive listening devices. Earphones may be obtained upon arrival. Please ask an usher for assistance.
Lost and Found
For items lost at Hill Auditorium, Lydia Mendelssohn Theatre, Power Center, or Rackham Auditorium, please call University Productions at 734.763.5213. For the Michigan Theater, call 734.668.8397. For St. Francis of Assisi, call 734.821.2111.
Please allow plenty of time for parking as the campus area may be congested.
Parking is available in the Church Street, Maynard Street, Thayer Street, Fletcher Street, and Fourth Avenue structures for a minimal fee. Please allow enough time to park before the performance begins. UMS donors at the Patron level and above ($1,000) receive 10 complimentary parking 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 0910 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 donors 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 performance venues, $2 after 3 pm weekdays and all day SaturdaySunday. Maynard Street structure, entrances off Maynard and Thompson between Willliam and Liberty, $.45half-hour, 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.
Non-Smoking Venues
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, unless the group order is completed
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
Classical Kids Club
Parents can introduce their children to world-renowned classical music artists through the Classical Kids Club. The Classical Kids Club allows students in grades 1-8 to purchase tick?ets to all classical music concerts at significantly discounted rates. 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. For information, call 734.764.2538 or sign-up for UMS E-News and check the box for Classical Kids Club.
If you are unable to attend a concert for which you have purchased tickets, you may turn in your tickets until curtain time by calling the Ticket Office. Refunds are not available; how?ever, you will be given a receipt for an income tax deduction. Please note ticket retums do not count towards UMS giving levels.
Ticket Exchanges
Subscribers may exchange tickets free of charge up until 48 hours prior to the perform?ance. Non-subscribers may exchange tickets for a $6 per ticket exchange fee up until 48 hours prior to the performance. Exchanged tickets must be received by the Ticket Office (by mail or in person) at least 48 hours prior to the per?formance. 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 must be redeemed by Sunday, April 25, 2010.
New this year! UMS now accepts ticket exchanges within 48 hours of the performance for a $10 per ticket exchange fee (applies to both subscribers and single ticket buyers). Tickets must be exchanged at least one hour before the published performance time. Tickets received less than one hour before the per?formance will be returned as a tax-deductible contribution.
A variety of discounted ticket programs are available for University students and teenagers.
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 uniqname 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.
Fall Semester Sale: Begins Sunday, September 13 at 8pm and ends Wednesday, September 16 at 5pm.
Winter Semester Sale: Begins Sunday, January 10 at 8pm and ends Tuesday, January 12 at 5pm.
Sponsored by
UMS Rush Bucks
Worried about finding yourself strapped for cash in the middle of the semester UMS Rush Bucks provide online access to Rush Tickets two weeks before most performances. UMS Rush Bucks are available in $60 and $100 increments. Please visit www.ums.orgstudents for more information.
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.
Gift Certificates
Available in any amount and redeemable for any of more than 50 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 five years from the date of purchase. For more information, please visit
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 mil?lennium. Every day UMS seeks to cultivate, nur?ture, 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 performance of Handel's Messiah was in December of 1879 and this glorious oratorio has since been per?formed by the UMS Choral Union annually.
Many Choral Union members also belonged to the University, and 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 season. 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), Shostakovich's Symphony No. 73 ("Babi Yar") with the Kirov Orchestra of St. Petersburg (2006), and Orff's Carmina Burana during Maestro Leonard Slatkin's opening weekend.
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 organiza?tion that supports itself from ticket sales, corpo?rate and individual contributions, foundation and government grants, special project support from U-M, and endowment income.
Hill Auditorium
Originally built in 1913, a $38.6-million dollar renovation overseen by Albert Kahn Associates, Inc. and historic preservation architects Quinn EvansArchitects has updated Hill's infrastructure 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, the reworking of the west barrier-free ramp and loading dock, and improvements to landscaping. Hill Auditorium re-opened to the public in January 2004.
Interior renovations included the demolition of lower-level spaces to ready the area for future improvements, the creation of additional rest-rooms, the improvement of barrier-free circula?tion by providing elevators and an addition with ramps, the replacement of seating to increase patron comfort, introduction of barrier-free seating and stage access, the replacement of theatrical performance and audio-visual sys?tems, and the complete replacement of mechanical and electrical infrastructure systems for heating, ventilation, and air conditioning.
Hill Auditorium seats 3,575.
Lydia Mendessohn Theatre
Notwithstanding an isolated effort to establish a chamber music series by faculty and students in 1938, UMS began presenting artists in Lydia Mendelssohn Theatre in 1993 when Eartha Kitt and Barbara Cook graced the stage of the inti?mate 658-seat theater as part of the 100th May Festival's Cabaret Ball. This season the superla?tive Mendelssohn Theatre hosts UMS's Jazz Series concert presentations of the Bill Charlap Trio and The Bad Plus.
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. The Powers were immediately interested in supporting the University's desire to build a new theater, realizing that state and fed?eral governments were unlikely to provide finan?cial support for the construction of a theater.
Opening in 1971 with the world premiere of The Grass Harp (based on the novel by Truman Capote), the Power Center achieved the seemingly contradictory combination of provid?ing a soaring interior space with a unique level of intimacy. Architectural features include two
large spiral staircases leading from the orchestra level to the balcony and the well-known mirrored glass panels on the exterior. The lobby of the Power Center presently features two hand-woven tapestries: Modern Tapestry by Roy Lichtenstein and Volutes (Arabesque) by Pablo Picasso.
The Power Center seats approximately 1,400 people.
Arbor Springs Water Company is generously providing complimentary water to UMS artists backstage at the Power Center throughout the current season.
Rackham Auditorium
Seventy 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 strong?ly in the importance of the study of human his?tory 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 establish a $4 million endowment to further the development of graduate studies. Even more remarkable than the size of the gift is the fact that neither he nor his wife ever attended the University of Michigan.
Designed by architect William Kapp and architectural sculptor Corrado Parducci, Rackham Auditorium was quickly recognized as the ideal venue for chamber music. In 1941, UMS presented its first chamber music festival with the Musical Art Quartet of New York per?forming three concerts in as many days, and the current Chamber Arts Series was born in 1963. Chamber music audiences and artists alike appreciate the intimacy, beauty, and fine acoustics of the 1,129-seat auditorium, which has been the location for hundreds of chamber music concerts throughout the years.
St. Francis of Assisi Catholic Church
Dedicated in 1969, St. Francis of Assisi Catholic Church has grown from 248 families when it first started to more than 2,800 today. The pres?ent church seats 1,000 people and has ample free parking. In 1994, St. Francis purchased 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 rever?berant sanctuary has made the church a gather?ing place for the enjoyment and contemplation 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.
Fall 2009 Season 131st 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. Children under the age of 3 will not be admitted to regular, full length UMS performances. All children must be able to sit quietly in their own seats without disturbing other patrons. Children unable to do so, along with the adult accompanying them, will be asked by an usher to leave the audito?rium. Please use discretion 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 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
Sunday, September 13 through Thursday, October 8, 2009
Itzhak Perlman 5
Rohan De Silva
Sunday, September 13, 4:00 pm Hill Auditorium
Grizzly Bear 11
Beach House
Saturday, September 26, 8:00 pm Michigan Theater
Bill Charlap Trio 15
Friday, October 2, 7:00 pm Friday, October 2, 9:30 pm Lydia Mendelssohn Theatre
Punch Brothers featuring Chris Thile 19
Wednesday, October 7, 8:00 pm Power Center
Alisa Weilerstein 23
Inon Barnatan
Thursday, October 8, 8:00 pm Hill Auditorium
Fall 2009
13 Itzhak Perlman, violin with ; Rohan De Silva, piano
26 i Grizzly Bear with Beach House
2 i Bill CharlapTrio
7 i Punch Brothers featuring Chris Thile
8 Alisa Weilerstein, cello with Inon Barnatan, piano
The Suzanne Farrell Ballet NT Live: All's Well That Ends Well Ravi Shankar and Anoushka Shankar Shakespeare's Globe Theatre of London: Love's Labour's Lost
27 I Stile Antico: Heavenly Harmonies
29 : Michigan Chamber Players
30 i Belcea Quartet
Christine Brewer, soprano with Craig Rutenberg, piano
6 ; Keith Terry and the Slammin' All-Body Band
7 i Gal Costa and Romero Lubambo
8 St. Lawrence String Quartet
14 Yasmin Levy
17 Berlin Philharmonic
20 Patti LuPone: Coulda, Woulda, Shoulda
29 Vienna Boys Choir: Christmas in Vienna
5-6 Handel's Messiah 12 j Jean-Yves Thibaudet, piano
8 I Souad Massi
22-23 Bill T. JonesArnie Zane Dance Company: Fondly Do We Hope... Fervently Do We I
27 Chicago Symphony Orchestra
31 Ladysmith Black Mambazo
4 The Bad Plus
6 ; So Percussion
7 ! NT Live: Nation
10 Angela Hewitt, piano
11 Luciana Souza Trio 14 i Schubert Piano Trios
17 Bela Fleck: The Africa Project
13 15 17
Swedish Radio Choir
Cyro Baptista's Beat the Donkey
Takacs Quartet
Jazz at Lincoln Center Orchestra
I with Wynton Marsalis
19 San Francisco Symphony
! with Christian Tetzlaff, violin
20 San Francisco Symphony with
UMS Choral Union: 15th Ford Honors Program 24-25 Julia Fischer, violin:
Solo Violin Works of J.S. Bach 25-28 Maly Drama Theater of
St. Petersburg: Anton Chekhov's Uncle I Vanya
I April
7 Schleswig-Holstein Festival Orchestra with Lang Lang, piano
8 Danilo Perez & Friends: Things to Come: 21st-century Dizzy
10 Baaba Maal with NOMO 12 I Michigan Chamber Players 20 Trio Mediaeval
22-24 Hubbard Street Dance Chicago 25 The Rest is Noise in Performance:
Alex Ross and Ethan Iverson, piano TBD ! NT Live: The Habit of Art
UMS Educational Events
Through Thursday, October 8, 2009
All UMS educational activities are free, open to the public, and take place in Ann Arbor unless otherwise noted. For complete details and updates, please visit or contact the UMS Education Department at 734.615.4077 or
Alisa Weilerstein
"Masterpieces Revealed" Series: Unlocking the Secrets of Beethoven's Cello Sonata No. 2 in g minor
Monday, October 5, 7-8:30 pm U-M Museum of Art Commons
In the "Masterpieces Revealed" series, local artists provide a step-by-step exploration of some of the artistic works presented on the UMS season through live performance and discussion, deconstructing and explaining what tums a piece into a "masterpiece." Events take place on weekday evenings in the UMMA commons, allowing for informal exchange between artist and audience.
To kick off our Masterpieces Revealed series, U-M Professor of Cello Anthony Elliott and U-M Associate Professor of Musicology Steven Whiting will illuminate Beethoven's Cello Sonata No. 2. By listening to this music and its underlying structure in new and interesting ways, any and every listener will come away with an enhanced understanding of what exactly makes this work great.
A collaboration with UMMA and the U-M School of Music, Theatre & Dance.
The Suzanne Farrell Ballet
Artist Interview
Wednesday, October 7, 7-8:30 pm Palmer Commons Forum Hall, 4th Floor
Suzanne Farrell, one of the 20th century's greatest dancers and director of The Suzanne Farrell Ballet, will discuss her art with Professor Beth Genne. The talk will focus on how the dancer uses her body in a creative collaboration with the choreographer to create new works and re-inhabit and revivify old ones.
Ms. Farrell was revolutionary choreographer George Balanchine's last and arguably greatest muse--he was inspired and challenged by her extraordinary dance intelligence, sensitivity to music, her passion for dance, and her ability to push established boundaries to try new and innovative ways of using the body. Working together, they helped to create truly modern American ballets that are landmarks in the field and still inspire contemporary choreographers. Ms. Farrell also worked with one of modern European ballet's innovators, Maurice Bejart, who was equally but in different ways inspired by Ms. Farrell and her distinctive ways of moving. The talk will be illustrated by film clips from Ms. Farrell's career.
A collaboration with Arts on Earth and the U-M School of Music, Theatre & Dance.
and the
University of Michigan
Health System
Itzhak Perlman Rohan De Silva ?
Jean-Marie Ledair
Ludwig van Beethoven
Igor Stravinsky
Sunday Afternoon, September 13, 2009 at 4:00 Hill Auditorium Ann Arbor
Sonata for Violin and Piano in D Major, Op. 9, No. 3
Adagio molto maestoso Allegro
Sarabanda Largo Tambourin Allegro vivace
Sonata for Violin and Piano No. 7 in c minor. Op. 30, No. 2
Allegro con brio Adagio cantabile Scherzo: Allegro Finale: Allegro; Presto
Suite Italienne Introduzione Serenata Tarantella
Gavotta con due Varizioni Scherzino Minuetto Finale
Additional works to be announced by the artists from the stage.
First Performance of the 131st Annual Season
131st Annual Choral Union Series
The photographing or sound and video recording of this recital or posses?sion of any device for such recording is prohibited.
This afternoon's recital is sponsored by the University of Michigan Health System.
Additional support provided by Gloria and Jerry Abrams, Ricky and Bernie Agranoff, Carol and Herb Amster, Susan and Richard Gutow, and Prue and Ami Rosenthal.
Media partnership provided by WGTE 91.3 FM and WRCJ 90.9 FM.
The Steinway piano used in this recital is made possible by William and Mary Palmer and by the Steinway Piano Gallery of Detroit.
Special thanks to Tom Thompson of Tom Thompson Flowers, Ann Arbor, for his generous contribution of floral art for this recital.
Mr. Perlman records for EMIAngel, Sony ClassicalSony BMG Masterworks, Deutsche Grammophon, LondonDecca, EratoElektra International Classics, and Telarc.
Mr. Perlman appears by arrangement with IMG Artists, New York, NY.
Large print programs are available upon request.
Sonata for Violin and Piano in D Major, Op. 9, No. 3(1743)
Jean-Marie Leclair
Born May 10, 1697 in Lyon, France
Died October 22, 7 764 in Paris
Snapshot of History...
In 1743:
Benjamin Franklin founds the American Philosophical Society in Philadelphia
George Frederic Handel writes his Dettingen Te Deum to celebrate the British victory over France during the War of the Austrian Succession
The Dresden Frauenkirche, a landmark of Baroque architecture, is completed
The plague epidemic in Messina, Sicily, claims 48,000 lives
William Hogarth paints his satirical series Marriage a-la-mode
Many of the great violin sonatas in the repertory, from Mozart to Beethoven to Brahms, were written by pianist-composers for their violinist friends or colleagues. (Even though Mozart was an accomplished violinist in his early years, he had switched to the keyboard by the time he reached full artistic maturity.) In the Baroque era, by contrast, we have many excellent composers who were violinists themselves; in their works, they made equal contributions to the sonata as a genre and the development of string technique.
Jean-Marie Leclair was one of these masters. A native of Lyon, France, he spent some time in Italy where he became thoroughly acquainted with the Italian violinistic tradition represented by Arcangelo Corelli (1653-1713). He later performed all over Europe and finally obtained a post at the French royal court of Louis XV. The circumstances of his death are mysterious: he was apparently murdered, but no one was ever charged with the crime.
Of the many sonatas Leclair wrote for his instrument, the present one in D Major is the most frequently performed. At the time, there were two main types of sonata: the sonata da chiesa (church sonata) which was in four movements (slow-fast-slow-fast, often with counterpoint in one of the fast movements), and the sonata da camera (chamber sonata) which, somewhat like a suite, had a varying number of dance movements. The present work combines the best of both worlds: the overall layout follows the outline of the church
sonata, yet the last two movements are dances: a stately Sarabanda and lively Tambourin. The hand of the practicing violinist may be felt in the frequent double-stops, which lend the violin part a special character.
Sonata for Violin and Piano No. 7 in c minor.
Op. 30, No. 2 ("Eroica") (1802) Ludwig van Beethoven
Born December 15 or 16, 1770 in Bonn, Germany Died March 26, 1827 in Vienna
Snapshot of History...
In 1802:
William Wordsworth writes his celebrated poem "Upon Westminster Bridge"
Napoleon becomes First Consul
Johann Nikolaus Forkel publishes the first biography of J. S. Bach
The United States Military Academy at West Point is established
The first steam locomotive is patented in Britain
The tonality of c minor always means something special in classical music. Works written in that key are usually more emotionally charged than others, if they are not outright tragic in tone. Beethoven must have liked this key as he returned to it quite often, not only in his Piano Concerto No. 3 and Symphony No. 5, but also in several of his chamber works.
The c-minor violin sonata is second in a set of three sonatas written in 1801-02 and published in 1803 with a dedication to Czar Alexander I of Russia. These were very important years in Beethoven's life both artistically and personally. They mark the emergence of what came to be called his "middle period" or his "heroic style" with such works as Symphony No. 2, Piano Concerto No. 3, and the two Fantasy-Sonatas for piano (one of them being the famous "Moonlight" sonata). On a personal level, these are the years when Beethoven's hearing began to seriously deteriorate. In October 1802 he wrote the dramatic Heiligenstadt Testament, in which he spoke about his feelings of despair over his condition, his suicidal thoughts, and art as his only source of comfort. According to biographer Maynard Solomon, the birth of the new heroic style may have had something to do with Beethoven's almost superhuman effort to overcome his handicap, and the present sonata is one of the documents of this struggle.
The sonata is in four movements, the first and last of which are intensely dramatic. They flank a slow movement of great sensitivity and a typical Beethovenian scherzo. But the inner movements do much more than merely provide relief; they bring moments of introspection and self-confidence, respectively, into this world in turmoil. Many minor-key works (including Piano Concerto No. 3 and Symphony No. 5) end in the major mode in gesture of victory and triumph. This sonata, similarly to the "Path6tique" sonata for solo piano, stays in c minor to the end; it closes with some heavy tonic chords that come down like hammer blows.
Program notes by Peter Laki.
Suite ltalienne(1932)
Igor Stravinsky
Born June 17, 1882 in Oranienbaum, near
St. Petersburg, Russia Died April 6, 1971 in New York
See p. 25 for the program note for this piece.
Undeniably the reigning virtuoso of the violin, Itzhak Perlman enjoys superstar status rarely afforded a classical musician. In January 2009, Mr. Perlman was honored to take part in the Inauguration of President Barack Obama, premiering a piece written for the occasion by John Williams and performing with clarinetist Anthony McGill, pianist Gabriela Montero, and cellist Yo-Yo Ma. President Reagan granted Mr. Perlman a Medal of Liberty in 1986, and President Clinton awarded him the National Medal of Arts in December 2000. In December 2003, he was a Kennedy Center Honoree. In May 2007, he performed with pianist Rohan De Silva at the State Dinner for Her Majesty The Queen and His Royal Highness The Duke of Edinburgh, hosted by President George W. Bush and Mrs. Bush at the White House.
As a soloist, Mr. Perlman continues to visit major centers throughout the world. This month, he will help celebrate the opening of the Barvikha Concert Hall outside Moscow with a reprise of his acclaimed klezmer program In the Fiddler's House. Other highlights of his 0910 season include a performance with the New York Philharmonic to commemorate World Polio Day; two West
Itzhak Perlman
Photo: Akira Kinoshita
Coast tours covering Los Angeles, San Diego, and Vancouver; and recitals across North and Central America including Mexico City, Atlanta, Miami, and Boston. Mr. Perlman also appears with students from the Perlman Music Program in a three-concert series at the Metropolitan Museum of Art in New York and in Israel.
In addition to his many orchestral and recital appearances throughout the world, Mr. Perlman performs as conductor with leading orchestras such as the Berlin Philharmonic, the London Philharmonic, the Concertgebouw Orchestra, the Israel Philharmonic, the Chicago Symphony, and the New York Philharmonic. This season marks his second as Artistic Director of the Westchester Philharmonic Orchestra. He was Music Advisor of the St. Louis Symphony from 2002-2004 where he made regular conducting appearances, and he was Principal Guest Conductor of the Detroit Symphony from 2001-2005.
Mr. Perlman proudly possesses four Emmy Awards and 15 Grammy awards. He performed at the 2006 Academy Awards and at The Juilliard School Centennial gala, broadcast nationally on Live from Lincoln Center. He collaborated with composer John Williams in Steven Spielberg's Academy Award-winning film Schindler's List, in which he performed the violin solos. Mr. Perlman devotes considerable time to education, both in his participation each summer
in the Perlman Music Program and his teaching at The Juilliard School, where he holds the Dorothy Richard Starling Foundation Chair. He was awarded an honorary doctorate and a centennial medal on the occasion of Juilliard's 1OOth commencement ceremony in May 2005.
Rohan De Silva's partnerships with violin virtuosos including Itzhak Perlman, Midori, Joshua Bell, Vadim Repin, Gil Shaham, and Nadja Salerno-Sonnenberg have led to highly acclaimed performances at recital venues all over the world. With these and other artists he has performed at Carnegie Hall, Lincoln Center's Avery Fisher Hall and Alice Tully Hall, the Kennedy Center, Library of Congress, Concertgebouw in Amsterdam, Wigmore Hall in London, Suntory Hall in Tokyo, the Mozarteum in Salzburg, La Scala in Milan, and in Tel-Aviv, Israel. He has appeared at the Aspen, Interlochen, Manchester, Ravinia, and Schleswig-Holstein Festivals, the Pacific Music Festival in Sapporo, Japan, and the Wellington Arts Festival in New Zealand.
Mr. De Silva performs frequently with Itzhak Perlman and was seen with Mr. Perlman on PBS' Live from Lincoln Center broadcast in early January 2000. He regularly tours Japan with Mr. Perlman, and in August 2002 they toured the Far East, performing in China, Hong Kong, and Taiwan.
A native of Sri Lanka, Mr. De Silva began his piano studies with his mother, the late Primrose De Silva, and with the late Mary Billimoria. He spent six years at the Royal Academy of Music in London as a student of Hamish Milne, Sydney Griller, and Wilfred Parry. He was the first recipient of a special scholarship in the arts from the Presidents Fund of Sri Lanka, which enabled him to enter The Juilliard School, where he received both his Bachelor and Master of Music degrees. He received the Samuel Sanders Collaborative Artist Award presented to him by Itzhak Perlman at the 2005 Classical Recording Foundation Awards Ceremony at Carnegie Hall.
Mr. De Silva joined the collaborative arts and chamber music faculty of The Juilliard School in 1991, and in 1992 was awarded honorary As?sociate of the Royal Academy of Music. In 2001, he joined the faculty at the Ishikawa Music Acad?emy in Japan, where he gives master classes in collaborative piano. Mr. De Silva's radio and television credits include The Tonight Show with
Photo JohnBwbe
Rohan De Silva
Midori, CNN's Showbiz Today, NHK Television in Japan, National Public Radio, WQXR and WNYC in New York, and Berlin Radio. He has recorded for Deutsche Grammophon, CBSSONY Classical, Collins Classics in London, and RCA Victor.
UMS Archives
This afternoon's recital marks Itzhak Perlman's 10th appearance under UMS auspices. Mr. Perlman made his UMS debut in April 1970 performing Prokofiev's Violin Concerto No. 2 with the Philadelphia Orchestra under the baton of Maestro Thor Johnson during the 1970 May Festival at Hill Auditorium. This afternoon marks Rohan De Silva's second UMS appearance. Mr. Perlman and Mr. De Silva last appeared together in September 2000 at Hill Auditorium in a recital paying tribute to the 100th anniversary of Jascha Heifetz's birth.
Jane and Edward
Grizzly Bear
Daniel Rosen, Guitar, Vocals, Keyboards
Ed Droste, Guitar, Vocals, Keyboards
Chris Taylor, Bass, Woodwinds, Electronics, Vocals
Christopher Bear, Drums, Vocals
Beach House
Victoria Legrand, Vocals, Organ Alex Scally, Guitar, Keyboards Daniel Franz, Drums
Saturday Evening, September 26, 2009 at 8:00 Michigan Theater Ann Arbor
Tonight's program will be announced by the artists from the stage. There will be one intermission following Beach House's opening set.
Second Performance of the 131st Annual Season
The photographing or sound and video recording of this concert or possession of any device for such recording is prohibited.
Tonight's performance is sponsored by Jane and Edward Schulak.
Media partnership provided by Ann Arbor's 107one, WEMU 89.1 FM, and Metro Times.
Special thanks to Forest Juziuk and Aaron Lindell of Dark Matter for spinning music in the lobby at tonight's performance.
Grizzly Bear appears by arrangement with Ground Control Touring. Beach House appears by arrangement with The Billions Corporation.
Large print programs are available upon request.
Grizzly Bear released Yellow House in 2006. It was a slow, steady, and stunning ride--boundless in scope and elegance. Given the album's otherworldly charm and staying power, it is hard to believe three years have gone by.
That might seem like a long time. But given Grizzly Bear's hectic touring schedule, including stints with Radiohead, TV On The Radio, and Feist--as well as several performances during a five-night tribute to Paul Simon at the Brooklyn Academy of Music, a co-headlining show with the LA Philharmonic, and the release of Friend, a 10-song EP of re-recorded and re-worked songs, collaborations, and covers--all of this seems very reasonable. They've been busy.
But about a year ago, singersongwriter Ed Droste, drummer Christopher Bear, bassist Chris Taylor, and singersongwriterguitarist Daniel Rossen--whose other band, Department of Eagles, released the sublime In Ear Park last fall--began passing demos around and working together creatively in different pairs and permutations. A few months later, blessed with producerengineer Chris Taylor's willingness to transport his recording equipment, they began the recording process for Veckatimest, which would unfold over the next six months in three very singular locations. In many ways, it is the recording process that reveals this record--each space catalyzing different interactions, inspirations, and ultimately, songs.
In July, the band spent three weeks at the Glen Tonche house in upstate New York. The beauty, mystery, and surrealistic feel to the estate made anything seem do-able, possible, and even magical. Though still finding their feet, much of the album's groundwork was laid there. After breaking briefly for the Radiohead tour in August, the band convened at a house on Cape Cod (graciously provided by Droste's grandmother) where they re-addressed and solidified the compositions they had started at Glen Tonche. Lastly, Grizzly Bear came home, to a church in New York, to fine-tune and complete the album--named Veckatimest, after a tiny, uninhabited island on Cape Cod that the band visited and was inspired by, particularly liking its Native American name. Following initial mixes by Chris Taylor, the band brought Gareth Jones (Interpol, Liars) over from England for a final mixing session with Taylor. The album was then mastered by Greg Calbi. Artist William O'Brien created Veckatimesfs colorful, hand drawn artwork--a perfect complement to the album's enigmatic title.
There is an unbelievable clarity of sound and vision to Veckatimest: vocals (a duty now shared by all band members) are sharper and more complex, arrangements are tighter, production is more venturous, and lyrics more affecting. Having opened the creative dialogue at such an early stage, Grizzly Bear was able to realize these 12 songs together as a band, making it their most collaboratively compositional album to date. Taylor's artistry as a producer and engineer has only gotten stronger, both Rossen and Droste's conviction as singers and lyricists has swelled, and Bear's authority behind the drums is striking.
This yielded an unexpected mix of material that feels more confident, mature, focused--and most of all, dynamic. Veckatimest is an album of the highest highs and lowest lows--a diverse collection of songs that celebrates the strength of each band member, and the power of the whole. It was well worth the wait.
Alex Scally and Victoria Legrand met through a mutual friend in 2004. Beach House formed in the late spring of 2005 (the year of the rooster) after both parties realized that they had a preternatural musical vinculum.
While spending a good deal of time together playing and recording music, Alex and Victoria enjoy not dating, not being related, and not having grown up together. As such questions are tossed at them often the duo also shares the common interest of explaining to people that they are not dating, not related, and did not grow up together. Oddly enough, they both existed separately before meeting one another. They had adorable little childhoods. Alex was born and bred in Baltimore City, and Victoria grew up just about everywhere. She was born in Paris where she lived until she was six, and she remains fluent in French. She then hustled it on over to Baltimore, but in the era of chicken pox their ships missed each other in the night, and Victoria soon moved on to the glamorously rural Cecil County, Maryland. She then moved north to Philadelphia before she hopped back to Paris for a stint and finally returned once again to and settled in Baltimore. Alex was still living there and when Victoria returned, the two experienced the aforementioned meeting. It was thrilling for all participants involved.
Both members of the band have long-standing relationships with playing and learning about music. Alex began tickling the ivories in elementary school
and picked up (and played) other instruments in his early high school years. This is also when he first began recording music. Similarly, Victoria was classically trained in piano from the age of seven and began formally training her voice at the age of 14. She also studied theater formally at the International School of Jacques Lecoq. Victoria started writing her own songs at the age of 18 after deciding that she'd rather play her own music than mouthing other poets, as they say. A lot of the lyrics and songs she currently composes find their seeds in her piano and organ playing.
The band recorded their first self-titled album in February 2006 and the second, Devotion, in August 2007, the year of our Lord. They have toured with Arbouretum, Clientele, and Grizzly Bear. When they're not touring about and playing music, Victoria and Alex support themselves by working within the sidewalk jobs. Alex slings a hammer as a carpenter and Victoria slings booze as a bartender.
Tonight's concert marks the UMS debuts of Grizzly Bear and Beach House.
Michael Allemang and
Janis Bobrin
Bill Charlap Trio
Bill Charlap, Piano Peter Washington, Bass Rodney Green, Drums
Friday Evening, October 2, 2009 at 7:00 Friday Evening, October 2, 2009 at 9:30 Lydia Mendelssohn Theatre Ann Arbor
Tonight's programs will be announced by the artists from the stage. Each set will be performed without intermission.
Photo Carol Fnedmao
Third and Fourth Performances of the 131st Annual Season
16th Annual Jazz Series
The photographing or sound and video recording of these concerts or possession of any device for such recording is prohibited.
The 7pm performance is sponsored by Michael Allemang and Janis Bobrin.
Funded in part by the National Endowment for the Arts as part of American Masterpieces: Three Centuries of Artistic Genius.
Media partnership provided by WEMU 89.1 FM and Metro Times.
The Steinway piano used in this evening's concerts is made possible by the Steinway Piano Gallery of Detroit.
Bill Charlap Trio appears by arrangement with Ted Kurland Associates.
Large print programs are available upon request.
The lyrics of a great song always inform my instrumental approach. Although I'm not a singer, I've accompanied many great ones in my career. Below is an article on vocal accompaniment in a jazz and popular context. Tonight's concerts feature a trio of piano, bass, and drums, but perhaps the article which follows can give some insight into my feelings about playing a song; equal parts melody, harmony, rhythm, and lyrics. -Bill Charlap
A Lesson in Vocal Accompaniment
Bill Charlap
I'm often asked what the difference is between playing for a vocalist and playing for an instrumentalist. To me, there is no difference. You listen to what the music asks for, and then react intelligently in a way that gives the singer or soloist the space to express herself or himself. That said, there are some things that are paramount when playing for a singer. The pianist or guitarist can create a true partnership with a vocalist by following these guidelines.
First, you must know the lyrics. The wedding of melody and lyrics sets the stage for harmonization, which supports the drama and arc of a song. Arnold Schoenberg said of George Gershwin's music, "Melody, harmony, and rhythm are not welded together, but cast." It is the job of a fine accompanist to cast the lyrics and melody with the harmony, putting the three elements in equal balance. These are subjective choices; there may be more than one right answer. The point is that the accompanist must be fully informed of the composer's intent, the lyricist's words, and as many harmonizations and voicing concepts as possible to make an intelligent choice, which supports both singer and song.
How do you acquire all of this information You study. Learn the song thoroughly. Study the sheet music and as many good recordings as possible. You should also study the masters of vocal accompaniment. These include Ellis Larkins with Ella Fitzgerald, Bill Evans with Tony Bennett, Jimmy Jones with Sarah Vaughan, and Hank Jones, Jimmy Rowles, and Tommy Flanagan with anyone.
In out-of-tempo playing, it is the accompanist's job to follow. Allow the vocalist to control the pacing. However, you must also know when to subtly lead by suggestion. Try to pare down the harmonic rhythm to that which is essential. Don't play more than is needed.
(This article was originally published in Downbeat in November 2005.)
One of the ways to get a feeling for this is by accompanying yourself singing. Some of the best accompanists in the history of jazz both played and sang. Two prime examples are Nat King Cole and Shirley Horn, both of whom are not only perfect interpreters of the song, but also masters of the art of accompaniment.
As a pianist, one can draw not only on other pianists but also on arrangers. Nelson Riddle, Thad Jones, Johnny Mandel, and Ernie Wilkins come to mind. When I listen to Oscar Peterson play behind Louis Armstrong and Ella Fitzgerald, it almost sounds as if he's playing Count Basie big band figures, which create that magic swinging carpet (along with Ray Brown's bass, Herb Ellis' guitar, and Louis Bellson's drums). For that matter, as far as accompaniment within a rhythm section, no one ever played more perfectly swinging rhythmic figures than Count Basie.
Touch is another important aspect of the accompanist's art. There are many tonal nuances in the musical expression of the best singers; the accompanist should strive to equal these coloristic devices.
I've been fortunate over the years to play with some of the greatest vocalists: Tony Bennett, Barbra Streisand, Shirley Horn, Freddy Cole, Kurt Elling, Carol Sloane, Cleo Laine, Ethel Ennis, Jon Hendricks, Margaret Whiting, Bobby Short, and of course, my mother, Sandy Stewart, to name a few. From each one, I have learned valuable lessons on the partnership between the accompanist and singer.
As you gain experience and develop as an accompanist, your contribution will grow intuitive, instinctive. Listening and phrasing together with the artists you accompany, you will help create a collaborative effort that is greater than the sum of its parts.
Pianist Bill Charlap was born in New York City into a musical family and began his piano studies at the age of three. His father, Moose Charlap, was a Broadway composer and songwriter whose credits included the score to the Mary Martin production of Peter Pan, as well as popular songs recorded by such artists as Joe Williams, Sarah Vaughan, and Rosemary Clooney. His mother, Sandy Stewart, is a popular singer who toured with Benny Goodman, co-starred on TV's Perry Como Show, and received a Grammy nomination for her hit single, "My Coloring Book." In the late 1980s, Mr. Charlap joined baritone saxophonist Gerry Mulligan's Quartet and he has been the pianist in alto saxophonist Phil Woods' quintet since 1995. He has also performed and recorded with Wynton Marsalis, Tony Bennett, Freddy Cole, Houston Person, and Jim Hall. In 1997, he formed his trio of bassist Peter Washington and drummer Kenny Washington. The trio has recorded seven CDs including 2004's Somewhere: The Songs of Leonard Bernstein (Blue Note), for which he received a Grammy nomination. Their most recent Blue Note release is The Bill Charlap Trio: Live At The Village Vanguard (2007). He has
twice received the "Pianist of the Year" Jazz Award from the Jazz Journalists Association.
Mr. Charlap is currently pianist and musical director of an all-star band that will be celebrating the 70th Anniversary of Blue Note Records. Mr. Charlap is joined by Peter Bernstein, Ravi Coltrane, Lewis Nash, Nicholas Payton, Peter Washington, and Steve Wilson for a 2009 CD release and tour.
UMS Archives
Tonight's concerts mark Bill Charlap's third and fourth appearances under UMS auspices. Mr. Charlap made his UMS debut in November 1996 as Music Director and pianist in a concert evening based on John Berendt's Midnight in the Garden of Good and Evil at Hill Auditorium. Mr. Charlap last appeared in Ann Arbor with his trio in a double-bill concert featuring pianist Marian McPartland in October 2006 at Hill Auditorium.
UMS welcomes Peter Washington and Rodney Green who make their UMS debuts tonight.
Punch Brothers
Chris Thile
Chris Thile, Mandolin Paul Kowert, Bass Chris Eldridge, Guitar Gabe Witcher, Fiddle Noam Pikelny, Banjo
Wednesday Evening, October 7, 2009 at 8:00 Power Center Ann Arbor
The first half of tonight's program will be announced by the artists from the stage.
The Blind Leaving the Blind
Fifth Performance of the 131st Annual Season
The photographing or sound and video recording of this concert or possession of any device for such recording is prohibited.
Media partnership for this concert is provided by WEMU 89.1 FM and Metro Times.
Special thanks to the U-M Credit Union, Arts at Michigan, and the Alumni Association of the University of Michigan for their support of this evening's Arts & Eats event.
All things Punch Brothers, including tour dates, merchandise, exclusive audio and video clips, and exquisite blogging, can be found at
Punch Brothers featuring Chris Thile appear by arrangement with IMG Artists, New York, NY.
Punch Brothers featuring Chris Thile record exclusively for Nonesuch Records. Their recording Punch is available everywhere,
Information on How to Grow a Band, a feature-length documentary film about Punch Brothers featuring Chris Thile to be released in 2010, can be found at
Large print programs are available upon request.
The Blind Leaving the Blind
Chris Thile
Bom February 20, 1981 in Oceanside, California
At the conclusion of The Blind Leaving the Blind, the 40-minute, four-movement suite that is the heart of Punch Brothers' Punch--the band's Nonesuch debut--composer-singer-mandolin player Chris Thile conjures up the image of a heartbroken young man nursing his psychic wounds at a bar with his friends. In real life, the 26-year-old Thile, who was recovering from his own tattered marriage as he developed the piece, took a more constructive approach, joining four of his own musical buddies to form a kind of support group. The quintet did visit some bars along the way, but, more importantly, over the course of two years, helped Thile to realize the most conceptually daring, emotionally cathartic work of an already impressive career.
Thile has often incorporated pieces by Bach and other classical masters into his live performances, but he's taken a fearless leap into long-form composition of his own with The Blind Leaving the Blind. Instead of working with a traditional chamber ensemble, though, he employs the instrumentation that has fascinated him since childhood: mandolin, banjo, guitar, violin, and bass. Says Thile, "Ever since I was really little, they are what I identified with. These are very agreeable instruments, so it seems like there are limitless possibilities for them."
The Blind Leaving the Blind is rigorously structured, yet Thile leaves room for jazz-like improvisation and for the personalities of the players to influence its flow. In fact, Thile only completed the work after he began working with performers who were up to its technical demands and willing to become as musically and emotionally invested in the piece as he was.
"I had this idea of a long-form composition that was grounded in folk music," Thile explained. "But I didn't have a clear picture of what it would sound like until I met these guys. Then the ideas just started coming. The time it has taken to get the piece into the shape it's in now has given us the opportunity to let everyone put their stamp on it, which is part of the reason for the piece--the idea that the composer doesn't have complete control over it. Though much of it reads like a string quintet, there are parts that read like a jazz lead sheet. There is plenty of improvising and lots
of stuff that is loosely dictated."
"We had to jump into this head first," says Noam Pikelny, banjo player. "We were initially very intimidated by the scope of the piece and its technical demands. We felt vulnerable individually, but the ensemble provided a secure environment for us to take on the challenge. If we got together 10 years from now, I think we would have shied away from trying to do something so ambitious. We have enough idealism, naivete, whatever you want to call it, to be able to attempt something that really seemed impossible considering where we were technically and conceptually when we first started playing together. The respect we had for one another, and the endless hours working together created a trust and camaraderie that really allowed us to take such a leap of faith."
On March 17, 2007, the quintet debuted Thile's completed The Blind Leaving the Blind at Carnegie Hall's Zankel Hall as part of the John Adams-curated In Your Ear Redux Festival, an event celebrating young composers and players. (The quintet was still trying on band names and billed itself as The Tensions Mountain Boys.)
Although long passages of The Blind Leaving the Blind are purely instrumental, Thile also sketches the story of his marital breakup and its aftermath through impressionistic lyrics that fall somewhere between a confession (directed, variously, to his listeners, to his ex, and to God), and an impassioned, late-night barstool soliloquy. Thile's lyrics evoke loneliness, desire, and betrayal as candidly as vintage Joni Mitchell and, as with Mitchell, their specificity gives them the ring of truth. He avoids the familiar verse-chorus structure of a pop song, however, employing his words as recitative: "I wanted the work to be more anecdotal, conversational, and episodic."
The story of Thile's relationship was the jumping-off point for a broader rumination about the loss of innocence, the sobering transition into adulthood, the sudden disruption of a young man's spiritual journey. Thile says, "I grew up in a very Christian household and was not a rebellious child. My folks were great, but protective; I trusted people and I thought people would always look out for me as long as I didn't go around screwing things up. To run into a relationship that wasn't honest led to disillusionment with my upbringing as well as my marriage. I just wasn't prepared for the fact that the world doesn't always have your best interests at heart. Ultimately, The Blind Leaving the Blind
isn't really about how betrayed I felt but the effect that that betrayal had on my worldview."
Program note by Michael Hill.
Formed in 2006, Punch Brothers featuring Chris Thile are already playing to sold-out crowds around the world. Composed of five young and fiercely talented musicians--Chris Thile (mandolin), Gabe Witcher (fiddle), Chris Eldridge (guitar), Noam Pikelny (banjo), and Paul Kowert (bass)--the band has captured the attention of music lovers across genres. As the San Francisco Chronicle asks, "Why didn't someone think about mixing bluegrass, jazz, and classical music together sooner Chris doing it with his new outfit, Punch Brothers, and the result is totally mind-blowing." The group's first album, How to Grow a Woman from the Ground, received a Grammy Award nomination, and the band's 2007 Nonesuch Records debut Punch--which features Thile's ambitious four-movement chamber suite, The Blind Leaving the Blind--has received tremendous critical acclaim.
The resumes of the members of Punch Brothers--whose name is taken from the Mark Twain short story, Punch, Brothers, Punch!--are formidable. Widely regarded as one of the
most interesting and inventive musicians of his generation, Chris Thile has changed the mandolin forever, elevating it from its origins as a relatively simple folk and bluegrass instrument to the sophistication and brilliance of the finest jazz improvisation and classical performance. For more than 15 years, Thile played in the wildly popular band Nickel Creek, with whom he released three albums for a combined two million records sold, was awarded a Grammy Award in 2002, and traveled the world on sold-out concert tours. As a soloist he has released four albums, on which he conquered a dizzying range of instruments, songwriting challenges, and musical styles. Thile has also performed and recorded extensively as a duo with double bass virtuoso Edgar Meyer (with whom he released an album and toured the world in the fall of 2008) and with fellow eminent mandolinist Mike Marshall. In April 2007, Meyer and pianist Emanuel Ax commissioned Thile to write a piece for double bass and piano, which they performed on a tour which included the Kennedy Center in Washington DC and the Schermerhorn Symphony Center in Nashville. Additionally, Thile has collaborated with a pantheon of bluegrass innovators including Bela Fleck, Dolly Parton, the Dixie Chicks, Jerry Douglas, and Sam Bush.
Tonight's concert marks the UMS debuts of Punch Brothers and Chris Thile.
Punch Brothers and Chris Thile
Photo Autumn De Wilde
Alisa Weilerstein Inon Barnatan
Ludwig van Beethoven
Benjamin Britten
Igor Stravinsky
Sergei Rachmaninoff
Thursday Evening, October 8, 2009 at 8:00 Hill Auditorium Ann Arbor
Cello Sonata No. 2 in g minor. Op. 5, No. 2
Adagio sostenuto ed espressivo Allegro molto piii tosto presto Rondo: Allegro
Cello Sonata in C Major, Op. 65
Dialogo: Allegro
Scherzo pizzicato: Allegretto
Elegia: Lento
Marcia: Energico
Moto perpetuo: Presto
Suite Italienne Introduzione Serenata Aria
Tarantella Minuetto Finale
Cello Sonata in g minor. Op. 19
Lento Allegro moderato Allegro scherzando Andante Allegro mosso
Sixth Performance of the 131st Annual Season
131st Annual Choral Union Series
The photographing or sound and video recording of this recital or possession of any device for such recording is prohibited.
Media partnership for this evening's recital is provided by WGTE 91.3 FM.
The Steinway piano used in this recital is made possible by William and Mary Palmer and by the Steinway Piano Gallery of Detroit.
Special thanks to Tom Thompson of Tom Thompson Flowers, Ann Arbor, for his generous contribution of floral art for this recital.
Special thanks to U-M School of Music, Theatre & Dance, Anthony Elliott, and Steven Whiting for their contributions to this performance's related educational events.
This performance is part of Daniel Pearl World Music Days, an annual global con?cert affirming the ideals of tolerance, friendship, and our shared humanity. World Music Days is inspired by the life and work of journalist and musician Daniel Pearl, who would have celebrated his birthday on October 10th. Tonight we join people around the world in a tribute to all the visionary men and women who use the power of music to lift people of different backgrounds and beliefs above the differences that set us apart. Through our music, we reaffirm our conviction that humanity will triumph and harmony will prevail.
Ms. Weilerstein and Mr. Barnatan appear by arrangement with Opus 3 Artists. Ms. Weilerstein records for EMIAngel Classics.
Large print programs are available upon request.
Now that you're in your seat...
The four works chosen by Ms. Weilerstein represent four different styles and four different geographical locales. Beethoven's Viennese Classicism is light years removed from Stravinsky's Parisian neo-Classicism; the Romantic passion of Rachmaninoff, Russian to the core, likewise stands in sharp contrast to Britten's quintessential English conservative modernism. Taken together, the program takes us on an exciting journey through space and time, showing the artistry of one of the most exciting young cellists from many different angles.
Cello Sonata No. 2 in g minor. Op. 5, No. 2
Ludwig van Beethoven
Born December 15 or 16, 1770 in Bonn, Germany Died March 26, 1827 in Vienna
Snapshot of History... In 1796:
Joseph Haydn composes his Trumpet Concerto, and is working on his String Quartets Op. 76
Edward Jenner administers the first smallpox vaccination
Death of Catherine the Great, Czar of Russia
Napoleon's campaign in Italy
Detroit passes from Great Britain to the US under the Jay Treaty
In 1796, Beethoven traveled from Vienna to Berlin (he would never undertake such a long journey again in his life). While in the Prussian capital, he met the two Duport brothers, Jean-Pierre and Jean-Louis, both resident cellists in the court of King Friedrich Wilhelm II, who played the cello himself. Both Haydn and Mozart had written string quartets for the King, making sure to include prominent cello parts; yet Beethoven's use of the cello in duet with the fortepiano was apparently a first. He and one of the Duports performed the two sonatas, later published as Op. 5, before the King. The success was considerable: the King gave Beethoven a gold snuff-box filled with gold coins. The composer later told his friend Ferdinand Ries that "it was not an ordinary snuff-box but such a one as it might have been customary to give to an ambassador."
Each of the Op. 5 sonatas is in two-and-a-half movements: both works have substantial slow introductions (almost separate movements in their own right) that segue into sonata allegros and are then followed by rondo finales. The character of
the two sonatas is rather different, however; the first sonata, in F Major, is bright and brilliant in tone, while the second has more dramatic tension in its first movement, consistently with its g-minor key, usually considered a dark or tragic tonality.
One striking feature of early Beethoven is an over-abundance of thematic ideas (the opposite of his later tendency to derive entire movements from a single motivic germ). The "Allegro" section in the present work's first movement contains many more themes than the three that are ordinarily required by sonata form. Both the expansive slow movement preceding this "Allegro" and the sparkling "Rondo" that follows it project their respective moods with great urgency, drawing a compelling musical arc from a serious, gloomy opening to a light-hearted and playful conclusion.
Cello Sonata in C Major, Op. 65 (1961) Benjamin Britten
Born November 22, 1913 in Lowestoft, England Died December 4, 1976 in Aldeburgh
Snapshot of History... In 1961:
John F. Kennedy is inaugurated as President of the US
Yuri Gagarin is the first man in outer space
The Berlin Wall is built
Joseph Heller's Catch-22 is published
The Night of the Iguana by Tennessee Williams is first performed
On September 21, 1960, Britten attended the British premiere of Shostakovich's brand-new Cello Concerto, played by the work's dedicatee, Mstislav Rostropovich. This was the beginning of his close friendship with both great Russian musicians. Backstage after the concert, Rostropovich wasted
no time in asking Britten for a cello piece, and the composer went to the cellist's hotel the next day to discuss the details. The sonata was finished by February 1961 and premiered in the summer, at Britten's Aldeburgh festival, with the composer at the piano. (Incidentally, it was at this festival that Britten first met Galina Vishnevskaya, Rostropovich's wife, for whom he would write the soprano solo in his next work, the War Requiem, Op. 66.)
Britten had devoted himself mostly to opera through most of the 1940s and 1950s; in fact, this work was his first and only contribution to the sonata genre. It is in five movements, with a march in fourth place added to the standard "Allegro-Scherzo-Adagio-Presto" scheme. Some of those "standard" movements, it must be said, depart from the norms in subtle but interesting ways. Britten called the first movement "Dialogo," with emphasis on the conversational exchange between the two instruments. Its hesitant opening theme, with characteristic interruptions, leads to a more sustained, melodic second theme and an intense ascent to the movement's emotional climax. The movement ends with a series of harmonics moving up the overtone series on the C-string, the cello's lowest string.
The brief second-movement scherzo likewise plays with the contrast between continuity (in the rapid 16th-notes of the piano) and discontinuity (in the terse motifs of the cello, playing pizzicato throughout). In the miniature middle section, we hear a singing melody that grows increasingly restless; the recapitulation is strongly abridged. Bartok's influence is unmistakable here--the movement contains allusions to Bart6k's String Quartets Nos. 4 and 5, Music for Strings, Percussion and Celesta, and more.
An "Elegia," marked lento, follows, with the kind of long espressivo phrase that the cello seems to be made for. Before long, a dramatic crescendo leads to a passionate outburst of which author Peter Evans writes in his book The Music of Benjamin Britten: "[it] reaches an incandescence that is difficult to parallel in Britten's chamber music," a retransition, with an eerie undulating motif in the piano against the slow arpeggios of the cello. It leads to a return of the first melody, with a possible nod to the slow movement of the Elgar Cello Concerto just before the end.
The fourth-movement "Marcia" has been called "freakish" or "bizarre" by commentators; Evans suspects that it "was conceived as a tribute
to the musical satire of Rostropovich's compatriots, Prokofiev and Shostakovich." That may well be true of the beginning of the march, but in the second half of the movement, the character changes completely; the cello's harmonic glissandos and the piano's high-pitched arpeggios leave the somewhat vulgar world of the opening far behind and reach out for more refined and mysterious regions.
The designation "Moto perpetuo" suggests uninterrupted rhythmic motion, but the final movement of Britten's sonata is more complex than that: simultaneously with the dance-like cello theme, our attention is also drawn to the slower-moving harmonies in the piano, and the character of the music changes to lyrical as a legato second theme is introduced. In the concluding section, Britten repeats the principal rhythmic figure of the main theme in higher and higher registers, constantly increasing in energy all the way to the end.
This sonata marked the beginning of an artistic collaboration between Britten and Rostropovich that lasted until the composer's death and resulted in four more works: the monumental Cello Symphony and the three unaccompanied suites. Britten wrote more music for the Russian cellist than he did for any other performer aside from his lifelong companion, the great tenor Peter Pears.
Suite ltalienne(1932)
Igor Stravinsky
Born June 17, 1882 in Oranienbaum, near
St. Petersburg, Russia Died April 6, 1971 in New York
Snapshot of History... In 1932:
Ravel's Piano Concerto in G is first performed
Aldous Huxley's Brave New World is published
Franklin D. Roosevelt is elected to be President of the US
Amelia Earhart flies across the Atlantic
Cary Grant makes his debut as a movie actor
The five movements of the Suite Italienne are transcriptions from Stravinsky's music to the ballet Pulcinella, written for Serge Diaghilev's Ballets Russes in 1919-1920. Years after the production, Stravinsky published two shorter suites under the name Suite Italienne: one for violin and piano, the other for cello and piano (the two are not exactly identical). In preparing the cello version, he
received assistance from the great cellist Gregor Piatigorsky (they signed jointly as arrangers).
The ultimate trick at a music history exam would be to play the opening of Pulcinella to a group of unsuspecting students. Anyone with no prior knowledge of the work would be hard pressed not only to "name that tune" but even to identify the century in which it was written. The melody sounds so "classical," yet something is clearly not right: there are what seem to be "wrong notes" here and there, and the orchestration sounds definitely nothing like classical music.
Yet the most astute members of the class would probably guess from these very features that the author can be no one but Stravinsky. Creative appropriations of the history of music are central to Stravinsky's so-called "neoclassical" period, which covers about three decades of his career, roughly from 1920-1950. Although we may find occasional nods to the musical past in some of Stravinsky's works written before 1919, it is in Pulcinella that we first see Stravinsky's neoclassicism in full swing. This ostensible return to the old tradition came as something of a shock from a composer who, with his Rite of Spring, had earned a reputation as the most radical of all musical revolutionaries only a few years earlier. As the world was soon to learn, however, the essence of Stravinsky's personality lay not so much in the musical idiom he used as in his uncanny ability to always do the unexpected (and to make it work). And certainly, to go back 200 years in time and rewrite the works of a late Baroque composer was almost as unexpected as to unleash the fierce dissonances and wild rhythms of Rite of Spring.
The original music on which Pulcinella (and later, the Suite Italienne) was based was traditionally ascribed to Giovanni Battista Pergolesi (1710-1736), the celebrated author of the comic opera La serva padrona. This was believed by both Sergei Diaghilev, who commissioned the ballet, and Stravinsky himself. Recent research has revealed, however, that this is not the case: the movements are by different minor composers whose work was circulating under Pergolesi's name.
The plot of the ballet was adapted from an old manuscript containing humorous anecdotes about Pulcinella, a traditional commedia dell'arte character. All the girls in the village were in love with Pulcinella, and their fiances conspired to kill him. It is a comedy of errors that ends without any bloodshed (a few fistfights, at most); in the end, every boy, including Pulcinella, marries the appropriate girl.
Cello Sonata in g minor, Op. 19 (1901) Sergei Rachmaninoff Born April 1, 1873 in Semyonovo, Russia Died March 28, 1943 in Beverly Hills, California
Snapshot of History...
In 1901:
Queen Victoria dies
Chekhov's Three Sisters is first produced
Mahler's Symphony No. 4 is first performed
Giuseppe Verdi dies
US President William McKinley is shot
Only very occasionally did the piano virtuoso Rachmaninoff share the stage with a partner; the cellist Anatoly Brandukov (1859-1930), for whom Tchaikovsky had written his Pezzo capriccioso, was clearly an exception. One of Rachmaninoff's earliest works is a "Prelude and Oriental Dance" for cello and piano. These two salon miniatures, two similar bagatelles for violin, the beautiful Trio elegiaque, and the Cello Sonata comprise the composer's entire chamber music output (not counting the songs).
The Cello Sonata in g minor, Op. 19, written when Rachmaninoff was 28, was the last piece of instrumental chamber music he was ever to write. That he was not accustomed to the medium is clear from a comment he made a year before his death, on the occasion of performing the work on the radio with cellist Joseph Schuster: he was anxious to make sure that the cello did not dominate the piano. In reality, the opposite danger seems much greater, given the fact that Rachmaninoff's piano writing is as full-bodied as it is in his solo works, and the cello often has to assert its personality against a barrage of chords and passage-work in the keyboard part.
Yet this apparent disproportion is precisely one of the most endearing aspects of the work: similarly to Chopin's Cello Sonata (also in g minor), it shows a Romantic pianistcomposer whose imagination is "overflowing" to the point where the piano can no longer hold it by itself. The four movements of the sonata contain a single unending chain of melodies, organized by traditional structural devices (sonata and ABA forms) but focused less on thematic development, as a great deal of late Romantic music is, than on the themes themselves. The supremacy of melodies is further shown by the frequent tempo changes: Rachmaninoff assigns every melody its own tempo, thus emphasizing
its importance and individuality. The first and last movements are in sonata form (the first preceded by a slow introduction). The second movement is a stormy scherzo with a lyrical middle section; the third a slow romance. The finale switches from g minor to G Major and ends with a brilliant, fast coda.
Program notes by Peter Laki.
American cellist Alisa Weilerstein has attracted widespread attention for playing that combines a natural virtuosic command and technical precision with impassioned musicianship. At 27 years old, she is already a veteran on the classical music scene having performed with the nation's top orchestras, given recitals in music capitals throughout the US and Europe, and having regularly appeared at prestigious festivals. She is also a dedicated chamber musician.
A highlight of Ms. Weilerstein's 0910 season will take place on May 1, 2010 when she performs Elgar's Cello Concerto with the Berlin Philharmonic and Daniel Barenboim in London for the orchestra's 2010 European Concert. The concert will be televised live worldwide and will also be released on DVD. During the season she will also perform the Elgar concerto with the Hamburg Philharmonic and the Orchestre National de Lyon.
Other highlights of Ms. Weilerstein's 0910 season include the Canadian premiere of Osvaldo Golijov's Azul with the Toronto Symphony Orchestra and her debuts with the BBC Scottish Symphony and
at the Cartagena International Music Festival. She will perform the Dvorak Cello Concerto with the Philadelphia Orchestra and Peter Oundjian, the Slovenia Symphony Orchestra, the Halle Orchestra and Okko Kamu, and the Israel Philharmonic. In November, Ms. Weilerstein will perform the first
three of Bach's six Cello Suites over three days at Columbia University in New York, and will conclude the cycle performing the final three suites in April 2010. In 2008 Ms. Weilerstein and composerpianist Lera Auerbach performed the world premiere of Ms. Auerbach's 24 Preludes for Cello and Piano at the Caramoor International Music Festival. They will perform this work in a program that also includes Shostakovich's 24 Preludes, making 48 preludes in total, in San Francisco and Vancouver. Ms. Weilerstein will also join pianist Inon Barnatan for recitals in Washington DC, Baltimore, Denver, Omaha, Ann Arbor, and the Virgin Islands.
In 2008 Ms. Weilerstein was awarded Lincoln Center's Martin E. Segal prize for exceptional achievement and she was named the winner of the 2006 Leonard Bernstein Award, which she received
Alisa Weilerstein
Photo ChrotunStemtr
Janet Callaway, UMS Advisory Committee Chair
"Impassioned musicianship." "Huge, almost athletic sound." "The full emotional range from poignancy to ebullience." These are some of the ways reviewers have described performances by cellist Alisa Weilerstein. These same descriptors were, I
think, applicable to Oliver Edel, the U-M professor with whom I studied cello half a century ago in his studio in Burton Tower.
From the perspective of five decades, it seems that inspiring "impassioned musicianship" in Edel's students was his first intention. When he himself played, his "huge almost athletic sound" included accompaniment of occasional audible grunts. But it was his "full emotional range from poignancy to ebullience"--in music and in life--that has stayed with me.
Edel, born in Yonkers, was a blunt, burly man who told of having been a semi-professional boxer in his youth. I wonder if Yonkers and boxing had a role in shaping his passionate approach to life and the cello. As I reflect on this concert, I wonder what has shaped Ms. Weilerstein's approach. I know I will enjoy witnessing these descriptors that speak to my own experience with the cello, and I hope you do, too.
at the Schleswig-Holstein Festival in Germany. She received an Avery Fisher Career Grant in 2000 and was selected for two prestigious young artists programs in 0001; the ECHO (European Concert Hall Organization) "Rising Stars" recital series and the Chamber Music Society of Lincoln Center's Chamber Music Society Two. Ms. Weilerstein also recorded a CD for EMI Classics' "Debut" series in 2000.
In November 2008 Ms. Weilerstein, who was diagnosed with type 1 diabetes when she was nine, was made a Celebrity Advocate for the Juvenile Diabetes Research Foundation. For more information on Ms. Weilerstein, please visit
The flourishing career of pianist Inon Barnatan takes him to some of the most important music centers and festivals around the world. Just 30 years old, Mr. Barnatan is rapidly gaining international recognition for his poetic and passionate music-making, communicative performances, and engaging programming. In April 2009 he was awarded an Avery Fisher Career Grant, one of the most prestigious prizes in classical music. Mr. Barnatan has developed and curated a project of Schubert's late solo piano and chamber music works, which will be presented by the Chamber Music Society of Lincoln Center at Alice Tully Hall this fall. The Schubert Project has been performed to great acclaim at the Concertgebouw in Amsterdam, the Festival de Mexico, and at the Library of Congress. His collaborating performers for the project have included Jonathan Biss, Kirill Gerstein, Shai Wosner, Liza Ferschtman, Alisa Weilerstein, and the Jupiter, Belcea, and Borromeo String Quartets.
Recent recital highlights have included the Metropolitan Museum of Art in New York, the
Louvre Auditorium in Paris, the "Rising Stars" series at the Ravinia Festival in Chicago, and the Gilmore Festival in Michigan. In the summer of 2008, Mr. Barnatan made his debut at the Lanaudiere Festival and at the Aspen Music Festival where he played a recital of Liszt and Messiaen.
Mr. Barnatan made his American concerto debut in 2007 with the Houston Symphony Orchestra. An enthusiastic chamber music player, he has just completed three seasons as a member of the Chamber Music Society of Lincoln Center's CMS Two. He participated in the Society's first iTunes digital download released by Deutsche Grammophon. Other chamber music performances include the complete Beethoven piano and violin sonatas at the Concertgebouw in Amsterdam with violinist Liza Ferschtman, the Bergen International Festival in Norway, the Vancouver Chamber Music Festival, the Ravinia Festival, the Verbier Festival, and the Lyon Musicades.
Passionate about contemporary music, Mr. Barnatan regularly commissions and performs music by living composers. Born in Tel Aviv in 1979, he started playing the piano at the age of four. He made his orchestral debut at 11 and studied with Professor Victor Derevianko. In 1997 he moved to London to study at the Royal Academy of Music with Maria Curcio (a student of the legendary Arthur Schnabel) and Christopher Elton, and he has received extensive coaching from Leon Fleisher. In 2006, Mr. Barnatan moved to New York City, which he now calls home.
Photo: Marco Borggreve
Inon Barnatan
UMS Archives
jnight's recital marks Alisa Weilerstein's UMS debut and Inon Barnatan's second UMS appearance. Mr. Barnatan last appeared at Hill Auditorium in February 2008 with the Chamber Music Society of Lincoln Center's "A Celebration of the Keyboard" touring program, which also featured pianists Wu Han, Gilbert Kalish, Anne-Marie McDermott, Andr6-Michel Schub, and Gilles Vonsattel.
0910 Season: Breaking Down Walls
UMS's Education Program deepens the relation?ship between audiences and art, while efforts in Audience Development raise awareness of the positive impact the performing arts and educa?tion can have on the quality of life in our com?munity. The program creates and presents the highest quality arts education and community engagement experiences to a broad spectrum of constituencies, proceeding in the spirit of part?nership and collaboration.
Both literally and figuratively, the 0910 UMS education season celebrates the breaking down of walls: literally in the celebration of the 20th anniversary of the fall of the Berlin Wall and events surrounding the presentation of the Berlin Philharmonic; and figuratively, in the attempt to break down walls that impede personal and intellectual growth, participation in the arts, and connections to community. Each event chal?lenges participants to expand the way they think about art, culture, and creativity, and encourages a greater investment in UMS and the arts as a whole.
In this time of economic challenge, the UMS 0910 education programs "go deeper" with projects that encourage sustained engagement over time, allow a variety of entry points for a wide range of interests and audiences, and explore the diversity of artists, art forms, ideas, and cultures featured in the current UMS season.
0910 Special ProjectsNew Initiatives
Global focus on music from Africa: educational, social, and participatory performance events
"Innovation Lab" grant from EmcArtsDoris Duke Charitable Foundation to pursue social media as a tool for communication and connection to audiences
Artist residencies with The Suzanne Farrell Ballet, Shakespeare's Globe Theatre, Bill T. JonesAmie Zane Dance Company, San Francisco Symphony, Maly Drama Theater of St. Petersburg
"Freedom Without Walls" public art proj?ect celebrating the Berlin Philharmonic and the 20th anniversary of the fall of the Berlin Wall
U40, U40! Ticket discounts and special opportunities for UMS patrons under 40
Guerilla Chamber Music events: Help take music to the streets!
Details about all educational and residency events are posted approximately one month before the performance date. Join the UMS E-mail Club to have updated event information sent directly to you. For immediate event info, please e-mail, or call the numbers listed on the following pages.
Please call 734.615.4077 or e-mail for more information.
Public Events: Extending the Experience
UMS hosts a wide variety of educational and community events to inform the public about arts and culture and to provide forums for dis?cussion and celebration of the performing arts. These events include:
Artist Interactions: Public interviews, inter?active workshops with artists, master classes, and meet-and-greet opportunities for visiting and local artists to share their craft and process while getting to know the Ann Arbor community.
LecturesRound-Table DiscussionsBook Clubs: In-depth adult education related to specific artists, art forms, cultures, films, books, or ideas connected to the UMS season.
Audience as Artist: Opportunities for the public to participate in the performing arts: dance parties, jam sessions, staged readings.
Community Receptions: Relaxed events for audiences to network and socialize with each other and with artists.
University Connections
Each year, UMS works with 57 academic units and 175 faculty members at U-M on a wide vari?ety of programs to bring together visiting artists, faculty, students, and the broader southeastern Michigan community. UMS appreciates the gen?erosity of the many faculty members who share time and talent to enrich the performance-going experience for UMS audiences.
With the aim of educating and inspiring stu?dents to participate more fully in the performing arts, UMS student programs range from pre-con?cert pizza to post-concert dance parties; in-class visits with artists to internships and jobs at UMS. UMS also provides various opportunities for stu?dents to attend UMS performances at signifi?cantly discounted rates (see ticket discount
information on page P20). Each year, 17,000 students attend UMS events and collectively save $375,000 on tickets through our discounted ticket programs.
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 about the performance. Tickets go on sale approximately two weeks before the concert.
0910 Arts & Eats Events:
Punch Brothers with Chris Thile, Wed 107
Yasmin Levy, Sat 1114
Handel's Messiah, Sat 125
Bill I JonesArnie Zane Dance Company, Fri 122
Bela Fleck: The Africa Project, Wed 217
Takacs Quartet, Mon 315
Schleswig-Holstein Festival Orchestra with Lang Lang, Wed 47
Danilo Perez & Friends, Thu 418
Sponsored by UMHSB95 JjSdP
With support from the U-M Alumni Association
Internships and College Work-Study
Internships and College Work-Study with UMS provide experience in performing arts adminis?tration, marketing, ticket sales, programming, production, fundraising, and arts education. Semesterand year-long unpaid internships are available in many of UMS's departments. If you are a U-M student interested in working at UMS, please e-mail or visit
Student Committee
As an independent council drawing on the diverse membership of the U-M community, the UMS Student Committee works to increase stu?dent interest and involvement in various UMS programs by fostering increased communication between UMS and the student community,
promoting awareness and accessibility of stu?dent programs, and promoting the value of live performance. For more information or to join, please call 734.615.6590.
UMS is grateful to the University of Michigan for its support of many educational activities scheduled in the 0910 season.
Building Community around the Arts
Numerous UMS educational and social events provide points of entry for diverse audiences. Specifically, over 100 unique regional, local, and university-based partnerships each season have helped UMS launch initiatives for Arab American, African, MexicanLatino, Asian, and African American audiences. Though based in Ann Arbor, UMS Community Engagement programs reach the entire southeastern Michigan region.
Please call 734.615.0122 or e-mail for more information.
UMS Youth: Arts for the Next Generation
UMS has one of the largest K--12 education ini?tiatives in Michigan. Designated as a "Best Practice" program by ArtServe Michigan and the Dana Foundation, UMS is dedicated to mak?ing world-class performance opportunities and professional development activities available to K-12 students and educators.
0910 Youth Performance Series
These daytime performances give pre-K through high school students the opportunity to see the same internationally renowned performances as the general public. The 0910 season features special youth presentations of Shakespeare's Globe Theatre, Keith Terry and his Slammin' All-Body Band, Bill T. JonesArnie Zane Dance Company, Ladysmith Black Mambazo, the Sphinx Jr. Division Finals Concert, The Bad Plus, and Hubbard Street Dance Chicago. All youth
performances have accompanying curricular materials, available for free at, to connect the performance to state curricular standards via the Michigan Grade Level Content Expectations.
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 presenta?tions by Kennedy Center teaching artists, UMS performing artists, and local arts and culture experts. This series focuses on arts integration, giving teachers techniques for incorporating the arts into everyday classroom instruction.
Teacher Appreciation Month! March 2010 is Teacher Appreciation Month. Visit www.ums.orgeducation for special ticket discount information.
Student-Artist Interactions
Whenever possible, UMS brings its artists into schools to conduct workshops and interactive performances directly with students, creating an intimate and special experience in students' own environment.
Teacher Advisory Committee
This group of regional educators, school admin?istrators, and K-12 arts education advocates advises and assists UMS in determining K-12 programming, policy, and professional develop?ment. If you would like to participate, please contact
UMS is in partnership with the Ann Arbor Public Schools and the Washtenaw Immediate 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
UMS nurtures the development of young artists and audiences with a yearlong collabo?rative performance, ticket discounts (see page P20), and occasional internship opportunities for outstanding high school students.
Breakin' Curfew
In a special collaboration with the Neutral Zone, Ann Arbor's teen center, UMS presents this annual 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 sea?son's performance takes place on Saturday, May 15, 2010.
UMS Family
The UMS Family Series was created to allow families to experience the magic of the per?forming arts together, irrespective of age. Most family performances feature shorter program lengths, a more relaxed performance-going environment, and special interactive opportuni?ties for kids with the artist or art form. The 0910 season includes four family performances: The Suzanne Farrell Ballet, Keith Terry and his Slammin' All-Body Band, Vienna Boys Choir (ages 4+, please), and Cyro Baptista's Beat the Donkey.
The 0910 Family Series is sponsored by TOYOTA
Education Program Supporters
Reflects gifts received during the 0910 fiscal year.
Ford Motor Company Fund and Community Services
Michigan Council for Arts and Cultural Affairs University of Michigan
Arts at Michigan
Arts Midwest's Performing
Arts Fund Bank of Ann Arbor Bustan al-Funun Foundation
for Arab Arts The Dan Cameron Family
FoundationAlan and
Swanna Saltiel Community Foundation for
Southeast Michigan Consolate General of the
Netherlands in New York Doris Duke Charitable
Foundation Doris Duke Foundation for
Islamic Art
DTE Energy Foundation The Esperance Family Foundation David and Phyllis Herzig
Endowment Fund Honigman Miller Schwartz
and Conn UP JazzNet Endowment WK Kellogg Foundation Masco Corporation
Miller, Canfield. Paddock and
(of R. & P. Heydon) The Mosaic Foundation,
Washington DC National Dance Project of the
New England Foundation
for the Arts
National Endowment for the Arts Prudence and Amnon
Rosenthal K-12 Education
Endowment Fund Rick and Sue Snyder TCF Bank 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
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:
Cultivating clients
Developing business-to-business relationships
Targeting messages to specific demographic groups
Enhancing corporate image
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 P36 or call 734.647.1175.
The UMS Advisory Committee is an organization of over 80 volunteers who contribute approxi?mately 7,000 hours of service to UMS each year. The Advisory Committee champions the mission and advances UMS's goals through community engagement, financial support, and other volun?teer service.
Advisory Committee members work to increase awareness of and participation in UMS programs through the Education Ambassador Committee, a new Community Ambassador proj?ect, ushering at UMS youth performances, and a partnership with the U-M Museum of Art (UMMA) Friends Board.
Meetings are held every two months and membership tenure is three years. Please call 734.647.8009 to request more information.
Raising money to support UMS Education Programs is another major goal of the Advisory Committee. The major fundraising events are:
Ford Honors Program and Gala: San Francisco Symphony Saturday, March 20, 2010
This year's program will honor the San Francisco Symphony (SFS) and Michael Tilson Thomas (MTT), Music Director. Founded in 1911, the SFS is widely considered to be among the country's most artistically adventurous arts institutions. Michael Tilson Thomas assumed his post as the Symphony's 11th Music Director in 1995. MTT's 13 seasons with SFS have been praised by crit?ics for innovative programming, for bringing the works of American composers to the fore, developing new audiences, and for an innova?tive and comprehensive education and commu?nity program.
Beginning the evening will be a Gala Dinner at the Michigan League, followed by the SFS concert. After the performance, guests can meet SFS musicians and MTT at an afterglow reception. Please call 734.647.8009 for more information.
Delicious Experiences
These special events are hosted by friends of UMS. The hosts determine the theme for the evening, the menu, and the number of guests they would like to entertain. Several events are being planned for this season and will be announced soon.
Fifth Annual On the Road with UMS
In 2008, more than 300 people enjoyed an evening of food, music, and silent and live auctions, netting more than $72,000. This year's event was held on September 11 at Barton Hills Country Club.
July 1, 2008-August 1, 2009
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, 2008 and August 1, 2009. 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 P44.
$100,000 or more
Doris Duke Charitable Foundation
Ford Motor Company Fund and
Community Services Forest Health Services Michigan Council for Arts and
Cultural Affairs
National Endowment for the Arts Randall and Mary Pittman University of Michigan Health System
Brian and Mary Campbell
Doris Duke Foundation for Islamic Art
The Esperance Family Foundation
W.K. Kellogg Foundation
TAQA New World, Inc.
University of Michigan Office of the Provost
Cairn Foundation
DTE Energy Foundation
Maxine and Stuart Frankel Foundation
David and Phyllis Herzig
Robert and Pearson Macek
(of R. & P. Heydon) Mosaic Foundation, Washington, DC National Dance Project of the New
England Foundation for the Arts Laurence and Beverly Price Dennis and Ellie Serras Toyota University of Michigan Office of the
Vice President for Research
$10,000-$ 19,999
Arts Midwest's Performing
Arts Fund Emily Bandera, MD Bank of Ann Arbor Linda and Maurice Binkow
Philanthropic Fund Carl and Isabelle Brauer Fund Marilou and Tom Capo Community Foundation for
Southeast Michigan Alice B. Dobson Eugene and Emily Grant
Frank Legacki and Alicia Torres Natalie Matovinovic Mrs. Robert E. Meredith Miller, Canfield, Paddock
and Stone, P.L.C. Donald L Morelock Gilbert Omenn and
Martha Darling Pfizer Foundation Jane and Edward Schulak University of Michigan
Credit Union
Marina and Robert Whitman Ann and Clayton Wilhite
$7,500-$9,999 Mike Allemang and
Janis Bobrin Rachel Bendit and
Mark Bernstein Comerica Bank Ken and Penny Fischer Susan and Richard Gutow Carl and Charlene Herstein Honigman Miller Schwartz
land Cohn LLP
Herbert and Ernestine Ruben Sesi Motors Barbara Furin Sloat
$5,000-$7,499 Jerry and Gloria Abrams American Syrian Arab Cultural
Herb and Carol Amster Ann Arbor Automotive Anonymous
Essel and Menakka Bailey Beverly Franzblau Baker Mary Sue and
Kenneth Coleman Dennis Dahlmann and
Patricia Garcia
Sophie and Marylene Delphis The Herbert and Junia Doan
Jim and Patsy Donahey John Dryden and Diana Raimi Fidelity Investments llene H. Forsyth Debbie and Norman Herbert Howard & Howard Attorneys, PC Mohamad and Hayat Issa
Issa Foundation Judy and Verne Istock David and Sally Kennedy Gay and Doug Lane Jill Latta and David Bach Richard and Carolyn Lineback Martin Family Foundation MC3, Inc. Susan McClanahan and
Bill Zimmerman Pepper Hamilton LLP Phil and Kathy Power Prue and Ami Rosenthal Doug and Sharon Rothwell Don and Judy Dow Rumelhart Alan and Swanna Saltiel Frances U. and
Scott K. Simonds Loretta Skewes James and Nancy Stanley Thomas B. McMullen Company Dody Viola Robert 0. and
Darragh H. Weisman
Max Wicha and Sheila Crowley Marion T. Wirick and
James N. Morgan Keith and Karlene Yohn Jay and Mary Kate Zelenock
$3,500-$4,999 Jim and Barbara Adams Bernard and Raquel Agranoff Barbara A. Anderson and
John H. Romani Anonymous
Jim and Stephany Austin Kathy Benton and Robert Brown Raymond and Janet Bernreuter Gary Boren
Edward and Mary Cady Carolyn Carty and Thomas Haug Dallas C. Dort
Stephen and Rosamund Forrest Paul and Anne Glendon Tom and Katherine Goldberg Keki and Alice Irani Ms. Rani Kotha and
Dr. Howard Hu
Donald and Carolyn Dana Lewis Masco Corporation Ernest and Adele McCarus Virginia and Gordon Nordby Eleanor and Peter Pollack John and Dot Reed Craig and Sue Sincock Rick and Sue Snyder
$2,500-$3,499 Bob and Martha Ause Bradford and Lydia Bates Suzanne A. and
Frederick J. Beutler Charles and Linda Borgsdorf Dave and Pat Clyde Elizabeth Brien and
Bruce Conybeare Barbara Everitt Bryant Jeannine and Robert Buchanan Bruce and Jean Carlson Jean and Ken Casey Anne and Howard Cooper Mr. and Mrs. George W. Ford
Michael and Sara Frank Sid Gilman and Carol Barbour Linda and Richard Greene John and Helen Griffith Diane S. Hoff
Robert L. and Beatrice H. Kahn Shirley Y. and Thomas E. Kauper Robert and Jeri Kelch Jim and Patti Kennedy Wally and Robert Klein Samuel and Marilyn Krimm Jeffrey Mason and Janet Netz Peter and Carol Polverini Jim and Bonnie Reece Duane and Katie Renken Corliss and Jerry Rosenberg Dr. and Mrs. Nathaniel H. Rowe Muaiad and Aida Shihadeh Edward and Natalie Surovell
Edward Surovell Realtors Target
TCF Bank Foundation Jim Toy
Karl and Karen Weick Elise Weisbach Ronald and Eileen Weiser
Wadad Abed
Roger Albin and Nili Tannenbaum
Robert and Katherine Aldrich
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David G. and Joan M. Anderson
Dr. and Mrs. Rudi Ansbacher
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Jonathan Ayers and
Teresa Gallagher Eric and Becky Bakker Lesli and Christopher Ballard John and Ginny Bareham Norman E. Barnett Anne Beaubien and Philip Berry Dr. Astrid B. Beck Ralph P. Beebe Linda and Ronald Benson Stuart and Ruth Ann Bergstein Joan A. Binkow John Blankley and Maureen Foley
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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 Charles and Kathleen Davenport Hal and Ann Davis Leslie Desmond and
Phil Stoffregen Sally and Larry DiCarlo Andrzej and Cynthia DIugosz Molly Dobson Steve and Judy Dobson Robert J. and Kathleen Dolan Stuart and Heather Dombey Domino's Pizza Ivo Dairy and Sun Hwa Kim John R. Edman and
Betty B. Edman Emil and Joan Engel Stefan and Ruth Fajans Eric Fearon and Kathy Cho David and Jo-Anna Featherman
Dede and Oscar Feldman
John E. Fetzer Institute, Inc.
Yi-Tsi M. and Albert Feuerwerker
Clare M. Fingerle
Susan Fisher and John Waidley
Robben Fleming
Food Art
James W. and Phyllis Ford
Jill and Dan Francis
Leon and Marcia Friedman
Enid H. Galler
Tom Gasloli
Prof. David M. Gates
Thomas and Barbara Gelehrter
William and Ruth Gilkey
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
David W. Heleniak
Sivana Heller
Carolyn B. Houston
Robert M. and Joan F. Howe
Eileen and Saul Hymans
Jean Jacobson
Wallie and Janet Jeffries
Timothy and Jo Wiese Johnson
David and Gretchen Kennard
Connie and Tom Kinnear
Diane Kirkpatrick
Rhea Kish
Philip and Kathryn Klintworth
Carolyn and Jim Knake
David Lampe and
Susan Rosegrant Ted and Wendy Lawrence Carolyn and Paul Lichter Jean E. Long
John and Cheryl MacKrell Cathy and Edwin Marcus Ann W. Martin and Russ Larson Marilyn Mason and
William Steinhoff Mary and Chandler Matthews Carole J. Mayer W. Joseph McCune and
Georgiana Sanders
Griff and Pat McDonald Bernice and Herman Merte James M. Miller and
Rebecca H. Lehto Lester and Jeanne Monts Paul Morel and
Linda Woodworth Alan and Sheila Morgan Cyril Moscow Terence Murphy Randolph and Margaret Nesse M. Haskell and
Jan Barney Newman Susan and Mark Orringer William Nolting and
Donna Parmelee Marylen S. Oberman Mohammad and
J. Elizabeth Othman Judith Ann Pavitt Elaine and Bertram Pitt Stephen and Tina Pollock Thomas Porter and
Kathleen Crispell Richard and Mary Price Mrs. Gardner C. Quarton Anthony L. Reffells Donald Regan and
Elizabeth Axelson Ray and Ginny Reilly Malverne Reinhart Rosalie Edwards
Vibrant Ann Arbor Fund Jeffrey and Huda Karaman Rosen Karem and Lena Sakallah Linda Samuelson and Joel Howell Dick and Norma Sarns Maya Savarino Dr. Lynn T. Schachinger and
Dr. Sheryl S. Ulin John J.H. Schwarz MD Erik and Carol Serr Richard H. Shackson Janet and Michael Shatusky Carl Simon and Bobbi Low Nancy and Brooks Sitterley Dr. Rodney Smith Susan M. Smith and
Robert H. Gray
Lloyd and Ted St. Antoine Michael B. Staebler Lois and John Stegeman Virginia and Eric Stein Victor and Marlene Stoeffler Dr. and Mrs. Stanley Strasius Karen and David Stutz Charlotte Sundelson Lewis and Judy Tann Jan Svejnar and Katherine Terrell Ted and Eileen Thacker Fr. Lewis Towler Jeff and Lisa Tulin-Silver 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
$500-$999 Bonnie Ackley Alan and Susan Aldworth Richard and Mona Alonzo
Family Fund
Fahd Al-Saghir and Family Helen and David Aminoff Anonymous
Dale and MariAnn Apley Harlene and Henry Appelman Frank J. Ascione Penny and Arthur Ashe AT&T Foundation Susan and Michael Babinec Laurence R. and Barbara K. Baker Lisa and Jim Baker Reg and Pat Baker Paulett M. Banks
Nancy Barbas and Jonathan Sugar David and Monika Barera Frank and Lindsay Tyas Bateman Erling and Merete Blondal Bengtsson James K. and Lynda W. Berg Richard Berger Ramon and
Peggyann Nowak Berguer L.S. Berlin
William and llene Birge Jerry and Dody Blackstone
Beverly J. Bole
Jane Bridges
Sharon and David Brooks
Donald and June Brown
Morton B. and Raya Brown
Trudy and Jonathan Bulkley
Frances Bull
Lou and Janet Callaway
Brent and Valerie Carey
John and Patricia Carver
A. Craig Cattell
Anne Chase
John and Camilla Chiapuris
Dr. Kyung and Young Cho
Janice A. Clark
Brian and Cheryl Clarkson
Jonathan Cohn
Wayne and Melinda Colquitt
Mary Pat and Joe Conen
Phelps and Jean Connell
Jean and Philip Converse
Connie and Jim Cook
Arnold and Susan Coran
Malcolm and Juanita Cox
Mary C. Crichton
Roderick and Mary Ann Daane
Alice and Ken Davis
Michele Derr
Linda Dintenfass and Ken Wisinski
Basim Dubaybo
Eva and Wolf Duvernoy
Dr. and Mrs. Kim A. Eagle
Ernst & Young Foundation
Harvey and Elly Falit
Irene Fast
Margaret and John Faulkner
Phil and Phyllis Fellin
Carol Finerman
C. Peter and Beverly A. Fischer
John and Karen Fischer
Dr. Lydia Fischer
Susan A. Fisher
Ray and Patricia Fitzgerald
Esther M. Floyd
Howard and Margaret Fox
Betsy Foxman and Michael Boehnke
Jerrold A. and Nancy M. Frost
James M. and Barbara H. Garavaglia
Richard L. Garner
Beverley and Gerson Geltner
Beverly Gershowitz
Dr. Paul W. Gikas and Suzanne Gikas
Zita and Wayne Gillis
William and Jean Gosling
Amy and Glenn Gottfried
James and Maria Gousseff
Christopher and Elaine Graham
Dr. John and Renee M. Greden
Don Haefner and Cynthia Stewart
Martin and Connie Harris
Susan R. Harris
Dr. and Mrs. Michael Hertz
Herb and Dee Hildebrandt
Ralph M. Hulett
Ann D. Hungerman
John Huntington
Maha Hussain and Sal Jafar
Stuart and Maureen Isaac
Mark and Madolyn Kaminski
Christopher Kendall and
Susan Schilperoort Nouman and Iman Khagani Elie R. and Farideh Khoury James and Jane Kister Hermine Roby Klingler Regan Knapp and John Scudder Dr. and Mrs. Jerry Kolins Charles and Linda Koopmann Melvyn and Linda Korobkin Rebecca and Adam Kozma Barbara and Ronald Kramer Barbara and Michael Kratchman Bert and Geraldine Kruse Bud and Justine Kulka Donald J. and Jeanne L. Kunz Jane Laird LaVonne L. Lang Dale and Marilyn Larson David Lebenbom Ruth L. Leder Paula and Paul Lee Richard LeSueur Mark Lindley and Sandy Talbott Don and Erica Lindow Daniel Little and Bernadette Lintz Rod and Robin Little E. Daniel and Kay Long Frances Lyman Brigitte and Paul Maassen Pam MacKintosh Jane and Martin Maehr Prof. Milan Marich W. Harry Marsden Irwin and Fran Martin Judythe and Roger Maugh Margaret E. McCarthy Barbara Meadows Warren and Hilda Merchant Merrill Lynch Robert C. Metcalf Don and Lee Meyer
Joetta Mial
Myrna and Newell Miller
Bert and Kathy Moberg
Olga Moir
Lewis and Kara Morgenstern
Thomas and Hedi Mulford
Susan and Richard Nisbett
Constance L. and David W. Osier
Shirley and Ara Paul
Zoe and Joe Pearson
Jean and Jack Peirce
Evelyn Pickard
Wallace and Barbara Prince
Peter Railton and Rebecca Scott
Patricia L. Randle and James R. Eng
Timothy and Teresa Rhoades
Stephen J. Rogers
Doug and Nancy Roosa
Richard and Edie Rosenfeld
Margaret and Haskell Rothstein
Doris E. Rowan
Betina Schlossberg
Julie and Mike Shea
Howard and Aliza Shevrin
Edward and Kathy Silver
Sandy and Dick Simon
Elaine and Robert Sims
Don and Sue Sinta
Irma J. Sklenar
Andrea and William Smith
Gretchen Y. Sopcak
Becki Spangler and Peyton Bland
Doris and Larry Sperling
Mr. and Mrs. Gary R. Stahle
Naomi and James Starr
James Christen Steward
Eric and Ines Storhok
Kate and Don Sullivan
Timothy W. Sweeney
Manuel Tancer
Louise Taylor
Elizabeth C. Teeter
Louise Townley
Marianne Udow-Phillips and
Bill Phillips Fawwaz Ulaby and
Jean Cunningham Members of the UMS Choral Union Doug and Andrea Van Houweling Shirley Verrett Harue and Tsuguyasu Wada Elizabeth A. and David C. Walker Liina and Bob Wallin Gary Wasserman Zachary B. Wasserman Angela and Lyndon Welch
Iris and Fred Whitehouse Father Francis E. Williams Robert J. and Anne Marie Willis I.W. and Beth Winsten Lawrence and Mary Wise James H. and Gail Woods Frances A. Wright Bryant Wu and Theresa Chang
Judith Abrams
Dorit Adler
Martha Agnew and Webster Smith
Dr. Diane M. Agresta
Mr. and Mrs. W. Dean Alseth
Catherine M. Andrea
Rosemary and John Austgen
Drs. John and Lillian Back
J. Albert and Mary P. Bailey
Robert L. Baird
Bruce Baker and Genie Wolfson
Barbara and Daniel Balbach
Barnes & Noble Booksellers
Frank and Gail Beaver
Gary M. Beckman and Karla Taylor
Ken and Eileen Behmer
Harry and Kathryn Benford
Dr. Rosemary R. Berardi
Andrew H. Berry
Naren and Nishta Bhatia
Jack Billi and Sheryl Hirsch
Sara Billmann and Jeffrey Kuras
Horace and Francine Bomar
Mark D. Bomia
Bob and Sharon Bordeau
Victoria C. Botek and
William M. Edwards Stacy Brackens Dr. R.M. Bradley and Dr. CM.
William R. Brashear Joel Bregman and Elaine Pomerantz Christie Brown and Jerry Davis Pamela I. Brown Richard and Karen Brown Anthony and Jane Burton Heather Byrne Susan and Oliver Cameron Thomas and Colleen Carey Jack and Wendy Carman Jim and Lou Carras Margaret W. and Dennis B. Carroll Dennis J. Carter
Prof, and Mrs. James A. Chaffers J.W. and Patricia Chapman Samuel and Roberta Chappell Kwang and Soon Cho
Reginald and Beverly Ciokajlo
Mark Clague and Laura Jackson
Coffee Express Co.
George Collins and Paula Hencken
Anne and Edward Comeau
Gordon and Marjorie Comfort
Kevin and Judy Compton
Nancy Connell
Jud Coon
Dr. Hugh and Elly Cooper
Katharine Cosovich
Kathy and Clifford Cox
Lois Crabtree
Clifford and Laura Craig
Susie Bozell Craig
Merle and Mary Ann Crawford
Mr. Michael and Dr. Joan Crawford
George and Constance Cress
John and Mary Curtis
Marylee Dalton
Timothy and Robin Damschroder
Sunil and Merial Das
Ed and Ellie Davidson
Linda Davis and Robert Richter
Mr. and Mrs. William J. Davis
Dawda. Mann, Mulcahy & Sadler, PLC
Michelle Deatrick and
Steven Przybylski Jean and John Debbink Elena and Nicholas Delbanco Elizabeth Dexter Michael and Elizabeth Drake Elizabeth Duell Bill and Marg Dunifon Peter and Grace Duren Theodore and Susan Dushane Swati Dutta
J. Dutton and L. Sandelands Gavin Eadie and Barbara Murphy Morgan and Sally Edwards Dr. Alan S. Eiser Charles and Julie Ellis Johanna Epstein and Steven Katz The Equisport Agency Mary Ann Faeth Afaf Vicky Farah Dr. and Mrs. S.M. Farhat James and Flora Ferrara Jean Fine
Herschel and Adrienne Fink Sara and Bill Fink Scott and Janet Fogler David Fox and Paula Bockenstedt Shari and Ben Fox Willard G. Fraumann Susan L. Froelich and
Richard E. Ingram Philip and Renee Frost
Carol Gagliardi and David Flesher Martin Garber and Beth German Sandra Gast and Gregory Kolecki Michael Gatti and Lisa Murray Deborah and Henry Gerst Elmer G. Gilbert and
Lois M. Verbrugge J. Martin Gillespie and
Tara M. Gillespie Maureen and David Ginsburg Edie Goldenberg
Irwin Goldstein and Martha Mayo Mitch and Barb Goodkin Enid Gosling and Wendy Comstock Mr. and Mrs. Charles and Janet Goss Michael L. Gowing Larry and Martha Gray Jeffrey B. Green
Nancy Green and William Robinson Raymond and Daphne Grew Susan and Mark Griffin Nicki Griffith Werner H. Grilk Milton and Susan Gross Bob and Jane Graver Robin and Stephen Gruber Anna Grzymala-Busse and
Joshua Berke
Susan Guszynski and Gregory Mazure George and Mary Haddad M. Peter and Anne Hagiwara Tom Hammond Walt and Charlene Hancock Jeff Hannah and Nur Akcasu Abdelkader and Huda Hawasli Dan and Jane Hayes Rose and John Henderson J. Lawrence Henkel and
Jacqueline Stearns Paul and Erin Hickman James C. Hitchcock John Hogikyan and Barbara Kaye Richard and Cathy Hollingsworth Ronald and Ann Holz Cyrus C. Hopkins James and Wendy Fisher House Sun-Chien and Betty Hsiao Mabelle Hsueh Ruth and Harry Huff Robert B. Ingling Mr. and Mrs. Eugene O. Ingram Richard Isackson John H. and Joan L. Jackson Elizabeth Jahn Rebecca Jahn Jerome Jelinek Harold R. Johnson Mark and Linda Johnson
Mary and Kent Johnson Paul and Olga Johnson John and Linda Jonides The Jonna Companies Profs. Monica and Fritz Kaenzig Jack and Sharon Kalbfleisch Helen and Irving Kao Arthur Kaselemas MD Morris and Evelyn Katz Alfred and Susan Kellam John B. Kennard, Jr. Nancy Keppelman and
Michael Smerza Drs. Nabil and Mouna Khoury Roland and Jeanette Kibler Don and Mary Kiel Paul and Leah Kileny Kirkland & Ellis Foundation Dana and Paul Kissner Jean and Arnold Kluge Rosalie and Ron Koenig Joseph and Marilynn Kokoszka Michael J. Kondziolka and
Mathias-Philippe Florent Badin Alan and Sandra Kortesoja Charles and Mary Krieger Vejayan Krishnan Donald John Lachowicz Lucy and Kenneth Langa Neal and Anne Laurance Jean Lawton and James Ellis Doug Laycock and Teresa A. Sullivan Bob and Laurie Lazebnik Leslie Meyer Lazzerin John and Theresa Lee Sue Leong
Joan and Melvyn Levitsky David Baker Lewis Jacqueline H. Lewis Ken and Jane Lieberthal Michael and Debra Lisull Michael Litt
Dr. and Mrs. Lennart Lofstrom Julie M. Loftin Bruce W. Loughry William and Lois Lovejoy Joan Lowenstein and Jonathan Trobe Charles and Judy Lucas Claire and Richard Malvin Melvin and Jean Manis Manpower, Inc. of
Southeastern Michigan Michael and Pamela Marcovitz Nancy and Philip Margolis Stacy and David Markel Howard L. Mason Laurie McCauley and Jessy Grizzle Margaret and Harris McClamroch
James H. Mclntosh and
Elaine K. Gazda Peggy McCracken and
Doug Anderson
Joanna McNamara and Mel Guyer Frances McSparran Russ and Brigitte Merz Gabrielle Meyer Shirley and Bill Meyers George Miller and Deborah Webster Jack and Carmen Miller Patricia Mooradian Michael and Patricia Morgan Melinda Morris
Sean Morrison and Theodora Ross Ronald S. Mucha Drs. Louis and Julie Jaffee Nagel Sabine Nakouzi and Scott Phillips Gerry and Joanne Navarre Gayl and Kay Ness Sharon and Chuck Newman Eugene W. Nissen Laura Nitzberg Arthur S. Nusbaum Kathleen I. Operhall Hedda and William Panzer Donna D. Park Katherine Pattridge David and Renee Pinsky Don and Evonne Plantinga Susan Pollans and Alan Levy Pomeroy Financial Services, Inc. Garrod S. Post and Robert A. Hill Helen S. Post Bill and Diana Pratt Ann Preuss
Karen and Berislav Primorac The Produce Station Elisabeth and Michael Psarouthakis Marci Raver and Robert Lash Maxwell and Marjorie Reade Mr. and Mrs. Stanislav Rehak Marnie Reid Alice Rhodes Claire Conley Rice Todd Roberts and Arleen Song Jonathan and Anala Rodgers Jean P. Rowan Rosemarie Haag Rowney Lisa and William Rozek Carol D. Rugg and
Richard K. Montmorency Omari Rush Arnold Sameroff and
Susan McDonough Ina and Terry Sandalow David Sarns and Agnes Moy-Sarns Michael and Kimm Sarosi
Rosalyn Sarver and
Stephen Rosenblum Nabil Sater
Joseph M. Saul and Lisa A. Leutheuser Albert and Jane Sayed David and Marcia Schmidt Ann and Thomas J. Schriber Harriet Selin
David and Elvera Shappirio James and Teh Shields George and Gladys Shirley Jean and Thomas Shope George and Nancy Shorney Hollis and Martha A. Showalter Mary A. Shulman Drs. Andrew and Emily Shuman Bruce M. Siegan Dr. Terry M. Silver Scott and Joan Singer Ken and Marcia Slotkowski Tim and Marie Slottow Carl and Jari Smith David and Renate Smith Robert W. Smith Yoram and Eliana Sorokin Joseph H. Spiegel Jeff Spindler David and Ann Staiger Rick and Lia Stevens James L. Stoddard Cynthia Straub Bashar and Hoda Succar Nancy Bielby Sudia Barbara and Donald Sugerman Brian and Lee Talbot Sam and Eva Taylor Steve and Diane Telian Mark and Pat Tessler Textron
Mary H. Thieme Janet E. and Randall C. Torno Claire and Jerry Turcotte Alvan and Katharine Uhle Michael Updike
Drs. Alison and Matthew Uzieblo Hugo and Karla Vandersypen Chris and Steven Vantrease Virginia Wait Jack and Carolyn Wallace Charles R. and Barbara H. Wallgren Tim Wang and Molly Herndon Jo Ann Ward
Arthur and Renata Wasserman Enid Wasserman Jack and Jerry Weidenbach Leslie Whitfield Nancy Wiernik Ralph G. Williams
Margaret W. Winkelman and
Robert A. Krause Charlotte A. Wolfe Amanda and Ira Wollner Stan and Pris Woollams Ellen Woodman Mary Jean and John Yablonky Richard and Kathryn Yarmain Zakhour and Androulla Youssef Gail and David Zuk
UMS also expresses its deepest appreciation to its many donors who give less than $250 each year, enabling the ongoing success of UMS programs.
July 1, 2008-June 30, 2009
The University Musical Society is grateful to those have supported UMS endowment funds, which will generate income for UMS in perpetuity and benefit UMS audiences in the future.
$100,000 or more
Doris Duke Charitable Foundation
Lenore M. Delanghe Trust Estate of Lillian G. Ostrand
Estate of Betty Ann Peck James and Nancy Stanley
AMGEN Foundation
Herb and Carol Amster
John R. Edman and Betty B. Edman
Susan and Richard Gutow
Gilbert Omenn and Martha Darling
Stephen and Agnes Reading
Susan B. Ullrich
Marina and Robert Whitman
Bernard and Raquel Agranoff Jean and Ken Casey Charles and Julia Eisendrath Sid Gilman and Carol Barbour Paul and Anne Glendon Debbie and Norman Herbert Diane S. Hoff Natalie Matovinovic" Prue and Ami Rosenthal Jay and Mary Kate Zelenock
Jerry and Gloria Abrams
Dr. Jo Ann Aebersold
Hiroko and Michael Akiyama
Bob and Martha Ause
Emily W. Bandera
Ramon and Peggyann Nowak Berguer
Inderpal and Martha Bhatia
Anne Chase
Malcolm and Juanita Cox
Linda Davis and Robert Richter
Stefan and Ruth Fajans
David Fink and Marina Mata
Neal R. Foster and Meredith Lois Spencer Foster
Robert and Frances Gamble Trust
Thomas and Barbara Gelehrter
Lewis and Mary Green
John and Joyce Henderson
Dr. and Mrs. Robert Hensinger
Marilyn G. Jeffs
Robert and Jeri Kelch
Dorothea Kroll and Michael Jonietz
John Lawrence and Jeanine DeLay
Richard LeSueur
Joan and Melvyn Levitsky
Barbara and Michael Lott
Joan Lowenstein and Jonathan Trobe
Regent Olivia Maynard and Olof Karlstrom
Frieda H. Morgenstern
Robert and Elizabeth Oneal
Valerie and Tony Opipari
Zoe and Joe Pearson
Michelle Peet and Rex Robinson
Stephen R. and Ellen J. Ramsburgh
Larry and Bev Seiford
Becki Spangler and Peyton Bland
Karen and David Stutz
Carrie and Peter Throm
Jacqueline Tonks
Richard and Madelon Weber
Mary Ann Whipple
Mary C. Crichton
Edith and Richard Croake
Sheila Feld
Enid and Richard Grauer
Jonathan and Jennifer Haft
Nancy Houk
Ginny Maturen
G. Elizabeth Ong
Richard L. and Lauren G. Prager
Charles W. Ross
Endowed Funds
The future success of the University Musical Society is secured in part by income from UMS's endowment. UMS extends its deepest appreciation fo (he many donors who have established andor contributed to the following funds:
H. Gardner and Bonnie Ackley Endowment Fund
Herbert S. and Carol Amster Fund
Catherine S. Arcure Endowment Fund
Carl and Isabelle Brauer Endowment Fund
Frances Mauney Lohr Choral Union Endowment Fund
Hal and Ann Davis Endowment Fund
Doris Duke Charitable Foundation Endowment Fund
Ottmar Eberbach Funds
Epstein Endowment Fund
David and Phyllis Herzig Endowment Fund
JazzNet Endowment Fund
William R. Kinney Endowment Fund
Natalie Matovinovic Endowment Fund
NEA Matching Fund
Palmer Endowment Fund
Mary R. Romig-deYoung Music Appreciation Fund
Prudence and Amnon Rosenthal K-12 Education
Endowment Fund Charles A. Sink Endowment Fund Catherine S. ArcureHerbert E. Sloan Endowment Fund University Musical Society Endowment Fund The Wallace Endowment Fund
Burton Tower Society
77ie Burton Tomer Society recognizes and honors those very special friends who have included UMS in their estate plans. UMS is grate?ful for this important support, which will continue the great tradi?tions of artistic excellence, educational opportunities, and community partnerships in future years.
Bernard and Raquel Agranoff
Carol and Herb Amster
Mr. Neil P. Anderson
Dr. and Mrs. David G. Anderson
Catherine S. Arcure
Barbara K. and Laurence R. Baker
Kathy Benton and Robert Brown
Linda and Maurice Binkow
Elizabeth S. Bishop
Mr. and Mrs. W. Howard Bond
Mr. and Mrs. Pal E. Borondy
Carl and Isabelle Brauer
Barbara Everitt Bryant
Pat and George Chatas
Mr. and Mrs. John Alden Clark
Mary C. Crichton
H. Michael and Judith L. Endres
Dr. James F. Filgas
Ken and Penny Fischer
Ms. Susan Ruth Fischer
Meredith L. and Neal Foster
Beverley and Gerson Geltner
Paul and Anne Glendon
Debbie and Norman Herbert
John and Martha Hicks
Mr. and Mrs. Richard Ives
Marilyn G. Jeffs
Thomas C. and Constance M. Kinnear
Diane Kirkpatrick
Richard LeSueur
Pearson and Robert Macek
Susan McClanahan
Charlotte McGeoch
Michael G. McGuire
M. Haskell and Jan Barney Newman
Len Niehoff
Dr. and Mrs. Frederick C. O'Dell
Mr. and Mrs. Dennis M. Powers
Mr. and Mrs. Michael Radock
Mr. and Mrs. Jack Ricketts
Mr. and Mrs. Willard L. Rodgers
Prudence and Amnon Rosenthal
Margaret and Haskell Rothstein
Irma J. Sklenar
Herbert Sloan
Art and Elizabeth Solomon
Roy and JoAn Wetzel
Ann and Clayton Wilhite
Mr. and Mrs. Ronald G. Zollars
Tribute Gifts
Contributions have been made in honor andor memory of the following people:
H. Gardner Ackley
Nancy L. Ascione
Milli Baranowski
David Bay
Linda and Maurice Binkow
Jean W. Campbell
Marie Mountain Clark
Ellwood Derr
Benning Dexter
John 5. Dobson
Mrs. Jane D. Douglass
John Edwards
Sidney Fine
Alexander Everett Fischer
Ken and Penny Fischer
Betty Fisher
Mr. Leslie Froelich
E. James Gamble
Susan and Richard Gutow
Lloyd W. Herrold
Carl W. Herstein
Dr. Julian T. Hoff
Ben Johnson
Robert Lazzerin
Kathleen McCree Lewis
Ellen Livesay
Charles Lovelace
Zelma K. Marich
Josip MatovinoviC, MD
Sharon Anne McAllister
Bettie Metcalf
Valerie D. Meyer
Amir Masud Mostaghim
Betty Overberger
Brian Patchen
James Pattridge
Gwen and Emerson Powrie
Gail W. Rector
Steffi Reiss
Margaret E. Rothstein
Eric H. Rothstein
Nona Ruth Schneider
J. Barry Sloat
George E. Smith
Edith Marie Snow
James Stanley
Jennifer Steiner and Patrick Tonks
Robert Strozier
Dr. and Mrs. E. Thurston Thieme
Charles R. Tieman
Mr. and Mrs. Leon B. Verrett
Francis V. Viola III
C. Robert Wartell
Janet F. White
Ralph Williams
Carl H. Wilmot, Class of 1919
Nancy Joan Wykes
Gifts In-Kind
Ann Arbor Cooks, Natalie Marble
Ann Arbor Fire Department
Barbara Bach
Kathie Barbour
Barton Hills Country Club
Berry Goldsmiths
Bistro Renaissance
Francine Bomar
Barbara Everitt Bryant
Camp Michigania
Craig Capelli, The Chippewa Club
Pat Chapman
Cheryl Clarkson
Jill Collman
Wendy Comstock
Paul Cousins
Heather Dombey
Downtown Home and Garden
Exhibit Museum of Natural History
Mary Ann Faeth
Sara Fink
Susan A. Fisher
Susan R. Fisher
The Friars
Friend of UMS
Anne Glendon
Kathy Goldberg
Susan Gutow
Charlene Hancock
Hotel Iroquois, Mackinac Island
Chantel Jackson
Christopher Kendall
Meg Kennedy Shaw
Steve and Shira Klein
Joan Levitsky
Liberty Athletic Club
Jane Maehr
Ann Martin
Joanna McNamara
Robin Meisel
Liz Messiter
Leonard Navarro
Kay and Gayl Ness
Steve and Betty Palms
Performance Network Theatre
Pictures Plus
Plum Market
Lisa Psarouthakis
Purple Rose Theatre
Renaissance Bistro
Idelle Hammond-Sass
Dick Scheer, Village Corner
Penny Schreiber
SeloShevel Gallery
Ingrid Sheldon
John Shultz
Andrea Smith
Becki Spangler
Karen Stutz
Sweet Gem Confections
Lisa Town ley
Louise Town ley
University of Michigan Men's
Soccer Team Wawashkamo Golf Club,
Mackinac Island Debbie Williams-Hoak Zingerman's Bakehouse
Ann Arbor Symphony Orchestra 16 Ann Arbor Public Schools
Educational Foundation 24 Bank of Ann Arbor 24 Charles Reinhart Co. Realtors 6 Detroit Jazz Festival 6 Donaldson & Gunther 26 Edward Surovell Realtors 26 Honigman Miller Schwartz and Cohn LLP 34 Howard Cooper Import Center 16 IATSE Local 395 46 Iris Dry Cleaners 32 Kensington Court Front Cover Michigan Radio 32 Performance Network 46 Real Estate One 30 Red Hawk 30 Schakolad16 The Gilmore 30 Totoro 32
UMS Prelude Dinners 46 U-M Alumni Association 28 U-M Museum of Art 30 United Bank & Trust 34 WEMU Back Cover WGTE 6
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
Cultural Alliance of Southeastern Michigan
International Society for the Performing Arts
Main Street Area Association
Michigan Association of Community Arts Agencies
National Center for Nonprofit Boards
State Street Association
Think Local First

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