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UMS Concert Program, Thursday Feb. 04 To 11: University Musical Society: Winter 2010 - Thursday Feb. 04 To 11 --

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Day
4
Month
February
Year
2010
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Rights Held By
University Musical Society
OCR Text

Season: Winter 2010
University Of Michigan, Ann Arbor

University Musical Society of the University of Michigan Ann Arbor
ums 0910
ums
A
university musical society
Winter 10 University of Michigan Ann Arbor
P2 Letters from the Presidents
P5 Letter from the Chair
UMSLeadership 7 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
U.MSExperience 25 UMS Education and Audience Development
Programs
UMSSupport P33 Corporate Sponsorship and Advertising
P33 Individual Donations
P35 UMS Advisory Committee
37 Annual Fund Support
P44 Endowment Fund Support
P48 UMS Advertisers
Cover: Cyro Baptista, Bill T. JonesArnie Zane Dance Company (photo: Paul B. Goode),
Bela Fleck, Maly Drama Theater of St. Petersburg (photo: Viktor Vassiliev)

FROM THE U-M PRESIDENT
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 educational programs UMS offers to people of all ages and of the new works in dance, theater, and music it com?missions and premieres. Through the U-MUMS
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 pro?grams 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.
UMS is a member of the University's Public Goods Council (PGC), a cluster of campus organizations dedicated to advancing scholarship and culture through music, works of art, special collections, historical archives, natural science resources, per?formance programs, coursework, and experiential learning. The PGC promotes collaboration in ways that enrich the educational and cultural experience on campus and in the community.
I encourage you to attend more UMS events and those offered by the other many outstanding arts and cultural organizations of the University. To learn more about these activities, visit the University's website at www.umich.edu.
Sincerely,
Mary Sue Coleman
President, University of Michigan
Photo: Lu Huang
FROM THE UMS PRESIDENT
Welcome to this UMS performance. All of us associated with UMS are grateful that you're here. We hope you will enjoy the experience and attend more UMS events during our 131st season. You will find a listing of events on page 2 of this program book.
The UMS Fall 2009 Season. Many thanks to those of you who attended some of the out?standing events of the UMS Fall 2009 Season. Whether it was embracing a young artist making her UMS debut (cellist Alisa Weilerstein), laughing riotously at the behavior of the actors on and off the stage (Shakespeare's Globe Theatre's Love's Labour's Lost), or being totally captivated by the glorious sounds in the reverberant St. Francis sanctuary (Stile Antico), you demonstrated once again why artists like to come to Ann Arbor. You were totally engaged with them, listening intent?ly, absorbing their performances, and then letting them know how much you appreciate them. When I visited Sir Simon Rattle in his dressing room before his Ann Arbor debut as conductor of the Berliner Philharmoniker, the first words out of his mouth were, "There was no way Ann Arbor would be left off this tour. The orchestra members insisted we return here." When I visited with him after the concert, he picked up where he left off, saying, "And now I know why. What a glorious hall--and what a remarkable audience! I could hear them listening."
UMS Strategic Plan. In January 2009, UMS began a strategic planning process with the assis?tance of external consultant Stephen Y. Nose of SYN Associates in Ann Arbor. Many members of the UMS community took part in gathering data through focus groups, personal interviews, sur?veys, and other means in assessing competition, trends, products, and our partnerships. The UMS Board approved key goals and objectives in the fall, and the UMS staff is working on the develop?ment of implementation strategies to achieve them. Many of the goals and objectives deal with internal matters related to staff development, board and staff succession, the UMS brand, and our relationship with key partners including the University of Michigan. The most important objectives are those that deal most directly with
our mission, which is "To inspire individuals and enrich communities by connecting audiences and artists in uncommon and engaging experiences." These include enabling UMS to take greater artis?tic and programmatic risks on an ongoing basis, increasing participation of emerging and new audiences in UMS programs, and creating deeper UMS experiences by providing new and renewed connection points for audiences and artists in both virtual and physical spaces. Stay tuned for
more information as we complete the strategies.
Ford Honors Program.
The 15th Ford Honors Program occurs on Saturday, March 20 during the residency of the San Francisco Symphony when we honor both the SFS and its music director, Michael Tilson Thomas, with the UMS Distinguished Artist
Award. The format takes a different approach this year. The gala dinner precedes the performance, and a champagne reception follows, both planned and organized by our dynamic Advisory Committee. A very brief awards presentation on the Hill stage precedes the performance of Mahler's Symphony No. 2 featuring the SFS and the UMS Choral Union. Look for more informa?tion on our website at www.ums.org.
Feel free to get in touch with me if you have any questions, comments, or problems. If you don't see me in the lobby, send me an e-mail message at kenfisch@umich.edu or call me at 734.647.1174.
Thanks again for coming to this event. Very best wishes,
Kenneth C. Fischer UMS President
The UMS Lobby
In June 2009, UMS was one of four organizations awarded an "Innovation Lab" grant by EMCArts, with support from the Doris Duke Charitable Foundation, to develop an idea that could have a profound impact on how they do business. UMS will launch a beta version of the project in February.
The UMS Lobby will expand and redefine what we mean by "the UMS experience." By combining online and live components in everything UMS does, we will enable a wide range of participants to engage more continuously and more deeply with each other, with the extraordinary history of UMS, with the artists we now present, and with the life of UMS in Ann Arbor and throughout the region.
The UMS Lobby is both a virtual and physical space where people meet, exchange ideas, and build relation?ships -a bridge between daily life and the special places we devote to artistic experiences. The UMS Lobby will include:
-Live preand post-performance events that extend the UMS experience
-A digitized historical archive that includes access to UMS's extraordinary 131-year history, including the opportunity to submit your own comments, memories, and observations about events that you've attended
-A multimedia blog with articles, video, audio, photos, and links
-Stories from patrons and others about the impact of UMS -in essence, a "living archive" that will grow with time and supplement the historical archive
-Conversation areas that include feeds from our facebook, twitter, and other networks, but that also provide a place to listen and to be heard
FROM UMS CHAIRMAN, JIM STANLEY
How fortunate we are to be part of a UMS audience experiencing artistic performanc?es that have the potential to transform lives. That is of little surprise given the role UMS has in inspiring 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 theater, UMS has brought extraordi?nary performances and new experiences from some of the world's most distinctive artists to us for 131 years. UMS is regarded as one of the country's most respected organizations bringing artists and audiences together. UMS makes a dif?ference.
UMS events are presented in many diverse venues, all of which are chosen to create an unusual bond between the performers and the audience. Both the seasoned attendee and the newcomer quickly grasp this unique connection. Lasting ovations and knowledgeable chatter of those leaving the hall let the artists know they have been deeply appreciated and understood. That atmosphere has established a special rela?tionship between UMS audiences and artists. It's been that way for generations.
But there is more than simply a few hours of respite from our busy lives. Our forbearers knew the importance of sustaining their emotional and intellectual spirit by revisiting the many cultural roots that surround them. And so do we. In today's times of world conflict and economic stress, UMS plays a most valuable role in sustain?ing our global community's well being. The 0910 season is a testament to that role. As a starter, the first half of the year witnessed the likes of the Berlin Philharmonic, Shakespeare's Globe Theatre of London, The Suzanne Farrell Ballet, and the Vienna Boys Choir. The second half offers the classical music of the Chicago Symphony Orchestra and the San Francisco Symphony, Lang Lang at the piano and Julia Fischer on the violin, the moods of Wynton
Marsalis and the Jazz at Lincoln Center Orchestra, the singing of Ladysmith Black Mambazo, the voices of St. Petersburg's Maly Drama Theater, the motion of Hubbard Street Dance Chicago, and the wit of The New Yorker music critic Alex Ross. These performances are a small bit of what UMS is doing for us now. It just doesn't get any better anywhere.
The UMS Board and I encourage you to engage yourself in the many experiences afford-
ed by UMS. Dare yourself to be exposed to the different sounds and colors that are part of our ever-shrinking planet. They are all here. Enjoy the pride in being among our individual and corporate donors whose contributions fund more than half the expenses of bringing worldwide artists to our doors each year. The
back of this program documents the wonderful support, both large and small, from our benefac?tors. Join them and participate as advocates for the cultural contributions that UMS offers to our greater community. Do it for yourself and for those who follow. Learn about us and talk to us at www.ums.org. We like to listen. And remem?ber how very fortunate you are to be part of the UMS difference.
Sincerely,
James C. Stanley I
Chair, UMS Board of Directors
UMS Leadership
CORPORATE AND FOUNDATION LEADERS
James G. Vella
President, Ford Motor Company Fund ( and Community Services 'Through music and the arts, we are inspired to broaden our horizons, bridge differences among cultures, and set our spirits free. We are proud to support the University Musical Society and acknowledge the important role it plays in our community."
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 ACU1 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
Vice President, Corporate and Government Affairs,
DTE Energy
'The DTE Energy Foundation is pleased to support exemplary
organizations like UMS that inspire the soul, instruct the
mind, and enrich the community."
Edward Surovell
President, Edward Surovell Realtors
'Edward Surovell Realtors and its 300 employees and sales asso?ciates are proud of our 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 A
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, KeyBank
'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."
FOUNDATION AND GOVERNMENT SUPPORT
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
S50,000-S99,999
Anonymous
Community Foundation for Southeast Michigan Doris Duke Foundation for Islamic Art Esperance Family Foundation
520,000-549,999
Cairn Foundation
DTE Energy Foundation
EmcArts
Maxine and Stuart Frankel Foundation
Charles H. Gershenson Trust
Masco Corporation Foundation
The Mosaic Foundation, Washington DC
510,000-519,999
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)
51,000-59,999
Consulate General of The Netherlands in New York
Mohamad and Hayat Issalssa Foundation
National Dance Project of the New England Foundation
for the Arts Sarns Ann Arbor Fund Target
P 14 UMS Leadership
UNIVERSITY MUSICAL SOCIETY of the University of Michigan UMS BOARD OF DIRECTORS
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
Committee
UMS NATIONAL COUNCIL
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 Mehta
Herbert Ruben Russell Willis Taylor Carl W. Herstein, Ex-offido James C. Stanley, Ex-offido
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
UMS ADVISORY COMMITTEE
Janet Cailaway, Chair Betty Palms, Vice Chair Karen Stutz, Secretary Sarah Nicoli. Treasurer Phyllis Herzig, Past Chair
Ricky Agranoff ManAnn Apley Sandy Aquino Lorie Arbour Barbara Bach Pat Bantle Francme Bomar
Luciana Borbely 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 Charlene Hancock Shelia Harden Alice Hart Meg Kennedy Shaw
Pam Krogness Marci Raver Lash Mary LeOuc Joan Levitsky Jean Long Eleanor Lord Jane Maehr Jennifer J. Maisch Melanie Mandell Ann Martin Fran Martin Joanna McNamara Deborah Meadows Liz Messiter
Robin Miesel Natalie Mobley Bonita Davis Neighbors Kay Ness Thomas Ogar Liz Othman Allison Poggi Lisa Psarouthakis Agnes Moy Sarns Penny Schreiber Bev Seiford Aliza Shevrin Ahda 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
UMS 0970
Leadership
P15
UMS STAFF
AdministrationFinance
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
Development
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
Coordinator
ProgrammingProduction
Michael J. Kondziolka, Director Jeffrey Beyersdorf,
Technical Director Mark Jacobson,
Programming Manager Carlos Palomares,
Production Manager Liz Stover, Programming
Coordinator
Ticket Services
Jennifer Graf, Ticket Services
Manager Sally A. flushing, Ticket Office
Associate Suzanne Davidson, Assistant Ticket
Services Manager Adrienne Escamilla,
Ticket Office Associate Sara Sanders, Front-of-House
Coordinator Sarah Wilber, Group Sales
Coordinator Dennis Carter, Bruce Oshaben,
Brian Roddy, Head Ushers
Students
Emily Barkakati Adam Bichir Greg Briley Tyler Brunsman Allison Carron Shannon Deasy Michelle Dimuzio Kelsy Durkin Carrie Fisk Dana Harlan Tim Hausler Jasmine Hentschel Jennifer Howard Harsh Jhaveri Mark Johnson Andy Jones Neal Kelley Olivia Lloyd Rachel Lum Brooke Lundin Mary Martin Michael Matlock
Michael Mauskapf Bryan McGivern Michael Michelon Paula Muldoon Leonard Navarro Scott Padden Steven Rish Michael Rochelle Andrew Smith Cahill Smith David Jones Sparks Trevor Sponseller Bennett Stein Maureen Stych Catherine Tippman Julie Wallace
UMS CORPORATE COUNCIL
A. Douglas
Rothwell, Chair Albert Berriz
Bruce Brownlee Robert Buckler James Garavaglia
Steven K. Hamp Mary Kramer David Parsigian
Sharon Rothwell Michael B. Staebler James G. Vella
James C. Stanley, Ex-officio
UMS TEACHER ADVISORY COMMITTEE
Abby Alwin Fran Ampey Robin Bailey Greta Barfield Joey Barker Alana Barter Judy Barthwell Rob Bauman Suzanne Bayer Eli Bleiler Ann Mane Borders
David Borgsdorf Sigrid Bower Marie Brooks Susan Buchan Deb Clancy Carl Clark Ben Cohen Julie Cohen Leslie Criscenti Orelia Dann Saundra Dunn
Johanna Epstein Susan Fihpiak Katy Fjllion Delores Flagg Joey Fukuchi Jeff Gaynor Joyce Gerber Barb Grab be Joan Grissing Linda Jones Jeff Kass
Rosalie Koenig Sue Kohfeldt Laura Machida Jose Mejia Kim Mobley Eunice Moore Michelle Peet Anne Pengo Rebeca Pietrzak Cathy Reischl Jessica Rizor
Vicki Shields Sandra Smith Gretchen Suhre Julie Taylor Cayla Tchalo Dan Tolly Alex Wagner Barbara Wallgren Kimberley Wright Kathryn Young
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UMSlnfo
GENERAL INFORMATION
Barrier-Free Entrances
For persons with disabilities, all venues have barrier-free entrances. Wheelchair locations vary by venue; visit www.ums.orgtickets or call 734.764.2538 for details. Ushers are available for assistance.
Listening Systems
For hearing-impaired persons, Hill Auditorium, Power Center, and Rackham Auditorium are equipped with assistive listening devices. Earphones may be obtained upon arrival. Please ask an usher for assistance.
Lost and Found
For items lost at Hill Auditorium, Lydia Mendelssohn Theatre, Power Center, or Rackham Auditorium, please call University Productions at 734.763.5213. For the Michigan Theater, call 734.668.8397. For St. Francis of Assisi, call 734.821.2111.
Parking
Please allow plenty of time for parking as the campus area may be congested.
Parking is available in the Church Street, Maynard Street, Thayer Street, Fletcher Street, and Fourth Avenue structures for a minimal fee. 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
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.
UMS Info
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Latecomers
Latecomers will be asked to wait in the lobby until seated by ushers. Most lobbies have been outfitted with monitors andor speakers so that latecomers will not miss the performance.
The late-seating break is determined by the artist and will generally occur during a suitable repertory break in the program (e.g., after the first entire piece, not after individual movements of classical works). There may be occasions where latecomers are not seated until intermission, as determined by the artist. UMS makes every effort to alert patrons in advance when we know that there will be no late seating. Please be sure the Ticket Office has your e-mail address on file.
UMS works with artists to allow a flexible late-seating policy for family performances.
UMS TICKETS
Group Tickets
Treat 10 or more friends, co-workers, or family members to an unforgettable performance of live music, dance, or theater. Whether you have a group of students, a business gathering, a college reunion, or just you and a group of friends, the UMS Group Sales Office can help you plan the perfect outing. You can make it formal or casual, a special celebration, or just friends enjoying each other's company. The many advantages to booking as a group include:
Reserving tickets before tickets go on sale to the general public
Discounts of 15-25 for most performances
Accessibility accommodations
No-risk reservations that are fully refundable up to 14 days before the performance, 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 umsgroupsales@umich.edu.
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.
Retums
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.
P20 UMS 0970 Info
STUDENT TICKETS
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.
Winter Semester Sale: Begins Sunday, January 10 at 8pm and ends Tuesday, January 12 at 5pm.
Sponsored by M
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 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 present when new friends move to town.
UMS Gift Certificates are valid for five years from the date of purchase. For more information, please visit www.ums.org.
UMSAnnals
UMS HISTORY
Through a commitment to presentation, education, and the creation of new work, the University Musical Society (UMS) serves Michigan audiences by bringing to our community an ongo?ing series of world-class artists, who represent the diverse spectrum of today's vigorous and exciting live performing arts world. Over the past 131 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 1879, 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 60 performances and more than 125 educational events each season. UMS has flourished with the support of a generous community that this year gathers in seven different Ann Arbor venues.
The UMS Choral Union has likewise expanded its charge over its 131-year history. Recent collaborations have included the Grammy Award-winning recording of William Bolcom's Songs of Innocence and of Experience (2004), Shostakovich's Symphony No. 73 ("Babi Yar") with the Kirov Orchestra of St. Petersburg (2006), John Adams's On the Transmigration of Souls with the Detroit Symphony Orchestra (2007), and Orff's Carmina Burana during Maestro Leonard Slatkin's opening weekend as Music Director of the Detroit Symphony Orchestra (2008).
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.
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UMS VENUES AND BURTON MEMORIAL TOWER
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 Mendelssohn 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
UMS 0970
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large spiral staircases leading from the orchestra level to the balcony and the well-known mirrored glass panels on the exterior. The lobby of the Power Center presently features two hand-woven tapestries: Modem Tapestry by Roy Lichtenstein and Volutes (Arabesque) by Pablo Picasso.
The Power Center seats approximately 1,400 people.
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.
University of Michigan Museum of Art
The University of Michigan Museum of Art (UMMA) is a dynamic meeting place for the arts that bridges visual art and contemporary cul?ture, scholarship and accessibility, and tradition and innovation. With the addition in March 2009 of the 53,000-square-foot Maxine and Stuart Frankel and the Frankel Family Wing and the restoration of historic Alumni Memorial Hall, UMMA ushered in a new era, a reimagining of the university art museum as a "town square" for the 21st century. With dramatically expand?ed galleries, special exhibition spaces that soar with new life, "open storage" galleries, and a range of lively educational and event spaces, UMS periodically presents events in multiple spaces throughout the museum.
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.
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Winter 2010 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 three 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
Thursday, February 4 through Thursday, February 11, 2010
The Bad Plus 5
Thursday, February 4, 7:00 pm Thursday, February 4, 9:30 pm Lydia Mendelssohn Theatre
So Percussion 7
Saturday, February 6, 7:30 pm Saturday, February 6, 10:00 pm U-M Museum of Art
Angela Hewitt 13
Wednesday, February 10, 8:00 pm Hill Auditorium
Luciana Souza Trio 19
Thursday, February 11, 8:00 pm Rackham Auditorium
Fall 2009
Winter 2010
September
Itzhak Perlman, violin with Rohan De Silva, piano Grizzly Bear with Beach House
October
Bill Charlap Trio
Punch Brothers featuring Chris Thile
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
Stile Antico: Heavenly Harmonies
Michigan Chamber Players
Belcea Quartet
November
Christine Brewer, soprano with
Craig Rutenberg, piano
Keith Terry and the SLAMMIN
All-Body Band
Gal Costa and Romero Lubambo
St. Lawrence String Quartet
Yasmin Levy
Berliner Philharmoniker
Patti LuPone: Coulda, Woulda, Shoulda
Vienna Boys Choir: Christmas in Vienna
December
Handel's Messiah Jean-Yves Thibaudet, piano
i January
22-23 I Bill T. JonesArnie Zane Dance Company: ! Fondly Do We Hope...Fervently Do We
PraY
27 i Chicago Symphony Orchestra 31 i Ladysmith Black Mambazo
February
4 The Bad Plus
6 i So Percussion
7 ! NT Live: Nation
10 i Angela Hewitt, piano
11 Luciana Souza Trio
14 Schubert Piano Trios
17 Bela Fleck: The Africa Project 21 ! Swedish Radio Choir
March
13 Cyro Baptista's Beat the Donkey
15 Takacs Quartet
17 Jazz at Lincoln Center Orchestra with Wynton Marsalis
19 San Francisco Symphony
! with Christian Tetzlaff, violin
20 San Francisco Symphony i with UMS Choral Union:
: 15th Ford Honors Program 24-25 Julia Fischer, violin:
i Solo Violin Works of J.S. Bach 25-28 i Maly Drama Theater of
! St. Petersburg: Anton Chekhov's
j Uncle Vanya
April
7 ; Schleswig-Holstein Festival Orchestra with Lang Lang, piano
8 i Danilo Perez & Friends: 21st-century Dizzy 10 Baaba Maal with NOMO
12 I Michigan Chamber Players 20 ; Trio Mediaeval
22-24; Hubbard Street Dance Chicago 25 I The Rest is Noise in Performance: ! Alex Ross and Ethan Iverson, piano
May
9 I NT Live: The Habit of Art 15 Breakin' Curfew
UMS I University Musical Society
UMS Educational and Community Events
All UMS educational activities are free, open to the public, and take place in Ann Arbor unless otherwise noted. For complete details and updates, please visit www.ums.org or contact the UMS Education Department at 734.615.4077 or umsed@umich.edu.
S6 Percussion
Dark Matter After-Party
Saturday, February 6, post-performance {Please visit www.ums.org for location)
UMS and Dark Matter come together once again to connect innovative and creative local and national artists through dance, film, and music. 18+. No cover with So Percussion ticket stub; otherwise $5. Cash bar and light snacks provided.
Schubert Piano Trios
Who is Franz Schubert
Tuesday, February 9, 7:00-8:30 pm Ann Arbor District Library, Downtown, Multipurpose Room
February's Who Is... event will center on Schubert's young life as a composer and prodigy. U-M Professor of Musicology Jason Geary will connect Schubert's improbable story with the birth of a new musical style and vocabulary that would resonate throughout the 19th and 20th centuries.
A collaboration with the Ann Arbor District Library and the U-M School of Music, Theatre & Dance.
Luciana Souza Trio
Post-Performance Artist Interview
Thursday, February 11, post-performance Rack ham Auditorium
Luciana Souza, Romero Lubambo, and Cyro Baptista are interviewed from the stage about their careers and Brazilian cultural traditions.
A collaboration with U-M Center for Latin American and Caribbean Studies.
Jazz at Lincoln Center Orchestra with Wynton Marsalis
Film screening of Chops ($)
Friday, February 12, 7:00 pm Michigan Theater
Directed by U-M Alumni Bruce Broder, Chops tells the story of a group of kids with extraordinary musical ability who learn to make the most of their gifts in an acclaimed public school jazz program in Jacksonville, FL.
From their early, squeaky scales to soaring, improvisational solos, we have a front-row seat for their fascinating transformation. We're with them as they stick together and as they fall apart. We follow their musical journey from Florida to New York City, where they compete against the top high school jazz bands in the nation at the prestigious Jazz at Lincoln Center's Essentially Ellington Competition and Festival.
Advance tickets are available at www.ticketweb.com.
A collaboration with the Michigan Theater.
presents
The Bad Plus
Reid Anderson, Bass Ethan Iverson, Piano David King, Drums
Program
Thursday Evening, February 4, 2010 at 7:00 Thursday Evening, February 4, 2010 at 9:30 Lydia Mendelssohn Theatre Ann Arbor
Tonight's sets will be announced from the stage by the artists
and will be performed without intermission.
35th and 36th Media partnership is provided by WEMU 89.1 FM, Metro Times, and
Performances of the Ann Arbor's 107one.
131st Annual Season The Steinway piano used in this evening's concerts is made possible by the
Steinway Piano Gallery of Detroit.
16th Annual Special thanks to Steven Ball for coordinating the pre-concert music on the
Jazz Series Charles Baird Carillon.
7ie photographing or The Bad Plus appear by arrangement with International Music Network.
sound and video recording
of these concerts or
possession of any device
for such recording is
prohibited. Large print programs are available upon request.

Photo: Hires
The Bad Plus are the Coen brothers of jazz: Midwesterners, both ironic and dead earnest, technically brilliant, beyond versatile, a little chilly sometimes, but funny, surprising, and pretty hard to pin down." --The New Yorker
For the better part of a decade, the progressive jazz trio known as The Bad Plus have been stirring up a musical stew that defies easy description. Drawing on sources as diverse as classical, jazz, rock, pop, and beyond, they have created a singular aesthetic that forces even the most skeptical listener to rethink the commonly held notions of what differentiates one style of music from another.
The Bad Plus is made up of bassist Reid Anderson, pianist Ethan Iverson, and drummer David King. The group dug its roots in the wood-paneled, sump-pumped basements of the Midwest. David King and Reid Anderson hooked up as teens in their native Minnesota, bouncing between junior high rock bands and long nights listening to John Coltrane and The Police. With the exception of one unimpressive meeting in 1990, it is only after spending their formative 20s apart--King as member of the seminal indie jazz group Happy Apple, Iverson as the music director of the Mark Morris Dance Group, Anderson as a prominent up-and-coming player on the New York jazz scene--that they reunited in late 2000 to play a weekend club date in Minneapolis. The chemistry was immediate and obvious. They planned a second gig and a one-day recording session for the indie jazz label Fresh Sound and The Bad Plus was born.
In the studio as well as onstage, The Bad Plus proudly foregoes convention in favor of curiosity and craftsmanship--recognizing and respecting the rules while ripping them to shreds.
UMS Archives
Tonight's performances mark The Bad Plus' second and third appearances under UMS auspices. The trio made their UMS debut in a double-bill presentation with the Esbjorn Svensson Trio (E.S.T.) in November 2004 at the Michigan Theater.
Ethan Iverson made his UMS debut as pianist and music director of the Mark Mor?ns Dance Group in April 2001 at the Power Center.
Ethan Iverson will return on April 25, 2010 for The Rest Is Noise in Performance with New Yorker writer Alex Ross at Rackham Auditorium.
presents So Percussion Eric Beach Josh Quillen Adam Sliwinski Jason Treuting with additional percussion performed by Joseph Gramley
Program Saturday Evening, February 6, 2010 at 7:30 Apse Gallery, U-M Museum of Art Ann Arbor Music of Steve Reich Music for Pieces of Wood Nagoya Marimbas Four Organs Mallet Quartet Fast Slow Fast Drumming (excerpt) Parti Tonight's program will be performed without intermission.
37th 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. Special thanks to the entire staff of U-M Museum of Art for their cooperation in the planning of tonight's special pair of concerts. Special thanks to Forest Juziuk and Dark Matter for their support of and participation in events surrounding tonight's So Percussion performances. So Percussion appear by arrangement with Vantage Artists Management Inc. Large print programs are available upon request.

UMS I So Percussion
Now that you're in your seat...
Steve Reich's music is one of the first things that brought So Percussion together when we were grad students. As a percussionist, it was exciting to realize that a very serious composer had written so much music for percussion group. A few other people had done it before-John Cage, lannis Xenakis--but never in quite the same way. The cyclical grooves and muscular sound were very familiar to people brought up on rock music, but it didn't take long to realize that the structures and ideas were also extremely important.
Playing Reich tums the hierarchy of Western instruments directly on its head: the percussionist moves to the front of the stage, and is encouraged much of the time to play loudly and exuberantly.
The pieces we are performing on this concert are some of our favorites. They capture the breathlessness and buoyancy of Reich's eclectic style. We are especially excited to present Mallet Quartet this evening, So's first Reich commission.
--56 Percussion
Music for Pieces of Wood (1973)
Steve Reich
Born October 3, 1936
Music for Pieces of Wood grows out of the same roots as Clapping Music: a desire to make music with the simplest possible instruments. The claves, or cylindrical pieces of hard wood, used here were selected for their particular pitches (A, B, C-sharp, D-sharp, and D-sharp an octave above), and for their resonant timbre. This piece is one of the loud?est I have ever composed, but uses no amplifica?tion whatsoever. The rhythmic structure is based entirely on the process of rhythmic "build-ups" or the substitution of beats for rests, and is in three sections of decreasing pattern length: 64, 44, 34.
--Sfeve Reich
Nagoya Marimbas (1994) Reich
Nagoya Marimbas is somewhat similar to my pieces from the 1960s and 70s in that there are repeating patterns played on both marimbas, one or more beats out of phase, creating a series of two-part unison canons. However, these patterns are more melodically developed, change frequently, and each is usually repeated no more than three times, similar to my more recent work. The piece is also
considerably more difficult to play than my earlier ones and requires two virtuosic performers.
--Steve Reich
Four Organs (1970)
Reich
In August 1969, I had the idea that if a group of tones were all pulsing together in a repeating chord, as at the beginning of Pulse Music, one tone at a time could gradually get longer and longer in duration until the gradual augmentation (length?ening) of durations produced a sort of slow mo?tion music. This would simply be using the variable pulse width aspect of the pulse gate [a machine invented by Reich] (which I hadn't used in the Whitney Museum version at all) exclusively, and to enormous proportions. The tones would simply begin in unison in a pulsing chord, and then gradu?ally extend out like a sort of horizontal bar graph in time. Instead of loading my pulse width control with more and more capacitors, I thought about playing a repeated chord on an organ, and then holding one and then several of the notes down longer. Instead of the common digital clock, I thought of a musician playing a steady pulse with a rattle (maracas) that would enable the organists to count together as they held their notes down Ion-
UMS I So Percussion
ger and longer. Since I was unable to start work on this piece for several months, it took until January 1970 to see Four Organs for four electronic organs and maracas completed. Four Organs, like Piano Phase, is an example of a piece of live instrumental music with a rhythmic structure, the basic idea of which derives from an electronic device. This feed?back of ideas from electromechanical devices and processes to instrumental music has brought me to think of electronic music as a kind of interlude filled with new ideas for the ongoing history of in?strumental and vocal music.
--Sfeve Reich, Writings on Music, 1965-2000
Mallet Quartet (2009) Reich
Maef Quartet is scored for two vibraphones and two five-octave marimbas. I had never written for five-octave marimbas extending down to cello C. On the one hand I was delighted to have the pos?sibility of a low bass and on the other hand ap?prehensive since just slightly too hard a mallet that low can produce noise instead of pitch. Eventu?ally, after a bit of experimentation, this was well worked out.
The piece is in three movements, fast, slow, fast. In the two outer fast movements the marim?bas set the harmonic background which remains rather static compared to recent pieces of mine like Double Sextet (2007). The marimbas interlock in canon, also a procedure I have used in many other works. The vibes present the melodic material first solo and then in canon. However, in the central slow movement the texture changes into a thinner more transparent one with very spare use of notes, particularly in the marimbas. I was originally con?cerned this movement might just be "too thin," but I think it ends up being the most striking, and certainly the least expected, of the piece.
Mallet Quartet is about 15 minutes in dura?tion. It was co-commissioned by the Amadinda Quartet in Budapest, on the occasion of its 25th anniversary, by Nexus in Toronto, So Percussion in New York, and Synergy Percussion in Australia. The world premiere was given by the Amadinda Quar?tet in Bela Bartok National Concert Hall on Decem?ber 6, 2009. The American premiere was given by
So Percussion at Stanford University Lively Arts in California on January 9, 2010.
--Steve Reich
Drumming (excerpt) (1970-71) Reich
For So Percussion, the reasons to play Steve Re?ich's Drumming are simple: it is exhilarating to per?form, it is elemental yet intelligent, and it is fun to share with audiences. The other story, however, is a revolutionary approach to musical composition. Although every note of Drumming rocks, its exis?tence is due to the composer's tireless search for new modes of musical expression.
For Steve Reich, Drumming was both a refine?ment of past techniques and a departure for new ones. Most importantly, he wanted audiences to hear all of the processes that make the music what it is. One rhythm permeates the entire piece. At the beginning, two players dramatically build that rhythm up one note at a time. This is a bold state?ment: many other composers of Reich's generation worked very hard to construct layers of mind-bog?gling complexity in their music.
Once this rhythm builds up, one player starts moving slightly faster than the other. The result sounds at first like a musical train wreck, but grad?ually a new rhythm emerges, which is really the same rhythm set in different places. Other musi?cians begin picking out patterns from this grid.
Steve Reich's study in Africa enabled him to write music that had to be percussion music. Its ecstatic grooves communicate directly, without pretense. Drumming captures the immediacy of that experience, and gives us a reference point for work still to come.
Program note by So Percussion.
" Eager to expand their palette, the members experimented with glockenspiel, toy piano, vibraphones, bowed marimba, melodica, tuned and prepared pipes, metals, duct tape, a wayward Ethernet port, and all kinds of sound programming."
Since coming together at the Yale School of Music in 1999, So Percussion has been creating music that is both raucous and touching, barbarous and refined. Realizing that percussion instruments can communicate all the extremes of emotion and musical possibility, it has not been an easy music to define. The Brooklyn-based quartet's innovative work with today's most exciting composers and their own original music has quickly helped them forge a unique and diverse career.
Although the drum is one of humanity's most ancient instruments, Europe and America have only recently begun to explore its full potential, aided by explosions of influence and experimentation from around the world. In the 20th century, musical innovators like Edgard Varese, John Cage, Steve Reich, and lannis Xenakis brought these instruments
out from behind the traditional orchestra and gave them new voice.
It was excitement for these composers and the sheer fun of playing together that inspired the members of So to begin performing while still in school: Cage's Third Construction wove elaborate rhythmic counterpoint using ordinary objects; Reich's Drumming harnessed African inspiration to ecstatic effect.
This past January, So presented the US premiere of Mr. Reich's new Mallet Quartet, written for the group and several other renowned percussion ensembles.
So's third album, amid the noise, heralds a new direction for the group: original music, written by ensemble member Jason Treuting. Eager to expand their palette, the members experimented with glockenspiel, toy piano, vibraphones, bowed
So Percussion
marimba, melodica, tuned and prepared pipes, metals, duct tape, a wayward Ethernet port, and all kinds of sound programming. The resulting idiosyncratic tone explorations were synchronized to Jenise Treuting's haunting films of street scenes in Brooklyn and Kyoto. This ongoing work has resulted in exciting new projects such as the site-specific Music For Trains in southern Vermont and Imaginary City, a sonic meditation on urban soundscapes commissioned by the Brooklyn Academy of Music's 2009 Next Wave Festival in consortium with five other venues.
Summer 2009 saw the creation of the annual So Percussion Summer Institute on the campus of Princeton University. The Institute is an intensive two-week chamber music seminar for college-age percussionists. For more information please visit www.sopercussion.comsummerinstitute.
For the past several years, So has been joining the electronic duo Matmos for shows around the country and in Europe, exploring the sonic and theatrical possibilities of beer cans, hair clippers, ceramic bowls, and dry ice. This collaboration will culminate in a new album to be released on Cantaloupe Records this summer.
So Percussion has performed their unusual and exciting music all over the US, with concerts at the Lincoln Center Festival, Carnegie Hall, The Brooklyn Academy of Music, Stanford Lively Arts, and the Cleveland Museum of Art. In addition, recent tours to Russia, Australia, Italy, Germany, Spain, and the Ukraine have brought them international acclaim.
With an audience comprised of "both kinds of blue hair...elderly matron here, arty punk there" (as the Boston Globe described it), So Percussion makes a rare and wonderful breed of music that both compels instantly and offers rewards for engaged listening.
Tonight's concerts mark So Percussion's UMS debut.
with Robert and Marina Whitman and Clayton and Ann Wilhite presents Angela Hewitt piano
Program J. S. Bach Ludwig van Beethoven Johannes Brahms Wednesday Evening, February 10, 2010 at 8:00 Hill Auditorium Ann Arbor Italian Concerto in F Major, BWV 971 [Allegro] Andante Presto Sonata in D Major, Op. 10, No. 3 Presto Largo e mesto Menuetto: Allegro Rondo: Allegro INTERMISSION Sonata No. 3 in f minor. Op. 5 Allegro maestoso Andante: Andante espressivo--Andante molto Scherzo: Allegro energico avec trio Intermezzo (Ruckblick Regard en arriere): Andante molto Finale: Allegro moderato ma rubato
39th 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. This evening's recital is sponsored by Robert and Marina Whitman and Clayton and Ann Wilhite. Media partnership is provided by WGTE 91.3 FM. The Steinway piano used in this evening's recital is made possible by William and Mary Palmer and by the Steinway Piano Gallery of Detroit. Special thanks to Tom Thompson of Tom Thompson Flowers, Ann Arbor, for his generous contribution of floral art for this evening's recital. Special thanks to Steven Ball for coordinating the pre-concert music on the Charles Baird Carillon. Recordings available on the Hyperion and CBC Labels. Ms. Hewitt appears by arrangement with Seldy Cramer Artists. Large print programs are available upon request.

Now that you're in your seat...
What do "the three B's" have in common, besides the fact that all three were German-born and that, well, all three had last names beginning with the letter "B" Beethoven was born 20 years after Bach's death and Brahms six years after Beethoven's, so they belong to three distinct historical eras. Taken together, their work is practically synonymous with the entire history of music in the 18th and 19th centuries. And beyond the differences of their styles ("Baroque," "Classical," or "Romantic" as the case may be), they share a monumental vision of all that music can be. That vision is apparent not only in such monumental works as the St. Matthew Passion, the Ninth Symphony, or the German Requiem, but even in keyboard pieces of seemingly unassuming proportions. Each piece on tonight's program contains slow movements that reveal unexpected emotional depths, and each contains enormous contrasts in mood and character. A "three-B's" program may strike some people as conventional but in fact, it confronts us with the very essence of music at its most sublime.
Italian Concerto in F Major, BWV 971 (1735) J. S. Bach
Born March 21, 1685 in Eisenach, Germany Died July 28, 1750 in Leipzig
Snapshot of History... In 1735:
Bach's youngest son, Johann Christian, who would become the leading composer of the"gallant style," is born
Handel's operas Ariodante and Alcina are performed in London
The King's Highway is completed between Boston and Charleston
Karl Linne publishes Systema Naturae
William Hogarth publishes The Rake's Progress
The opening bars of the Italian Concerto, which could not be more affirmative, are immediately repeated in the dominant key, and separated by rests that are too often cut short by the anxious student. In the solo passages, the right hand generally takes the role of soloist, with the left accompanying and occasionally adding some more melodic material.
The jewel of the piece is the slow movement, marked "Andante" (so, not too slow). A rhapsodical melody of great beauty soars freely over a highly organized and at times sequential bass which, except for the two cadential bars, constantly repeats the same rhythmic figure. This movement is perhaps the closest to its Italian
models, although its florid embellishments are completely written out by Bach rather than left to the performer's fancy. Again Bach was criticized by Scheibe for this:
Every ornament, every little grace, and everything that one thinks of as belonging to the method of playing, he expresses completely in notes; and this not only takes away from his pieces the beauty of harmony, but completely covers the melody throughout.
In his defense, Birnbaum makes the point that only very few performers have a sufficient knowledge of ornamentation not to spoil the composer's intentions, and that Bach is fully entitled "to set the wanderers back on the right path by prescribing a correct method according to his intentions, and thus to watch over the preservation of his own honor." How fortunate for us that he did!
To conclude the work, Bach writes a high-spirited "Presto," combining all his brilliance at the keyboard with a sense of fun. In the episodes the melodic material jumps from one hand to the other, allowing no let-up whatsoever. Pianists especially tend to let this movement run away completely, forgetting that even in a presto Bach is agile enough to dance!
Sonata in D Major, Op. 10, No. 3 (1798) Ludwig van Beethoven
Born December 15 or 16, 1770 in Bonn, Germany Died March 26, 1827 in Vienna
Snapshot of History...
In 1798:
Napoleon's troops invade Egypt
Haydn writes The Creation
Congress creates the United States Marine Corps
Wordsworth and Coleridge publish their Lyrical Ballads, containing Coleridge's "Rime of the Ancient Mariner"
Thomas Malthus publishes (anonymously) An Essay on the Principle of Population
Beethoven's set of three sonatas that made up his Op. 10 was nevertheless published in Vienna in September 1798 with the description "for the Harpsichord or for the Fortepiano." No doubt this was just an attempt by the publisher to get the people who still owned a harpsichord to buy them, as it would take a large stretch of the imagination to think of them as harpsichord music. Czerny, who left us an invaluable document entitled On the Proper Performance of all Beethoven's Works for the Piano Solo (now published by Universal and edited by Paul Badura-Skoda), called the Sonata in D major. Op. 10, No. 3 a "grand and significant" piece, and indeed it is the first masterpiece in the cycle of sonatas. The opening "Presto" requires a meticulous attention to detail which is often neglected--beginning with the opening that is marked piano until the sforzando on the pause (there is no crescendo, however tempting it might be to insert one). As with so much early Beethoven, a bravura technique is required; that alone is not enough.
The magnificent slow movement, "Largo e mesto," is a very intimate utterance. Sir Donald Tovey (whose edition of the Beethoven Sonatas is, I think, still one of the best), gives the following advice:
The details of phrasing and tone-color have been provided with extraordinary precision by Beethoven himself; and if you simply make sure that you are playing what is written you will go far to realize the tragic
power that makes this movement a landmark in musical history. Do not try to understand before you do as Beethoven bids. The people who 'understand' great music beforehand will never see anything in it except a mirror of their own minds. The player who obeys orders faithfully will be constantly discovering their real meaning.
I have quoted these words in full as I feel they are of the utmost importance.
Out of the despair of this movement, like the sun coming out from behind the clouds, arrives the "Menuetto," taking us back to the major key. I feel it shouldn't arrive smiling and insouciant, but rather be conscious of what has preceded it--at least until the Trio begins, where Beethoven's humor takes over. How easy yet clever it is to present its subject in the left hand with two different articulations-once detached, once slurred.
The "Rondo" finale is unusual. No big theme here; simply a rather insignificant motive of three rising notes upon which he constructs the whole movement. Czerny witnessed the fact that Beethoven often used such sparse material to improvise an entire piece. Its inventiveness, abrupt changes of mood, expressive pauses, and especially its capricious ending that dissolves into thin air make it a challenge to the performer. Tovey tells us that in some early editions, some "silly person" inserted a crescendo at the end to make it, presumably, more effective.
Program notes by Angels Hewitt, by permission with Hyperion Records.
Sonata No. 3 in f minor. Op. 5 (1853) Johannes Brahms
Born May 7, 1833 in Hamburg, Germany Died April 3, 1897 in Vienna
Snapshot of History...
In 1853:
Franz Liszt composes his Piano Sonata in b minor, S. 178
Crimean war between Russia and the Ottoman Empire
Stephen Foster writes "My Old Kentucky Home"
Herman Melville writes Bartleby, the Scrivener
Verdi's trovatore is first performed
All three of Brahms's piano sonatas were written within a relatively short period of time, between the ages of 18 and 20. They are all characterized by robust energy and vast proportions. In these works, many elements of Brahms's later style are already present; the composer, barely out of his teens, speaks in his own unmistakable voice.
It was after hearing the first two sonatas, Op. 1 in C Major and Op. 2 in f-sharp minor, together with the Scherzo, Op. 4, that Robert Schumann proclaimed Brahms as the new musical Messiah in his article Neue Bahnen (New Paths). The third sonata, begun before Brahms met the Schumanns, was mostly conceived during that historic encounter in Dusseldorf in October 1853, and written down shortly thereafter.
This sonata is unusual in having five movements instead of three or four. The two movements composed first (movements two and four), sharing the same melodic material, are gentle and lyrical in character while the odd-numbered movements are dramatic and powerful.
Dominated almost entirely by the rhythmic figure heard in its first measure, the opening "Allegro maestoso" contains a memorable lyrical episode played by the left hand ("quasi cello," Brahms indicated in the score). It is the first incarnation of a melodic type that will appear in four of the sonata's five movements, always in the same key of D-flat Major.
The second movement, "Andante espressivo," bears a motto taken from the poet CO. Sternau:
Der Abend dammert, das Mondlicht scheint, Da sind zwei Herzen in Liebe vereint, Und halten sich selig umfangen.
Night falls and the moon shines, Two hearts are united in love, Embracing each other blissfully.
It begins with a singing melody of captivating charm and intimacy, followed by an even more tender middle section where the "D-flat" theme reappears; the same theme, in an expanded form, provides the ecstatic ending of the movement. The demands of expressivity forced Brahms to break one of the cardinal rules of classical composition here: he did not end the movement in the key in which it began.
The great arpeggios at the end of the second movement continue, suddenly accelerated, at the
beginning of the "Scherzo." This movement is built upon the contrast between mighty chords and graceful melodic motives, united by an irresistible waltz rhythm. The trio, or middle section, is again in D-flat Major, and is as quiet and introspective as the other passages in that key.
Next comes an "Intermezzo" with the subtitle "Ruckblick" (Reminiscence). Here the melody of the second movement retums in the minor mode, with some mournful rhythmic figures and sinister tremolos added in the bass. The second half of the brief movement rises to a fortissimo climax, immediately followed by the pianissimo conclusion.
There is no break before the finale, "Allegro moderato ma rubato." The rubato refers to a certain degree of rhythmic freedom required for the performance of this movement whose theme is full of unexpected rests and sudden changes of character as an agitated rondo theme alternates with two expressive episodes. The first of these is in F Major, the second, significantly, in D-flat Major, treated with the consummate mastery of counterpoint Brahms already possessed at the age of 20. We hear the theme presented in canon and then with a fast-moving accompaniment that consists of the very notes of the theme, played in quick succession. The ending of the rondo is dominated by this melody, though the original rondo theme also appears, and the two are combined in the sonata's grandiose final measures.
The magnificence of Brahms's sonata and the innovative ways in which unity among the various movements is achieved remind us of the proximity, in time and in space, of Liszt's b-minor sonata (1852-53). The 19th century only saw the differences, which are indisputably great, between "traditionalists" like Brahms and "moderns" like Liszt. Today, more than 150 years later (and more than 50 years after Schoenberg's influential essay "Brahms the Progressive") we can appreciate the modernity of the 20-year-old Brahms who, as Schumann said of him, "sprang like Minerva fully armed from the head of Jove."
Program note by Peter Laki.
Angela Hewitt is a phenomenal artist who has established herself at the highest level over the last few years not least through her superb, award-winning recordings for Hyperion. Completed in 2005, her 11-year project to record all the major keyboard works of Bach has been described as "one of the record glories of our age" (The Sunday Times) and has won her a huge following. She has a vast repertoire ranging from Couperin to the contemporary. Her recordings of the complete solo keyboard concertos of J. S. Bach with the Australian Chamber Orchestra entered the Billboard charts in the US only weeks after their release, and were named "Record of the Month" by Gramophone magazine.
Ms. Hewitt has performed throughout North America and Europe as well as in Japan, Australia, Singapore, New Zealand, Israel, China, Mexico, Turkey, and the former Soviet Union. Highlights of recent seasons include her debuts in Carnegie Hall, the Concertgebouw and with the Cleveland Orchestra, as well as a North American tour with the Australian Chamber Orchestra. As a chamber musician she has joined international artists at Lincoln Center in New York and at Queen Elizabeth Hall, London.
Ms. Hewitt's entire 0708 season was devoted to performances of the complete Bach Well-Tempered Clavier in major cities all over the world. A special DVD lecture-recital entitled Bach Performance on the Piano was released by Hyperion to coincide with the tour. In July 2005, Ms. Hewitt launched her own Trasimeno Music Festival in the heart of Umbria near Perugia.
Born into a musical family (her father was the Cathedral organist in Ottawa, Canada), Ms. Hewitt began her piano studies aged three, performing in public at four, and winning her first scholarship a year later.
Ms. Hewitt was named "Gramophone Artist of the Year" in 2006. She was awarded the first ever BBC Radio 3 Listener's Award (Royal Philharmonic Society Awards) in 2003. She was made an Officer of the Order of Canada in 2000 and is a fellow of the Royal Society of Canada. She was awarded an OBE in the Queen's Birthday Honours in 2006. She has lived in London since 1985 but also has homes in Ottawa, Canada and Umbria, Italy.
For further information on Ms. Hewitt, please visit www.angelahewitt.com.
Angela Hewitt
Tonight's recital marks Angela Hewitt's UMS debut.
Photo Simon Fowler
ums
presents
Luciana Souza Trio
Luciana Souza, Vocals Romero Lubambo, Guitar Cyro Baptista, Percussion
Program
Thursday Evening, February 11, 2010 at 8:00 Rackham Auditorium Ann Arbor
Tonight's program will be announced by the artists from the stage and will be performed without intermission.
40th 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 is provided by WEMU 89.1 FM.
Special thanks to the U-M Center for Latin American and Caribbean Studies for their support of and participation in events surrounding tonight's concert.
Luciana Souza Trio appears by arrangement with Unlimited Myles Inc.
Large print programs are available upon request.
Grammy winner Luciana Souza is one of jazz's leading singers and interpreters. Hailing from Sao Paulo, Brazil, she grew up in a family of Bossa Nova innovators. Her work as a performer transcends traditional boundaries around musical styles, offering solid roots in jazz, sophisticated lineage in world music, and an enlightened approach to classical repertoire and new music.
As a leader, Ms. Souza has seven acclaimed releases including her three Grammy nominated records: Brazilian Duos (2002), North and South (2003), Duos (2005). Her debut recording for UniversalVerve, The New Bossa Nova (2007) was met with critical acclaim and offers an exquisite and personal interpretation on songs by Joni Mitchell, Leonard Cohen, and Steely Dan, and a sublime duet with James Taylor. The record was produced by Ms. Souza's husband, Larry Klein.
Ms. Souza has performed and recorded with greats like Herbie Hancock, Paul Simon, Maria Schneider, Danilo Perez, John Patitucci, and Hermeto Pascoal.
She has been a prominent soloist in two seminal works by composer Osvaldo Golijov: La Pasion Segun San Marcos and Oceana. She has performed with the Bach Akademie Stuttgart, the Boston Symphony Orchestra, and the Brooklyn Philharmonic. Other orchestral appearances include de Falla's El Amor Brujo with the New York Philharmonic, the Atlanta Symphony, and the Los Angeles Philharmonic. Her work in chamber music includes a collaboration with the Los Angeles Guitar Quartet.
Ms. Souza began her recording career at age three with a radio commercial and recorded more than 200 jingles and soundtracks, becoming a first-call studio veteran at age 16. She spent four years on faculty at Berklee College of Music in Boston where she received a Bachelor's degree in Jazz Composition. She earned a Master's degree in Jazz Studies from New England Conservatory of Music and taught for four years at the Manhattan School of Music. In 2005, Ms. Souza was awarded "Female Jazz Singer of the Year" by the Jazz Journalists Association.
From the time he played his first notes on the guitar at age 13, Romero Lubambo devoted himself to that instrument. In 1985, he left Brazil for New York, where he became very much in demand, not only for his authentic Brazilian sound, but also for his command of a variety of styles. Mr. Lubambo has established himself as a composer and performer on his own critically acclaimed recording projects and collaborations with many outstanding artists, including Dianne Reeves, Michael Brecker, Yo-Yo Ma, Kathleen Battle, Diana Krall, Herbie Mann, and Wynton Marsalis.
Time Out New York sums up Cyro Baptista's musical gravity: "The man the stars call when they want that otherworldly flavor in the mix...." Since arriving in the US in 1980 from his native Brazil, Cyro Baptista emerged as one of the premiere percussionists in the country. Coinciding with the rise in the public's interest of world music, Mr. Baptista has managed to record and tour with some of music's most popular names. His mastery of Brazilian percussion and the many instruments he creates himself have catapulted him to world renown.
UMS Archives
Tonight's performance marks Luciana Souza's UMS debut. Romero Lubambo makes his sixth appearance under UMS auspices tonight, following his Fall
2009 musical collaboration with vocalist Gal Costa at Hill Auditorium. Tonight's concert marks Cyro Baptista's second UMS appearance. Interestingly, both Mr. Lubambo and Mr. Baptista made their UMS debuts in performance with soprano Kathleen Battle in December 1996.
Cyro Baptista will return with his ensemble Beat the Donkey for two one-hour family performances on March 13,
2010 at the Power Center.
UMSExperience
UMS EDUCATION AND AUDIENCE DEVELOPMENT PROGRAMS
0910 Season: Breaking Down Walls
www.ums.orgeducation
UMS's Education Program deepens the relation?ship between audiences and art, while efforts in Audience Development raise awareness of the positive impact the performing arts and 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.
WinterSpring 2010 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 Bill T. JonesArnie Zane Dance Company, San Francisco Symphony, and Maly Drama Theater of St. Petersburg
Artist interviews with Bill T. Jones, Pierre Boulez, and Lev Dodin
American Orchestras Summit preceding the Chicago Symphony Orchestra concert
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 umsed@umich.edu, or call the numbers listed on the following pages.
ADULT, COMMUNITY, & UNIVERSITY
Please call 734.615.4077 or e-mail umsed@umich.edu 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.
Building Community Around the Arts
UMS works with 57 academic units and 175 faculty members at U-M, along with many part?ners at other regional colleges, bringing together visiting artists, faculty, students, and the broader southeastern Michigan community. UMS appre?ciates the generosity of the many faculty members who share time and talent to enrich the per?formance-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 significant?ly discounted rates (see ticket discount informa?tion on page P20). Each year, 18,000 students attend UMS events and collectively save $375,000 on tickets through our discount 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.
Winter 2010 Arts & Eats Events:
Bill T. 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 48
Sponsored by UMtK
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 jblk@umich.edu or visit www.ums.org.
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-
I am proof that the University of Michigan changes lives.
When I first came to campus, I didn't know of any black composers and didn't see many minorities attending classical concerts. With the support of professors at the School of Music, I established
an organization to encourage diversity in the classical arts--and I did it while
still a student. U-M introduced me to a whole new world of music and allowed me to discover my life's work.
Being a member of the Alumni Association is how I give back to the University that has provided me so much.
I am proud to say, I am Michigan.
ALUMNI ASSOCIATION
University of Michigan Uniting the Leaders and Best
dent programs, and promoting the value of live performance. For more information or to join, please call 734.615.6590 or email szangril@umich.edu.
UMS is grateful to the University of Michigan for its support of many educational activities scheduled in the 0910 season.
uiVis
YOUTH, TEEN, AND FAMILY
Please call 734.615.0122 or e-mail umsyouth@umlch.edu 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 Fall 2009 season fea?tured special youth presentations of Shakespeare's Globe Theatre and Keith Terry and the SLAMMIN All-Body Band. In WinterSpring 2010, UMS will present 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 www.ums.org, to connect the perform?ance 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.
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 umsyouth@umich.edu.
Teacher Appreciation Month! March 2010 is Teacher Appreciation Month. Visit www.ums.orgeducation for special ticket discount information.
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 on Saturday, May 15, 2010 at the Power Center, highlighting the area's best teen performers. This show is curated, designed, marketed, and produced by teens under the mentorship of UMS staff.
UMS Family Series
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. Fall 2009 family performances included The Suzanne Farrell Ballet, Keith Terry's SLAMMIN All-Body Band, and the Vienna Boys Choir. Please join us for Cyro Baptista's Beat the Donkey, the final family presentation of the 0910 season, on March 13, 2010 at 1pm and 4pm.
Education Program Supporters
Reflects gifts received between July 1. 2008 and November 1, 2009.
University of Michigan
Michigan Council for Arts and Cultural Affairs
Anonymous
Arts at Michigan
Arts Midwest's Performing
Arts Fund Bank of Ann Arbor The Dan Cameron Family
FoundationAlan and
Swanna Saltiel Community Foundation for
Southeast Michigan 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 Cohn LLP JazzNet Endowment WK Kellogg Foundation Masco Corporation
Foundation
Miller, Canfield, Paddock and
Stone, P.L.C. THE MOSAIC FOUNDATION
(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
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
UMSSupport
There are many ways to support the efforts of UMS, all of which are critical to the success of our season. We would like to welcome you to the UMS family and involve you more closely in our exciting programming and activities. This can happen through corporate sponsorships, business advertising, individual donations, or through volunteering. Your financial investment andor gift of time to UMS allows us to continue connecting artists and audiences, now and into the future.
CORPORATE SPONSORSHIP AND ADVERTISING
Advertising
When you advertise in the UMS program book you gain season-long visibility among ticket buyers while enabling an important tradition of providing audiences with the detailed program notes, artist biographies, and program descrip?tions that are so important to the performance experience. Call 734.764.6833 to learn how your business can benefit from advertising in the UMS program book.
Sponsorship
As a UMS corporate sponsor, your organization comes to the attention of an educated, diverse, and growing segment not only of Ann Arbor, but all of southeastern Michigan. You make possible one of our community's cultural treas?ures and also receive numerous benefits from your investment. For example, UMS offers you a range of programs that, depending on your level of support, provide a unique venue for:
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.
INDIVIDUAL DONATIONS
We could not present our season without the invaluable financial support of individual donors. Ticket revenue only covers half of the cost of our performances and educational events. UMS donors help make up the differ?ence. If you would like to make a gift, please fill out and mail the form on page P36 or call 734.647.1175.
UMS ADVISORY COMMITTEE
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 other month 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.
The evening will begin with a Gala Dinner at the Michigan League, followed by the SFS's performance of Mahler's Symphony No. 2. After the performance, guests can meet SFS musicians and MTT at a Champagne Afterglow. Please call 734.764.8489 to make a reservation for the Gala Dinner and Champagne Afterglow.
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. All proceeds sup?port UMS Education programs.
Our winter Delicious Experience will be Fish & Chips at Monahan's Seafood Market on Friday, February 12, 2010. Please join us! For more information, call 734.647.8009.
Fifth Annual On the Road with UMS
On September 11, 2009 at Barton Hills Country Club, approximately 280 people enjoyed an evening of food, music, and silent and live auc?tions, netting more than $55,000 to support UMS Education programs.
MEMBER ORGANIZATIONS
UMS is proud to be a member of the following organizations:
Ann Arbor Area Convention & Visitors Bureau
Ann Arbor Chamber of Commerce
Arts Alliance of the Ann Arbor Area
ArtServe Michigan
Association of Performing Arts Presenters
Chamber Music America
Cultural Alliance of Southeastern Michigan
DanceUSA
International Society for the Performing Arts
Main Street Area Association
Michigan Association of
Community Arts Agencies National Center for Nonprofit Boards State Street Association Think Local First
UMS!
The exciting presentations described in this pro?gram book are made possible by the generous support of UMS donors--dedicated friends who value the arts in our community and step forward each year to provide financial support. Ticket rev?enue covers only 47 of the costs associated with presenting our season of vibrant performances and educational programs. UMS donors--through their generous annual contributions--help make up the difference. In return, they receive a wide variety of benefits, including the opportunity to purchase tickets prior to public sale.
For more information, please call the Development Office at 734.647.1175 or visit www.ums.org.
Contact us for details on the specific benefits of each level
Presenters Circle
_l $100,000 or more Director J S50.000 Soloist
? $20,000 Maestro
? $10,000 Virtuoso
_) S7.500 Concertmaster J S5.000 Producer
? $3,500 Leader J S2.5O0 Principal
? $1,000 Patron
Friends
? $500 Benefactor
? $250 Associate J $100 Advocate
Please check your desired giving level above and complete the form below or visit us online at www.ums.org.
Namets
(Print names exactly as you wish them to appear in UMS listings) Address
City_____________________________________________State____________________________________Zip________________________________________
Day Phone_______________________________________Eve. Phone_______________________________E-mtnl_____________________________________
Comments of Questions______________________________________________________________________________________________________________
Please make checks payable to University Musical Society
Gifts of $50 or more may be charged to: ? VISA ? MasterCard O Discover ? American Express
Account Expiration Date
Signature___________________________________________________________________________________________________________________________
? I do not wish to receive non-deductible benefits.
? My company will match this gift. Matching gift form enclosed.
Send gifts to: University Musical Society, 881 N. University, Ann Arbor, Ml 48109-1011
ANNUAL FUND SUPPORT
July 1, 2008-November 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 sup?port 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 November 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. Listing of donors to endowment funds begins on page P44.
DIRECTOR
$100,000 or more
Anonymous
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
SOLOIST
$50,000-$99,999
Anonymous
Emily W. Bandera MD
Brian and Mary Campbell
Community Foundation for Southeast
Michigan
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
MAESTRO
$20,000-49,999
Anonymous
Linda and Maurice Binkow
Philanthropic Fund Cairn Foundation DTE Energy Foundation EmcArts Innovation Lab for the
Performing Arts
Maxine and Stuart Frankel Foundation David and Phyllis Herzig KeyBank
Robert and Pearson Macek Masco Corporation Foundation Mrs. Robert E. Meredith THE MOSAIC FOUNDATION (of R. & P.
Heydon)
Mosaic Foundation, Washington, DC National Dance Project of the New
England Foundation for the Arts Gilbert Omenn and Martha Darling Laurence and Beverly Price Jane and Edward Schulak Dennis and Ellie Serras Toyota University of Michigan Office of the
Vice President for Research
VIRTUOSO
$10,000-$ 19,999 Jerry and Gloria Abrams Michael Allemang and
Janis Bobrin Herb and Carol Amster Anonymous Arts at Michigan Arts Midwest's Performing Arts
Fund
Bank of Ann Arbor Carl and Isabelle Brauer Fund Marilou and Tom Capo Alice B. Dobson Paul and Anne Glendon Eugene and Emily Grant
Foundation
Frank Legacki and Alicia Torres Natalie Matovinovic Miller, Canfield, Paddock and
Stone, P.L.C. Donald L. Morelock Pfizer Foundation Prue and Ami Rosenthal Rick and Sue Snyder James and Nancy Stanley University of Michigan Credit
Union
Marina and Robert Whitman Ann and Clayton Wilhite
CONCERTMASTER
$7,500-$9,999
Bernard and Raquel Agranoff
Rachel Bendit and Mark Bernstein
Comerica Bank
Ken and Penny Fischer
Susan and Richard Gutow
Debbie and Norman Herbert
Carl and Charlene Herstein
Honigman Miller Schwartz and
Cohn LLP
Leo and Kathy Legatski Doug and Sharon Rothwell Herbert and Ernestine Ruben Linda Samuelson and Joel Howell
Sesi Motors Loretta Skewes Barbara Furin Sloat
PRODUCER
$5,000-$7,499
American Syrian Arab Cultural
Association
Ann Arbor Automotive Anonymous
Essel and Menakka Bailey Beverly Franzblau Baker Kathy Benton and Robert Brown Charlevoix County Community
Foundation
Mary Sue and Kenneth Coleman Creative Campus Innovations
Grant Program Dennis Dahlmann and
Patricia Garcia
Sophie and Marylene Delphis The Herbert and Junia Doan
Foundation
Jim and Patsy Donahey Dallas C. Dort
John Dryden and Diana Raimi Fidelity Investments llene H. Forsyth
Howard & Howard Attorneys, PC Mohamad and Hayat Issalssa
Foundation Judy and Verne Istock David and Sally Kennedy Wally and Robert Klein John S. and James L Knight
Foundation Ms. Rani Kotha and
Dr. Howard Hu Gay and Doug Lane Jill Latta and David Bach Richard and Carolyn Lineback Martin Family Foundation Susan McClanahan and
Bill Zimmerman Michigan Critical Care
Consultants, Inc. National City M. Haskell and Jan Barney
Newman
Pepper Hamilton LLP
Phil and Kathy Power
Don and Judy Dow Rumelhart
Alan and Swanna Saltiel
Frances U. and Scott K. Simonds
Lois A. Theis
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
LEADER
$3,500-$4,999
Jim and Barbara Adams
Barbara A. Anderson and
John H. Romani Anonymous
Jim and Stephany Austin Raymond and Janet Bernreuter Gary Boren
Edward and Mary Cady Carolyn Carty and Thomas Haug Julia Donovan Darlow and John
Corbett O'Meara Stephen and Rosamund Forrest Tom and Katherine Goldberg Keki and Alice Irani Donald Lewis and
Carolyn Dana Lewis Ernest and Adele McCarus Virginia and Gordon Nordby Eleanor and Peter Pollack John and Dot Reed Craig and Sue Sincock Susan M. Smith and
Robert H. Gray
PRINCIPAL
$2,500-$3,499 Janet and Arnold Aronoff Bob and Martha Ause Bradford and Lydia Bates Suzanne A. and Frederick J. Beutler Blue Nile Restaurant Charles and Linda Borgsdorf Dave and Pat Clyde
Elizabeth Brien and
Bruce Conybeare Barbara Everitt Bryant Jeannine and Robert Buchanan Valerie and David Canter 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 Samuel and Marilyn Krimm Jeffrey Mason and Janet Netz Mohammad and
J. Elizabeth Othman Peter and Carol Polverini Jim and Bonnie Reece Malverne Reinhart 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
PATRON
$1,00042,499 Wadad Abed
Roger Albin and Nili Tannenbaum Robert and Katherine Aldrich Michael and Suzan Alexander David G. and Joan M. Anderson Anonymous
Dr. and Mrs. Rudi Ansbacher Charles and Tina Avsharian Jonathan Ayers and Teresa Gallagher
Eric and Becky Bakker
Dr. Lesli and Mr. Christopher
Ballard
John and Ginny Bareham Norman E. Barnett Anne Beaubien and Philip Berry Ralph P. Beebe Linda and Ronald Benson Stuart and Ruth Ann Bergstein Joan A. Binkow
John Blankley and Maureen Foley Dr. DJ and Dieter Boehm Ron and Mimi Bogdasarian Margaret and Howard Bond Laurence and Grace Boxer Dale E. and Nancy M. Briggs Edalene and Ed Brown Family
Foundation Beth Bruce
Robert and Victoria Buckler Lawrence and Valerie Bullen Joan and Charley Burleigh Letitia J. Byrd Amy and Jim Byrne Betty Byrne Barbara and Al Cain H.D. Cameron Jean W. Campbell John Carver
Janet and Bill Cassebaum Tsun and Siu Ying Chang Pat and George Chatas Hubert and Ellen Cohen Cynthia and Jeffrey Colton Consulate General of The
Netherlands in New York Jane Wilson Coon and
A. Rees Midgley, Jr. Paul N. Courant and
Marta A. Manildi Connie D'Amato Susan Tuttle Darrow Charles and Kathleen Davenport Hal and Ann Davis Leslie Desmond and Phil Stoffregen Sally and Larry DiCarlo Andrzej and Cynthia Dlugosz Molly Dobson Steve and Judy Dobson Robert J. and Kathleen Dolan
Stuart and Heather Dombey
Domino's Pizza
Ivo Drury 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
Otto and Lourdes Gago
Enid H. Galler
Lois Kennedy Gamble
Tom Gasloli
Prof. David M. Gates
Thomas and Barbara Gelehrter
Beverley and Gerson Geltner
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
Steven and Sheila Hamp
Alice and Clifford Hart
Martin and Connie Harris
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
Regan Knapp and John Scudder
Charles and Linda Koopmann 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 Bert and Kathy Moberg Lester and Jeanne Monts Paul Morel and Linda Woodworth Alan and Sheila Morgan Cyril Moscow Terence Murphy Randolph and Margaret Nesse Susan and Mark Orringer William Nolting and
Donna Parmelee Marylen S. Oberman 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 Ginny and Ray Reilly Constance Rinehart Rosalie EdwardsAibrant
Ann Arbor Fund
Jeffrey and Huda Karaman Rosen Doris E. Rowan Karem and Lena Sakallah 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 Sandy and Dick Simon Nancy and Brooks Sitterley Dr. Rodney Smith 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 W. Towler Louise Townley Jeff and Lisa Tulin-Silver Jack and Marilyn van der Velde Florence S. Wagner Shaomeng Wang and Ju-Yun Li Harvey and Robin Wax W. Scott Westerman, Jr. Roy and JoAn Wetzel Dianne Widzinski and
James Skupski, MD Dr. and Mrs. Max V. Wisgerhof II Charles Witke and Aileen Gatten
BENEFACTOR
$500-$999
Bonnie Ackley
Alan and Susan Aldworth
Richard and Mona Alonzo Family Fund
Fahd Al-Saghir and Family
Helen and David Aminoff
Anonymous
Harlene and Henry Appelman
Frank J. Ascione
Penny and Arthur Ashe
AT&T Foundation
Susan and Michael Babinec
J. Albert and Mary P. Bailey
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
Dr. Astrid B. Beck
Erling and Merete Blondal Bengtsson
James K. and Lynda W. Berg
Richard Berger
Ramon and Peggyann Nowak Berguer
LS. Berlin
Sara Billmann and Jeffrey Kuras
William and llene Birge
Jerry and Dody Blackstone
Beverly Bole
Rebecca S. Bonnell
Bob and Sharon Bordeau
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
Margot Campos
Brent and Valerie Carey
Dennis J. Carter
A. Craig Cattell
Samuel and Roberta Chappell
Anne Chase
John and Camilla Chiapuris
Dr. Kyung and Young Cho
Janice A. Clark
Brian and Cheryl Clarkson
Jonathan Conn
George Collins and Paula Hencken
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
Mary Ann Faeth
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
Scott and Janet Fogler
Howard and Margaret Fox
Betsy Foxman and Michael Boehnke
Jerrold A. and Nancy M. Frost
Sandra Galea and Margaret Kruk
James M. and Barbara H. Garavaglia
Richard L. Garner
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
Martha and Larry Gray
Dr. John and Renee M. Greden
Robin and Stephen Gruber
Don Haefner and Cynthia Stewart
Robert and Elizabeth Hamel
Walt and Charlene Hancock
Susan R. Harris
Dan and Jane Hayes
Dr. and Mrs. Michael Hertz
Herb and Dee Hildebrandt
Ruth and Harry Huff
Ralph M. Hulett
Ann D. Hungerman
John Huntington
Maha Hussain and Sal Jafar
Stuart and Maureen Isaac
ISCIENCES, L.L.C.
Jerome Jelinek
Mark and Madolyn Kaminski
Alfred and Susan Kellam
Christopher Kendall and
Susan Schilperoort Nouman and Iman Khagani Elie R. and Farideh Khoury James and Jane Kister Hermine Roby Klingler Dr. and Mrs. Jerry Kolins 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
Lawrence and Rebecca Lohr
E. Daniel and Kay Long
Frances Lyman
Brigitte and Paul Maassen
Pam MacKintosh
Jane and Martin Maehr
Scott and Kris Maly
Prof. Milan Marich
W. Harry Marsden
Irwin and Fran Martin
Susan E. 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
Mrs. J. Jefferson Miller
Myrna and Newell Miller
Andrew and Candice Mitchell
Olga Moir
Lewis and Kara Morgenstern
Thomas and Hedi Mulford
Gayl and Kay Ness
Susan and Richard Nisbett
Kathleen I. Operhall
Constance L. and David W. Osier
Steve and Betty Palms
Shirley and Ara Paul
Zoe and Joe Pearson
Jean and Jack Peirce
Margaret and Jack Petersen
Evelyn Pickard
Wallace and Barbara Prince
Elisabeth and Michael Psarouthakis
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
Craig and Jan Ruff
Miriam Sandweiss
David Sams and Agnes Moy-Sarns
Betina Schlossberg
Ann and Thomas J. Schriber
Julie and Mike Shea
Howard and Aliza Shevrin
Hollis and Martha A. Showalter
Edward and Kathy Silver
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
Lia and Rick Stevens
James Christen Steward
Eric and Ines Storhok
Cynthia Straub
Kate and Don Sullivan
Timothy W. Sweeney
Manuel Tancer
Louise Taylor
Elizabeth C. Teeter
Claire and Jerry Turcotte
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 Jo Ann Ward Gary Wasserman Zachary B. Wasserman Angela and Lyndon Welch Katherine E. White Iris and Fred Whitehouse Father Francis E. Williams Robert J. and Anne Marie Willis Margaret W. Winkelman and Robert
A. Krause
I.W. and Beth Winsten Lawrence and Mary Wise Drs. Douglas and Margo Woll James H. and Gail Woods Stan and Pris Woollams Frances A. Wright Bryant Wu and Theresa Chang
ASSOCIATE
$250-$499 Judith Abrams Dorit Adler Martha Agnew and
Webster Smith Dr. Diane M. Agresta Mr. and Mrs.
W. Dean Alseth Catherine M. Andrea Anonymous Dan and Vicki Arbour Rosemary and John Austgen Drs. John and Lillian Back 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 Bill and Sheryl Hirsch Horace and Francine Bomar Mark D. Bomia Victoria C. Botek and
William M. Edwards Dr. R.M. Bradley and
Dr. CM. Mistretta 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 Brian Carney Jim and Lou Carras Margaret W. and
Dennis B. Carroll Jack Cederquist and
Meg Kennedy Shaw Prof, and Mrs.
James A. Chaffers J.W. and Patricia Chapman Kwang and Soon Cho
Reginald and
Beverly Ciokajlo Mark Clague and
Laura Jackson Coffee Express Co. 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 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 DiPietro 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 Karen and Mark Falahee Afaf Vicky Farah Dr. and Mrs. S.M. Farhat
James and Flora Ferrara
Jean Fine
Thomas Finholt
Herschel and Adrienne Fink
Sara and Bill Fink
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
Marty Mayo
Mitch and Barb Goodkin Enid Gosling Mr. and Mrs. Charles and
Janet Goss Michael L. Gowing Phyllis Gracie 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 Grover Anna Grzymala-Busse and
Joshua Berke Susan Guszynski and
Gregory Mazure Jan and Talbot Hack George and Mary Haddad M. Peter and Anne Hagiwara Tom Hammond Jeff Hannah and Nur Akcasu Abdelkader and
Huda Hawasli 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 Robert B. Ingling Mr. and Mrs.
Eugene 0. Ingram Richard Isackson John H. and Joan L. Jackson Elizabeth Jahn Rebecca Jahn 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 Carol and H. Peter Kappus Arthur Kaselemas MD Morris and Evelyn Katz 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 Aric Knuth and Jim Leija Michael Koen 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 Ken and Maria Laberteaux 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 Marjory S. Luther Ormond and
Annie MacDougald Claire and Richard Malvin Melvin and Jean Manis Manpower, Inc. of
Southeastern Michigan Michael and
Pamela Marcovitz Nancy and Philip Margolis Betsy Yvonne Mark Stacy and David Markel Howard L. Mason Laurie McCauley and
Jessy Grizzle Margaret and
Harris McClamroch Peggy McCracken and
Doug Anderson James H. Mclntosh and
Elaine K. Gazda Bill and Ginny McKeachie Joanna McNamara and
Mel Guyer Frances McSparran Russ and Brigitte Merz Gabrielle Meyer Shirley and Bill Meyers Eugene and Lois Miller George Miller and
Deborah Webster Jack and Carmen Miller Patricia Mooradian Arnold and Gail Morawa Michael and Patricia Morgan Melinda Morris
Sean Morrison and
Theodora Ross Ronald 5. Mucha Drs. Louis and
Julie Jaffee Nagel Sabine Nakouzi and
Scott Phillips
Gerry and Joanne Navarre Sharon and Chuck Newman Dan and Sarah Nicoli Eugene W. Nissen Laura Nitzberg Carolyn and Edward Norton Arthur S. Nusbaum Norm and Charlotte Otto David and Andrea Page Hedda and William Panzer Donna D. Park (Catherine Pattridge Julianne Pinsak 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 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 Michael and Kimm Sarosi Rosalyn Sarver and
Stephen Rosenblum Nabil Sater Joseph Saul and
Lisa Leutheuser Albert and Jane Sayed David and Marcia Schmidt Harriet Selin
David and Elvera Shappirio Patrick and Carol Sherry James and Teri Shields George and Gladys Shirley Jean and Thomas Shope George and Nancy Shorney Mary A. Shulman Drs. Andrew and
Emily Shuman Bruce M. Siegan Dr. Terry M. Silver Scott and Joan Singer Jurgen Skoppek Ken and Marcia Slotkowski Tim and Marie Slottow Carl and Jari Smith David and Renate Smith Robert W. Smith Ren and Susan Snyder Yoram and Eliana Sorokin Joseph H. Spiegel Gretta Spier and
Jonathan Rubin Jeff Spindler David and Ann Staiger James L. Stoddard John W. and
Gail Ferguson Stout Mary and Ken Stover 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 Denise Thai and
David Scobey Mary H. Thieme Janet E. and
Randall C. Torno Alvan and Katharine Uhle Susan B. Ullrich 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 Arthur and
Renata Wasserman Enid Wasserman Jack and Jerry Weidenbach
Leslie Whitfield Nancy Wiernik Ralph G. Williams Charlotte A. Wolfe Amanda and Ira Wollner Ellen Woodman Mary Jean and John Yabbnky 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.
ENDOWMENT FUND SUPPORT
July 1, 2008-November 1, 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
$50,000-599,999
Lenore M. Delanghe Trust Estate of Lillian G. Ostrand
$20,000-$49,999
James and Nancy Stanley
$10,000-519,999
Estate of Betty Ann Peck
$5,000-59,999
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
$1,000-54,999
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 Matovinovid Prue and Ami Rosenthal Jay and Mary Kate Zelenock
$100-$999
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
Nebraska Book Company
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
Frances Wright
$1-$99
Ruth Carey
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 to the 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 Matovinovid 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 Tower 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
Mike Allemang
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
Robert and Pearson 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
Prue and Ami 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
UMS PRELUDE DINNERS
I oin us to learn about the evening's performance and enjoy a gourmet dinner at UMS Prelude Dinners. Park early, dine
vwith fellow patrons, and learn about the upcoming performance from our renowned guest speakers. Prelude Dinners are held close to performance venues, and
I valet parking is available.
?!-'" The evening begins with a
brief wine reception followed by a catered buffet dinner. Each dinner will end with an educational program about the evening's artist, composer or program.
For information and reservations, call 734.764.8489 or visit www.ums.org
Wednesday. January 27, 5:30 pm Chicago Symphony Orchestra Speaker: Mark Clague
Wednesday. February 10. 5:30 pm Angela Hewitt Speaker: Logan Skelton
Thursday. March 25, 5:30 pm
Maly Drama Theater of St. Petersburg:
Chekhov's Uncle Vanya
Speaker: Olga Maiorova
Wednesday, April 7, 5:30 pm Schleswig-Holstein Festival Orchestra with Lang Lang Speaker: Steven Whiting
Post-performance reception Friday, April 23,10 pm Hubbard Street Dance Chicago Speaker: Glenn Edgerton. Artistic Director of HSDC.
Tribute Gifts
Contributions have been made in honor andor memory of the following people:
H. Gardner Ackley
John Andrews
Nancy L. Ascione
Milli Baranowski
David Bay
Linda and Maurice Binkow
Jean W. Campbell
Marie Mountain Clark
Ellwood Derr
Benning Dexter
John S. 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
Sally Rogers
Edith Rose
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
Ann R. Taylor
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
Anne Yagle
Gifts In-Kind
Alumni Association of the University
of Michigan
Ann Arbor Cooks, Natalie Marble Ann Arbor District Library Ann Arbor Fire Department Station 1 Anonymous
Dale and MariAnn Apley Phil and Lorie Arbour Barbara Bach Kathie Barbour Barton Hills Country Club Berry Goldsmiths Bistro Renaissance Black Star Farms Francine Bomar Barbara Everitt Bryant Cafe Zola Camp Michigania Craig Capelli, The Chippewa Club Pat Chapman Cheryl Clarkson Jill Collman Wendy Comstock Flip and Jean Connell Paul Cousins Heather Dombey Downtown Home and Garden Mary Ann Faeth Sara Fink Susan A. Fisher Susan R. Fisher The Friars
James M. and Barbara H. Garavaglia Paul and Anne Glendon Kathy Goldberg Joe Grimley Susan Gutow Idelle Hammond-Sass Charlene Hancock Alice and Clifford Hart Heavenly Metal
Hotel Iroquois, Mackinac Island Chantel Jackson John Schulz Photography Christopher Kendall
Meg Kennedy Shaw
Steve and Shira Klein
Mary LeDuc
Joan Levitsky
Liberty Athletic Club
Martin and Jane Maehr
Melanie Mandell
Ann Martin
Kathy McKee Casting Studio
Joanna McNamara
Robin Meisel
Melange
Liz Messiter
Michigan Theater
Middle Earth
Virginia Morgan
Leonard Navarro
Kay and Gayl Ness
Steve and Betty Palms
Performance Network Theatre
Pictures Plus
Plum Market
Elisabeth and Michael Psarouthakis
Purple Rose Theatre
Renaissance Bistro
Julie Ritter
Jamie Saville
Dick Scheer, Village Corner
Penny Schreiber
SeloShevel Gallery
Ingrid Sheldon
John Shultz
Alida Silverman
Andrea Smith
Becki Spangler
Karen Stutz
Sweet Gem Confections
TeaHaus
Ted and Eileen Thacker
Lisa Townley
Louise Townley
Amanda and Frank Uhle
University of Michigan Exhibit
Museum of Natural History University of Michigan
Men's Soccer Team Renee Vettorello Enid Waserman Wawashkamo Golf Club,
Mackinac Island Whole Foods Debbie Williams-Hoak Ellen Woodman Jay and Mary Kate Zelenock Zingerman's Bakehouse

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