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UMS Concert Program, Monday Mar. 15 To 20: University Musical Society: Winter 2010 - Monday Mar. 15 To 20 --

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University Musical Society
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Season: Winter 2010
University Of Michigan, Ann Arbor

University Musical Society of the University of Michigan Ann Arbor
ums 0910
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
UMSExperience 25 UMS Education and Audience Development
UMSSupport 33 Corporate Sponsorship and Advertising
33 Individual Donations
35 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)

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
Mary Sue Coleman
President, University of Michigan
Photo: Lu Huang
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
Feel free to get in touch with me if you have any questions, comments, or problems. If you don't see me in the lobby, send me an e-mail message at or call me at 734.647.1174.
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
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 We like to listen. And remem?ber how very fortunate you are to be part of the UMS difference.
James C. Stanley
Chair, UMS Board of Directors
James G. Vella
President, Ford Motor Company Fund and Community Services 'Through music and the arts, we are inspired to broaden our horizons, bridge differences among cultures, and set our spirits free. We are proud to support the University Musical Society and acknowledge the important role it plays in our community."
Dr. Ora Hirsch Pescovitz
Executive Vice President for Medical Affairs, University of Michigan, and CEO, University of Michigan Health System "When I was young, I contemplated becoming a concert pianist. Though I didn't pursue that career path, the arts have remained a prominent fixture in my life, both personally and professionally. Music and the arts feed our imaginations, heal our spirits, and inspire us to evolve and grow. We are very fortunate to have the University Musical Society as part of our community, and the University of Michigan Health System is privileged to sponsor such a creative, vibrant part of our culture. Here's to a great year!"
Douglass R. Fox
President, Ann Arbor Automotive "We at Ann Arbor Automotive are pleased to support the artistic variety and program excellence given to us by the University Musical Society."
Timothy G. Marshall
President and CEO, Bank of Ann Arbor "Bank of Ann Arbor is pleased to continue its longstanding tradition of supporting the arts and cultural organizations in our town and region. The University Musical Society provides all of us a wonderful and unique opportunity to enjoy first-class performances covering a wide range of artists from around the world. We are proud to continue our support of UMS for the 0910 season."
Habte Dadi
Manager, Blue Nile Restaurant "At the Blue Nile, we believe in giving back to the community that sustains our business. We are proud to support an organization that provides such an important service to Ann Arbor."
Claes Fornell
Chairman, CFI Group, Inc.
'The University Musical Society is a marvelous magnet for attracting the world's finest in the performing arts. There are many good things in Ann Arbor, but UMS is a jewel. We are all richer because of it, and CFI is proud to lend its support."
Bruce Duncan
Ann Arbor Regional Bank President, Comerica Bank 'Comerica is proud to support the University Musical Society. UMS continues to enrich the local community by bringing the finest performing arts to Ann Arbor, and we're pleased to continue to support this long-standing tradition."
Fred Shell
Wee President, Corporate and Government Affairs,
DTE Energy
"The DTE Energy Foundation is pleased to support exemplary
organizations like UMS that inspire the soul, instruct the
mind, and enrich the community."
Edward Surovell
President, Edward Surovell Realtors
"Edward Surovell Realtors and its 300 employees and sales asso?ciates are proud of our 21-year relationship with the University Musical Society. We honor its tradition of bringing the world's leading performers to the people of Michigan and setting a standard of artistic leadership recognized internationally."
Leo Legatski
President, Elastizell Corporation of America "Elastizell is pleased to be involved with UMS. UMS's strengths are its programming--innovative, experimental, and pioneering--and its education and outreach programs in the schools and the community."
Joseph A. Maffesoli
Branch ManagerVice President, Ann Arbor Investor Center "The Fidelity Investments Ann Arbor Investor Center is proud to support the University Musical Society and the continued effort to inspire our community through the arts. We look forward to another season of great performances!"
Carl W. Herstein _
Partner, Honigman Miller Schwartz and Cohn LLP _
'Honigman is proud to support non-profit organizations in the communities where our partners and employees live and work. We are thrilled to support the University Musical Society and commend UMS for its extraordinary programming, com?missioning of new work, and educational outreach programs."
Mark A. Davis
President and CEO, Howard & Howard '
"At Howard & Howard, we are as committed to enriching the communities in which we live and work as we are to providing sophisticated legal services to businesses in the Ann Arbor area. The performing arts benefit us all, and we are proud that our employees have chosen to support the cultural enrichment provided by the University Musical Society."
Mohamad Issa
Director, Issa Foundation
The Issa Foundation is sponsored by the Issa family, which has been established in Ann Arbor for the last 30 years, and is involved in local property management as well as area pub?lic schools. The Issa Foundation is devoted to the sharing and acceptance of culture in an effort to change stereotypes and promote peace. UMS has done an outstanding job bringing diversity into the music and talent of its performers."
Bill Kerby
Owner, Kerby's Kurb Service
Kerby's Kurb Service has been a part of the University
Musical Society for over a decade. It has been a pleasure
working with the UMS staff and an organization that
has brought world-renowned artists to the local area for
the cultural benefit of many, especially the Ann Arbor
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.LC "Miller Canfield proudly supports the University Musical Society for bringing internationally-recognized artists from a broad spectrum of the performing arts to our community, and applauds UMS for offering another year of music, dance, and theater to inspire and enrich our lives."
John W. McManus
Market President, South Central Michigan, National City "National City Bank is proud to support the efforts of the University Musical Society and the Ann Arbor community.'
Michael B. Staebler
Senior Partner, Pepper Hamilton LLP "The University Musical Society is an essential part of the great quality of life in southeastern Michigan. We at Pepper Hamilton support UMS with enthusiasm."
Joe Sesi
President, Sesi Lincoln Mercury Volvo Mazda "The University Musical Society is an important cultural asset for our community. The Sesi Lincoln Mercury Volvo Mazda team is delighted to sponsor such a fine organization."
Thomas B. McMullen
President, Thomas B. McMullen Co., Inc. "I used to feel that a U-M-Ohio State football ticket was the best ticket in Ann Arbor. Not anymore. UMS provides the best in educational and artistic entertainment."
Tom Thompson
Owner, Tom Thompson Flowers
'Judy and I are enthusiastic participants in the UMS family. We appreciate how our lives have been elevated by this relationship."
Shigeki Terashi
President, Toyota Technical Center "Toyota Technical Center is proud to support UMS, an organization with a long and rich history of serving diverse audiences through a wide variety of arts programming."
Jeff Trapp
President, University of Michigan Credit Union "Thank you to the University Musical Society for enriching our lives. The University of Michigan Credit Union is proud to be a part of another great season of performing arts."
UMS gratefully acknowledges the support of the following foundations and government agencies:
$100,000 and above
Doris Duke Charitable Foundation W.K. Kellogg Foundation National Endowment for the Arts
Community Foundation for Southeast Michigan Doris Duke Foundation for Islamic Art Esperance Family Foundation
Cairn Foundation
DTE Energy Foundation
Maxine and Stuart Frankel Foundation
Charles H. Gershenson Trust
Masco Corporation Foundation
The Mosaic Foundation, Washington DC
Arts Midwest's Performing Arts Fund Eugene and Emily Grant Foundation Martin Family Foundation Michigan Council for Arts and Cultural Affairs THE MOSAIC FOUNDATION (of R. & P. Heydon)
Consulate General of The Netherlands in New York
Mohamad and Hayat Issalssa Foundation
National Dance Project of the New England Foundation
for the Arts Sarns Ann Arbor Fund Target
James C. Stanley,
Chair David J. Herzig,
Wee Chair Martha Darling,
Secretary Robert C. Macek,
Treasurer Carl W. Herstein,
Past Chair
Wadad Abed Carol L. Amster
Kathleen Benton Lynda W. Berg DJ Boehm
Charles W. Borgsdorf Robert Buckler David Canter Mary Sue Coleman Julia Donovan Darlow Junia Doan Maxine J. Frankel Patricia M. Garcia Chris Genteel Anne Glendon
Joel D. Howell Christopher Kendall S. Rani Kotha Melvin A. Lester Joetta Mial Lester P. Monts Roger Newton Stephen G. Palms Todd Roberts Sharon Rothwell Edward R. Schulak John J.H. Schwarz Ellie Serras
Joseph A. Sesi Anthony L. Smith Cheryl L. Soper
Clayton E. Wilhite,
Chair, National
Council A. Douglas Rothwell,
Chair, Corporate
Council Janet Callaway,
Chair, Advisory
Clayton E. Wilhite, Chair Marylene Delbourg-Delphis John Edman Janet Eilber
Eugene Grant Charles Hamlen Katherine Hein David Heleniak
Toni Hoover Judith Istock Wallis Klein Zarin Mehta
Herbert Ruben Russell Willis Taylor Carl W. Herstein, Ex-officio James C. Stanley, Ex-officio
UMS SENATE (former members of the UMS Board of Directors)
Robert G. Aldrich Michael C. Allemang Herbert S. Amster Gail Davis Barnes Richard S. Berger Maurice S. Binkow Lee C. Bollinger Janice Stevens
Botsford Paul C. Boylan Carl A. Brauer William M. Broucek Barbara Everitt Bryant Letitia J. Byrd Kathleen G. Charla Leon S. Cohan Jill A. Corr Peter B. Corr Ronald M. Cresswell
Hal Davis
Sally Stegeman DiCarlo Robert F. DiRomualdo Cynthia Dodd Al Dodds
James J. Duderstadt Aaron P. Dworkin David Featherman Robben W. Fleming David J. Flowers George V. Fornero Beverley B. Geltner William S. Hann Randy J. Harris Walter L. Harrison Deborah S. Herbert Norman G. Herbert Carl W. Herstein Peter N. Heydon
Toni Hoover Kay Hunt Alice Davis Irani Stuart A. Isaac Thomas E. Kauper David B. Kennedy Gloria James Kerry Thomas C. Kinnear Marvin Krislov F. Bruce Kulp Leo A. Legatski Earl Lewis Patrick B. Long Helen B. Love Judythe H. Maugh Paul W. McCracken Rebecca McGowan Barbara Meadows Alberto Nacif
Shirley C. Neuman Jan Barney Newman Len Niehoff Gilbert S. Omenn Joe E. O'Neal John D. Paul Randall Pittman Philip H. Power John Psarouthakis Rossi Ray-Taylor John W. Reed Richard H. Rogel Prudence L. Rosenthal A. Douglas Rothwell Judy Dow Rumelhart Maya Savarino Ann Schriber Erik H. Serr Harold T. Shapiro
George I. Shirley John O. Simpson Herbert Sloan Timothy P. Slottow Carol Shalita Smokier Jorge A. Solis Peter Sparling Lois U. Stegeman Edward D. Surovell James L. Telfer Susan B. Ullrich Michael D. VanHemert Eileen Lappin Weiser B. Joseph White Marina v.N. Whitman Clayton E. Wilhite Iva M. Wilson Karen Wolff
Janet Callaway, Chair Betty Palms. Wee Chair Karen Stutz, Secretary Sarah Nicoli, Treasurer Phytlis Herzig, Past Chair
Ricky Agranoff Man Ann Apley Sandy Aquino Lone Arbour Barbara Bach Pat Bantle Francine Bomar
Luciana Borfoely 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 Grekm Nicki Griffith Joe Grimley Susan Gross Susan Gutow Charlene Hancock Shelia Harden Alice Hart Meg Kennedy Shaw
Pam Krogness Marci Raver Lash Mary LeDuc Joan Levitsky Jean Long Eleanor Lord Jane Maehr Jennifer J. Maisch Melanie Mandell Ann Martin Fran Martin Joanna McNamara Deborah Meadows Liz Messiter
Robin Miesel Natalie Mobley Bonila Davis Neighbors Kay Ness Thomas Ogar Liz Othman Allison Poggi Lisa Psarouthakis Agnes Moy Sarns Penny Schreiber Bev Seiford Aliza Shevrin Alida Sitverman
Loretta Skewes Andrea Smith Becki Spangler Nancy Stanley Carlin C. Stockson Gail Ferguson Stout Eileen Thacker Janet Torno Louise Townley Amanda Uhle Enid Wasserman Kirsten Williams Ellen Woodman
Kenneth C. Fischer, President Kathy M. Brown, Executive Assistant John B. Kennard, Jr.,
Director of Administration Beth Gilliland,
Gift ProcessorIT Assistant Patricia Hayes, Senior Accountant John Peckham,
Information Systems Manager
Choral Union
Jerry Blackstone,
Conductor and Music Director Jason Harris, Assistant Conductor Kathleen Operhall, Chorus Manager Nancy K. Paul, Librarian Jean Schneider, Accompanist Scott VanOrnum, Accompanist Donald Bryant, Conductor Emeritus
Susan McClanahan, Director Susan Bozell Craig, Senior Manager
for Marketing and Corporate
Partnerships Rachelle Lesko, Development
Administrative Assistant Lisa Michiko Murray,
Manager of Foundation and
Government Grants M. Joanne Navarre, Manager of
Annual Giving Marnie Reid, Manager of
Individual Support Cynthia Straub, Advisory Committee
and Events Coordinator
EducationAudience Development
Claire C. Rice, Interim Director Mary Roeder,
Residency Coordinator Omari Rush, Education Manager
MarketingPublic Relations
Sara Billmann, Director
Susan Bozell Craig, Senior Manager
for Marketing and Corporate
Partnerships James P. Leija, Public Relations
Manager Stephanie Normann, Marketing
Michael J. Kondziolka, Director Jeffrey Beyersdorf,
Technical Director Mark Jacobson,
Programming Manager Carlos Palomares,
Production Manager Liz Stover, Programming
Ticket Services
Jennifer Graf, Ticket Services
Manager Sally A. Cushing, Ticket Office
Associate Suzanne Davidson, Assistant Ticket
Services Manager Adrienne Escamilla,
Ticket Office Associate Sara Sanders, Front-of-House
Coordinator Sarah Wilber, Group Sales
Coordinator Dennis Carter, Bruce Oshaben,
Brian Roddy, Head Ushers
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
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
Abby Alwin Fran Ampey Robin Bailey Greta Barfield Joey Barker Alana Barter Judy Barthwell Rob Bauman Suzanne Bayer Eli Bleiler Ann Marie Borders
David Borgsdorf Signd Bower Marie Brooks Susan Buchan Deb Clancy Cart Clark Ben Cohen Julie Cohen Leslie Criscenti Orelia Dann Saundra Dunn
Johanna Epstein Susan Fihpiak Katy Fillion Delores Flagg Joey Fukuchi Jeff Gaynor Joyce Gerber Barb Grabbe Joan Grissing Linda Jones Jeff Kass
Rosalie Koenig Sue Kohfeldt Laura Machida Jose Mejia Kim Mobley Eunice Moore Michelle Peet Anne Perigo Rebeca Pietrzak Cathy Reischl Jessica Rizor
Vicki Shields Sandra Smith Gretchen Suhre Julie Taylor Cayla Tchalo Dan Tolly Alex Wagner Barbara Wallgren Kimberley Wright Kathryn Young
Barrier-Free Entrances
For persons with disabilities, all venues have barrier-free entrances. Wheelchair locations vary by venue; visit www.ums.orgtickets or call 734.764.2538 for details. Ushers are available for assistance.
Listening Systems
For hearing-impaired persons, Hill Auditorium, Power Center, and Rackham Auditorium are equipped with assistive listening devices. Earphones may be obtained upon arrival. Please ask an usher for assistance.
Lost and Found
For items lost at Hill Auditorium, Lydia Mendelssohn Theatre, Power Center, or Rackham Auditorium, please call University Productions at 734.763.5213. For the Michigan Theater, call 734.668.8397. For St. Francis of Assisi, call 734.821.2111.
Please allow plenty of time for parking as the campus area may be congested.
Parking is available in the Church Street, Maynard Street, Thayer Street, Fletcher Street, and Fourth Avenue structures for a minimal fee. Please allow enough time to park before the performance begins. UMS donors at the Patron level and above ($1,000) receive 10 complimentary parking passes for use at the Thayer Street or Fletcher Street structures in Ann Arbor.
UMS offers valet parking service for Hill Auditorium performances in the 0910 Choral Union series. Cars may be dropped off in front of Hill Auditorium beginning one
hour before each performance. There is a $20 fee for this service. UMS donors at the Concertmaster level ($7,500) and above are invited to use this service at no charge.
Other recommended parking that may not be as crowded as on-campus structures: Liberty Square structure (formerly Tally Hall), entrance off of Washington Street between Division and State; about a two-block walk from most performance venues, $2 after 3 pm weekdays and all day SaturdaySunday. Maynard Street structure, entrances off Maynard and Thompson between Willliam and Liberty, $.45half-hour, free on Sunday.
For up-to-date parking information, please visit www.ums.orgparking.
Refreshments are available in the lobby during intermissions at events in the Power Center, in the lower lobby of Hill Auditorium (beginning 75 minutes prior to concerts--enter through the west lobby doors), and in the Michigan Theater. Refreshments are not allowed in the seating areas.
Non-Smoking Venues
University of Michigan policy forbids smoking in any public area, including the lobbies and restrooms.
Start Time
UMS makes every effort to begin concerts at the published time. Most of our events take place in the heart of central campus, which does have limited parking and may have several events occurring simultaneously in different theaters. Please allow plenty of extra time to park and find your seats.
Latecomers will be asked to wait in the lobby until seated by ushers. Most lobbies have been outfitted with monitors andor speakers so that latecomers will not miss the performance.
The late-seating break is determined by the artist and will generally occur during a suitable repertory break in the program (e.g., after the first entire piece, not after individual movements of classical works). There may be occasions where latecomers are not seated until 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.
Group Tickets
Treat 10 or more friends, co-workers, or family members to an unforgettable performance of live music, dance, or theater. Whether you have a group of students, a business gathering, a college reunion, or just you and a group of friends, the UMS Group Sales Office can help you plan the perfect outing. You can make it formal or casual, a special celebration, or just friends enjoying each other's company. The many advantages to booking as a group include:
Reserving tickets before tickets go on sale to the general public
Discounts of 15-25 for most performances
Accessibility accommodations
No-risk reservations that are fully refundable up to 14 days before the performance, unless the group order is completed
1-3 complimentary tickets for the group organizer (depending on size of group). Complimentary tickets are not offered for performances without a group discount.
For more information, please contact 734.763.3100 or
Classical Kids Club
Parents can introduce their children to world-renowned classical music artists through the Classical Kids Club. The Classical Kids Club allows students in grades 1-8 to purchase tick?ets to all classical music concerts at significantly discounted rates. Parents can purchase up to two children's tickets for $10 each with the purchase of a $20 adult ticket beginning two weeks before the concert. Seating is subject to availability. For information, call 734.764.2538 or sign-up for UMS E-News and check the box for Classical Kids Club.
If you are unable to attend a concert for which you have purchased tickets, you may turn in your tickets until curtain time by calling the Ticket Office. Refunds are not available; how?ever, you will be given a receipt for an income tax deduction. Please note: ticket retums do not count towards UMS giving levels.
Ticket Exchanges
Subscribers may exchange tickets free of charge up until 48 hours prior to the perform?ance. Non-subscribers may exchange tickets for a $6 per ticket exchange fee up until 48 hours prior to the performance. Exchanged tickets must be received by the Ticket Office (by mail or in person) at least 48 hours prior to the per?formance. The value of the tickets may be applied to another performance or will be held as UMS Credit until the end of the season. You may also fax a copy of your torn tickets to 734.647.1171. Lost or misplaced tickets cannot be exchanged. UMS Credit must be redeemed by Sunday, April 25, 2010.
New this year! UMS now accepts ticket exchanges within 48 hours of the performance for a $10 per ticket exchange fee (applies to both subscribers and single ticket buyers). Tickets must be exchanged at least one hour before the published performance time. Tickets received less than one hour before the per?formance will be returned as a tax-deductible contribution.
A variety of discounted ticket programs are available for University students and teenagers.
Half-Price Student Ticket Sales
At the beginning of each semester, UMS offers half-price tickets to college students. A limited number of tickets are available for each event in select seating areas. Simply visit www.ums.orgstudents, log-in using your U-M uniqname and Kerberos password, and fill out your form. Orders will be processed in the order they are received. You will pay for and pick up your tickets at a later date at the Michigan League Ticket Office.
Winter Semester Sale: Begins Sunday. January 10 at 8pm and ends Tuesday. January 12 at 5pm.
Sponsored by UMOT5
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
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. 13 ("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.
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
large spiral staircases leading from the orchestra level to the balcony and the well-known mirrored glass panels on the exterior. The lobby of the Power Center presently features two hand-woven tapestries: Modern Tapestry by Roy Lichtenstein and Volutes (Arabesque) by Pablo Picasso.
The Power Center seats approximately 1,400 people.
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.
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
Monday, March 15 through Saturday, March 20, 2010
Takacs Quartet 5
Monday, March 15, 8:00 pm Rackham Auditorium
Jazz at Lincoln Center Orchestra 11
with Wynton Marsalis
Wednesday, March 17, 8:00 pm Hill Auditorium
San Francisco Symphony
Friday, March 19, 8:00 pm 15
Saturday, March 20, 8:00 pm (15th Ford Honors Program) 21 Hill Auditorium
Fall 2009
Itzhak Perlman, violin with Rohan De Silva, piano Grizzly Bear with Beach House
Bill Charlap Trio
Punch Brothers featuring Chris Thile
Alisa Weilerstein, cello with
Inon Bamatan, 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
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
Handel's Messiah Jean-Yves Thibaudet, piano
Winter 2D1D
I January
22-231 Bill T. JonesArnie Zane Dance Company: i Fondly Do We Hope... Fervently Do We
27 I Chicago Symphony Orchestra 31 ! Ladysmith Black Mambazo
4 The Bad Plus
6 So Percussion
7 NT Live: Nation
10 Angela Hewitt, piano
11 Luciana Souza Trio
14 Schubert Piano Trios
17 Bela Fleck: The Africa Project
21 Swedish Radio Choir
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
with UMS Choral Union:
15th Ford Honors Program
24-25 Julia Fischer, violin:
Solo Violin Works of J.S. Bach
25-28 Maly Drama Theatre of
St. Petersburg: Anton Chekhov's
Uncle Vanya
7 Schleswig-Holstein Festival Orchestra
with Lang Lang, piano
8 Danilo Perez & Friends: 21st-century Dizzy
10 Baaba Maal with NOMO
12 Michigan Chamber Players
20 Trio Mediaeval Canceled
22-24 Hubbard Street Dance Chicago
25 The Rest is Noise in Performance:
Alex Ross and Ethan Iverson, piano
9 NT Live: The Habit of Art
15 Breakin' Curfew

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 or contact the UMS Education Department at 734.615.4077 or
Africa Festival
Screening of Poetry in Motion:
100 Years of Zanzibar's Nadi Ikhwan Safaa
Tuesday, March 16, 7:00 pm
U-M Biomedical Science Research Building
Auditorium, 109Zina Pitcher Place
As part of its 2010 focus on African performing arts traditions, UMS will host a series of film screenings beginning with Poetry in Motion: 100 Years of Zanzibar's Nadi Ikhwan Saffaa, a celebration and history of Zanzibar's oldest taarab orchestra. This full-length feature documentary was produced by Kelly Askew, Director of the U-M African Studies Center and Associate Professor of Anthropology and the Center for Afro-American and African Studies. The screening will be preceded by a brief introduction by Professor Askew.
A collaboration with the U-M African Studies Center and the U-M Center for Afroamerican and African Studies.
Jazz at Lincoln Center Orchestra with Wynton Marsalis
Who is Wynton Marsalis
Tuesday, March 76, 7:00-8:30 pm
Ann Arbor District Library, Downtown Branch
Multipurpose Room, 343 S. Fifth Avenue
Jazz expert Linda Yohn will engage participants in an exploration of modern-day legend Wynton Marsalis, whose notions of what jazz is and should be resonate alongside his incredible artistry as a musician, bandleader, and composer.
A collaboration with the Ann Arbor District Library.
San Francisco Symphony
LectureDemonstration: Engaging Young Audiences in Classical Music
Saturday, March 20, 1:30-3:00 pm
U-M Biomedical Science Research Building
Auditorium, 109 Una Pitcher Place
Targeted at educators, musicians, and students, San Francisco Symphony musicians will lead a musical lecturedemonstration focusing on engaging young audiences and making connections between classical music and the humanities.
Screening of Keeping Score and Q&A with John Kieser
Saturday, March 20, 4:00-5:30 pm
Walgreen Drama Center, Penny Stamps Auditorium,
1226 Murfin Avenue
Keeping Score is a multimedia initiative by the San Francisco Symphony to engage participants in musical experiences. Not dependent on prior knowledge of classical music, Keeping Score deepens and refines these experiences through interactive websites, digital media, education, and a PBS television series. Join us for a screening of the series episode on Shostakovich's Symphony No. 5, followed by a Q&A with San Francisco Symphony General Manager John Kieser.
and Edward Surovell Realtors present Takacs Quartet Edward Dusinberre, Violin Karoly Schranz, Violin Geraldine Walther, Viola Andras Fejer, Cello
Program Ludwig van Beethoven John Psathas Beethoven Monday Evening, March 15, 2010 at 8:00 Rackham Auditorium Ann Arbor String Quartet in B-flat Major, Op. 18, No. 6 Allegro con brio Adagio ma non troppo Scherzo. Allegro La malinconia. Adagio--Allegretto quasi Allegro A Cool Wind INTERMISSION String Quartet in F Major, Op. 59, No. 1 Allegro Allegretto vivace e sempre scherzando Adagio molto e mesto Theme russe. Allegro
46th Performance of the 131st Annual Season 47th Annual Chamber Arts Series The photographing or sound and video recording of this concert or possession of any device for such recording is prohibited. This evening's performance is sponsored by Edward Surovell Realtors. Media partnership is provided by WGTE 91.3 FM. Special thanks to Steven Ball for coordinating the pre-concert music on the Charles Baird Carillon. Takacs Quartet appears by arrangement with Seldy Cramer Artists, and records for Hyperion and DeccaLondon Records. TakScs Quartet is Quartet-in-Residence at the University of Colorado in Boulder and are Associate Artists at the South Bank Centre, London. Please visit for further information on the Takacs Quartet. Large print programs are available upon request.

Now that you're in your seat...
Whenever Beethoven's music shares a concert program with a contemporary work, it frequently leads one to think about the days when Beethoven himself was a modern composer, and one always ends up realizing that he still is. Every composer coming after this genius is, in a very real sense, in his debt, regardless of the style they write in. It was Beethoven who first insisted on the individuality and uniqueness of each and every piece of music; he reached out to and communicated with the audience in an entirely new way. This new approach (or sometimes resistance to it) has driven the numerous stylistic changes seen during the last 200 years.
John Psathas has made the connection explicit when he responded to a question in a recent interview about the experiences that made him want to become a composer: "I remember an old LP of Daniel Barenboim playing Beethoven's 'Moonlight' Sonata--but I skipped the first movement altogether, it was the fire of the last movement that I wanted." He captures that fire in many of his own works, carrying it like an Olympic torch from Vienna all the way to New Zealand.
String Quartet in B-flat Major, Op. 18,
No. 6(1798-1800) Ludwig van Beethoven
Born on December 15 or 16, 1770 in Bonn, Germany Died on March 26, 1827 in Vienna
Snapshot of History... In 1800:
Thomas Jefferson becomes President of the United States
Friedrich Schiller's drama Maria Stuart is first performed at Weimar
Alexander von Humboldt explores the region of the Orinoco River in South America
Alessandro Volta invents the first electric battery
Jacques-Louis David paints his famous portrait of Mme Recamier
The six string quartets that comprise Beethoven's Op. 18 were composed between 1798 and 1800, precisely at the same time (and in the same city, Vienna) as Haydn was writing his last and greatest works in that genre. Perhaps Beethoven's quartets represent a symbolic passing of the torch: as Haydn concludes the Classical period, Beethoven makes his first steps towards infusing the string quartet with the musical language of emergent Romanticism. By the time he began composing Op. 18, Beethoven already had considerable experience writing for solo strings in
chamber ensembles: he had already completed several string trios and serenades. But the string quartet was a special genre that, by the turn of the century, had assumed a substantial cultural magnitude. It was expected to be genteel and refined, one of the highest expressions of the composer's art. In embarking on such a challenge, Beethoven signaled his readiness to assert his personal voice onto the inherited legacy of quartet composition.
As with his Piano Sonata, Op. 22, also in the key of B-flat, Beethoven's String Quartet Op. 18, No. 6 straddles two worlds. Beginning with a salute to the courtly and aristocratic world of pre-Revolutionary Europe, it concludes with a prophecy and a foretaste of 19th-century Romanticism. Both works, while hardly revolutionary, still demonstrate a level of independence and imagination rarely found in Beethoven's earlier, and sometimes more openly ambitious compositions. The stylistic connections between the early quartets and piano sonatas were made even more clear when Beethoven himself arranged his Piano Sonata in E Major (Op. 14, No. 1) for string quartet in 1802, the year after the Op. 18 quartets were published.
The first movement of the String Quartet in B-flat Major (Op. 18, No. 6) is a Haydnesque "Allegro con brio" pleasantly vivacious and dance-like. The thematic material in this sonata-form movement is lightweight (similar to that which opens Symphony No. 2) and the harmonic procedures are largely unspectacular. But there are odd poetic touches such as the modulation to a momentary D-flat harmony in the second subject, and an unexpected
passage near the end of the development section that has no thematic connection with anything else in the movement. Beethoven's boldest achievement in this movement is that he is able to make the prosaic and conventional sound compelling. The second movement, "Adagio ma non troppo," in E-flat major has a theme that is again rather naive, although rhythmic and contrapuntal decorations redefine its character with each repetition. A somber central section in b-flat minor, much barer in texture, makes an impressive contrast and is alluded to in the movement's coda.
The third movement is the most humorous and aggressive Scherzo Beethoven had yet devised. Along with its accompanying capricious Trio, it makes much use of cross-rhythms that seem to alternate freely between 34 and 68. The composer throws in frequent sforzandi accents on the last eighth-note of the measure, which are just as frequently tied over the bar-line, adding to the eccentricity of the rhythmic character. Toward the end of the Scherzo an exhilarating climax leads into an abrupt collapse. The Trio is hardly more than a series of flitting leaps in the first violin, and is connected to the repeat of the Scherzo with a blustering mock-tragic passage in b-flat minor. This is comedy of a far rougher and more willful variety than audiences had ever experienced in a string quartet; a far cry from the refined and decorous minuets that had come to be expected at this point in the composition.
The "Adagio" introduction to the Finale is one of the most remarkable passages in Beethoven's chamber music. Entitled "La Malincolia," the extensive and elaborate written directions in the score suggest Beethoven was conscious of writing in an unusually emotional style--the composer directs that this interlude be "played with the greatest delicacy." The opening theme is not developed in Beethoven's usual manner. Instead, an unexpected early modulation leads to a passage of keyless diminished-seventh chords, ornamented with grace notes. The harmonic adventures of this introduction are unprecedented, and look forward to the sound-world of Wagner's music 70 years into the future. After this extraordinary and prophetic introduction, he recalls a much more conventional, charming world for the "Allegretto quasi Allegro" finale. It is an unusual kind of rondo in which the second episode is a recapitulation of the first. The melancholy of the preceding "Adagio" reappears twice in the Finale, but with each appearance
shorter than the previous one: a musical parable of introspection being overcome by innocent joy. The movement ends with a dazzling prestissimo coda.
Program note by Luke Howard.
A Cool Wind (2008)
John Psathas
Born 1966 in New Zealand
Snapshot of History... In 2008:
Barack Obama becomes President of the United States
New Zealander Sir Edmund Hillary, who (with Tenzing Norgay) had been the first climber to reach the top of Mount Everest, dies at age 88
Olympic Games are held in Beijing
John Updike publishes his final novel. The Widows of Eastwick
Catastrophic earthquake in Sichuan, China, kills more than 68,000 people
"This musical supplication is inspired partly by the playing of world-renowned duduk player Djivan Gasparyan. It is a plea for a balm, a cool wind, to ease anguish and torment."
--Note on the score of A Cool Wind fey the composer
In my past experiences collaborating with master folk musicians in Greece, I repeatedly came across the same answer when querying them on their ultimate aim when performing: namely that what they try to do is emulate the human voice, whatever the instrument they happen to be playing (even percussion!). I think the inspiration behind this concept is one of eliminating the barrier between the impulse and the sound, to remove the instrument from the equation and--in the way of singing--articulate spontaneously. The duduk is one of the most remarkably voice-like instruments I have ever heard, and it is this quality which inspired me when writing.
The title page refers to this piece as a supplication, and this is the best description of the overlapping inner parts that grow out of the opening few measures.
Program note by John Psathas.
String Quartet in F Major, Op. 59, No. 1 ("Rasumovsky")(1806)
Snapshot of History... In 1806:
The Holy Roman Empire is dissolved by Napoleon
The Lewis & Clark Expedition retums to St. Louis after 28 months of exploration
The nursery rhyme "Twinkle, Twinkle, Little Star," by Jane Taylor, is first published in London
Heinrich von Kleist writes his classic comedy The Broken Jug
English poet Elizabeth Barrett Browning is born
When Beethoven accepted the commission to write a set of three quartets for Count Rasumovsky, the Russian ambassador to Vienna, he pledged to "weave a Russian melody into every quartet." In the end, only the finale of No. 1 and the third movement of No. 2 have Russian content. In each case, the strength and individuality of Beethoven's own voice completely subsumes the quoted folk tunes, making the "Rasumovsky" quartets thoroughly Beethovenian in breadth, concept, and invention.
At the premiere in February 1807, the three Op. 59 quartets were not received with the same enthusiastic response that had greeted the Op. 18 quartets several years earlier. The performers themselves laughed at the pieces, thinking Beethoven was playing a joke on them. The violinist remarked, "Surely you do not consider this music," to which the composer replied, "Not for you, but for a later age." Indeed, later critics have praised them as masterworks--giving them place alongside the "Eroica" symphony as crucial representatives of Beethoven's middle period.
The formal design of the first quartet, in F Major, is peculiar and without precedent in that all four movements are written in some kind of sonata form. The first movement is at once serene and noble. The first and second key areas abound with distinctive melodies, and the exposition unfolds without any major surprises. But what sounds like a repeat of the exposition is actually one of the composer's boldest formal inventions. He disguises the fact that the exposition does not repeat by making the first four measures of the development section identical to it.
The development itself is dominated by a central fugal section, and further development of themes takes place in the lengthy coda.
Beethoven again puts the dance movement before the slow movement in this quartet; even at this later stage of his musical development that was a little unusual. But more odd (and to the quartet's first audience, particularly amusing), is the insistent drumming on one note that starts the movement. It creates a theme based not on melody or harmony, but purely on rhythm, and the emphasis on rhythmic development continues throughout. This light-hearted scherzo--the first movement so titled to be written in a sonata form--omits the repeat of the exposition, and greatly telescopes the recapitulation.
Above the sketches for the third movement, Beethoven wrote, "A weeping willow or acacia tree upon my brother's grave." This lament of almost Shakespearian tragedy develops around two lyrical themes, both characterized by wide melodic leaps. After a florid and impassioned violin recitative, the fourth movement follows without a break.
The Russian tune in the Finale (which, in its original form, was in a minor key and twice as slow) is not especially captivating. But here, as in Beethoven's music in general, it's not so much the tune itself as what he does with it that makes the difference. In Beethoven's hands it takes on added energy and brilliance, and when played off against the rhythmic motifs and lyricism of the second theme group, creates a wonderfully unified and well-crafted whole. Although lively and brisk, this movement brings a relaxation of emotional intensity to the quartet. Near the conclusion the Russian theme retums, re-harmonized and in a slower tempo, but before it has a chance to become nostalgic it is dismissed with a final presto flourish.
Program note by Luke Howard.
Recognized as one of the world's great ensembles, the Takacs Quartet plays with a unique blend of drama, warmth, and humor, combining distinct musical personalities to bring fresh insights to the string quartet repertoire.
Based in Boulder at the University of Colorado, the Takics Quartet performs 90 concerts a year worldwide, throughout Europe as well as in Australia, New Zealand, Japan, and South Korea.
The current season includes cycles of the complete Beethoven quartets in London, where the members of the Quartet are Associate Artists at the South Bank Centre, and in Madrid. The Quartet will play a series of two Beethoven concerts in Amsterdam's Concertgebouw and give their first concert in St. Petersburg. At Carnegie's Zankel Hall a series of three concerts will feature the Schumann quartets and works that were composed last year for the Quartet by Wolfgang Rihm, James Macmillan, and John Psathas. The Quartet will perform over 40 concerts in North America.
The Quartet's award-winning recordings include the complete Beethoven Cycle on the Decca label. In 2005 the late Beethoven quartets won "Disc of the Year" and a "Chamber Award" from BBC Music Magazine, a Gramophone Award, and a Japanese Record Academy Award. Their recordings of the early and middle Beethoven quartets collected a Grammy Award, another Gramophone Award, a Chamber Music of America Award, and two further awards from the Japanese Recording Academy.
In 2006, the Takacs Quartet made their first recording for Hyperion Records, of Schubert's D. 804 and D. 810. A disc featuring Brahms's Piano Quintet with Stephen Hough was released in November 2007 and was subsequently nominated for a Grammy Award. A disc featuring the Schumann Piano Quintet with Marc-Andre Hamelin was released in late 2009. The complete Haydn "Apponyi" Quartets, Op. 71 and 74, will be released in early 2011.
The Quartet has made 16 recordings for the Decca label since 1988. The ensemble's recording of the six Bart6k String Quartets received the 1998 Gramophone Award for chamber music and, in 1999, was nominated for a Grammy Award.
The Quartet is known for innovative programming. In 2007 it performed Everyman, inspired by the Philip Roth novel, with Academy Award-winning actor Philip Seymour Hoffman in Carnegie Hall. The group collaborates regularly with the Hungarian folk ensemble Muzsikas, performing a program that explores the folk sources of Bart6k's music. The Quartet performed a music and poetry program on a 14-city US tour with the poet Robert Pinsky.
At the University of Colorado, the Takacs Quartet has helped to develop a string program with a special emphasis on chamber music, where students work in a nurturing environment designed
to help them develop their artistry. The Quartet's commitment to teaching is enhanced by summer residencies at the Aspen Festival and at the Music Academy of the West, Santa Barbara. The Takacs Quartet is a Visiting Quartet at the Guildhall School of Music and Drama, London.
The Takacs Quartet was formed in 1975 at the Franz Liszt Academy in Budapest by Gabor Takacs-Nagy, Karoly Schranz, Gabor Ormai, and Andras Fejer, while all four were students. It first received international attention in 1977, winning "First Prize" and the "Critics' Prize" at the International String Quartet Competition in Evian, France. Violinist Edward Dusinberre joined the Quartet in 1993 and violist Roger Tapping in 1995. Violist Geraldine Walther replaced Mr. Tapping in 2005. Of the original ensemble, Karoly Schranz and Andras Fejer remain. In 2001 the Takacs Quartet was awarded the Order of Merit of the Knight's Cross of the Republic of Hungary.
Takacs Quartet
UMS Archives
This evening's concert marks the Takacs Quartet's 12th appearance under UMS auspices. The Quartet made their UMS debut in February 1984 and last appeared in Ann Arbor in April 2009 with pianist Marc-Andre Hamelin at Rackham Auditorium.
Photo: Peter Smith
with Rachel Bendit and Mark Bernstein, Carl and Charlene Herstein, and Michigan Critical Care Consultants, Inc. presents Jazz at Lincoln Center Orchestra with Wynton Marsalis Wynton Marsalis, Music Director, Trumpet Sean Jones, Trumpet Ryan Kisor, Trumpet Marcus Printup, Trumpet Vincent R. Gardner, Trombone Elliot Mason, Trombone Chris Crenshaw, Trombone Sherman Irby, Saxophones Ted Nash, Alto and Soprano Saxophones, Clarinet Walter Blanding, Tenor and Soprano Saxophones, Clarinet Victor Goines, 7enor and Soprano Saxophones, Bb and Bass Clarinets Joe Temperley, Baritone and Soprano Saxophones, Bass Clarinet Dan Nimmer, Piano Carlos Henriquez, Bass AN Jackson, Drums
Program Ted Nash Wednesday Evening, March 17, 2010 at 8:00 Hill Auditorium Ann Arbor Portrait in Seven Shades Monet Van Gogh Dali Chagall Matisse Pollock Picasso Additional repertoire on the program will be announced from the stage by the artists. Tonight's concert will be performed with one intermission.
47th Performance of the 131st Annual Season 16th Annual Jazz Series The photographing or sound and video recording of this concert or possession of any device for such recording is prohibited. This evening's performance is co-sponsored by Rachel Bendit and Mark Bernstein, Carl and Charlene Herstein, and Michigan Critical Care Consultants, Inc. Special thanks to Honigman Miller Schwartz and Cohn LLP for sponsorship of this evening's long-term donor champagne toast. Media partnership is provided by Metro Times, Michigan Chronicle, Ann Arbor's 107one, and WEMU 89.1 FM. Special thanks to Linda Yohn, WEMU 89.1 FM, and the Ann Arbor District Library for their support of and participation in events surrounding tonight's performance. Special thanks to Steven Ball for coordinating the pre-concert music on the Charles Baird Carillon. The Steinway piano used in this evening's concert is made possible by William and Mary Palmer and by the Steinway Piano Gallery of Detroit. Brooks Brothers is the official clothier of the Jazz at Lincoln Center Orchestra with Wynton Marsalis. Jazz at Lincoln Center Orchestra with Wynton Marsalis appears by arrangement with Ted Kurland Associates. Large print programs are available upon request.

The Jazz at Lincoln Center Orchestra (JLCO), composed of 15 of today's finest jazz soloists and ensemble players, has been the Jazz at Lincoln Center resident orchestra since 1988. Featured in all aspects of Jazz at Lincoln Center's programming, the remarkably versatile JLCO performs and leads educational events in New York, across the US, and around the world; in concert halls, dance venues, jazz clubs, and public parks; and with symphony orchestras, bal?let troupes, local students, and an ever-expanding roster of guest artists.
Education is a major part of Jazz at Lincoln Cen?ter's mission and its educational activities are coor?dinated with concert and JLCO tour programming. These programs, many of which feature JLCO mem?bers, include the celebrated Jazz for Young PeopleO family concert series, the Essentially Ellington High School Jazz Band Competition and Festival, the Jazz for Young People? Curriculum, educational resi?dencies, workshops, and concerts for students and adults worldwide. Jazz at Lincoln Center education?al programs reach over 110,000 students, teachers, and general audience members.
Under Music Director Wynton Marsalis, the JLCO spends over a third of the year on tour. The big band performs a vast repertoire, from rare historic compositions to Jazz at Lincoln Center commissioned works, including compositions and arrangements by Duke Ellington, Count Basie, Fletcher Henderson, Thelonious Monk, Mary Lou Williams, Billy Strayhorn, Dizzy Gillespie, Benny Goodman, Charles Mingus, and Oliver Nelson, and new commissions by Wayne Shorter, Joe Lo-vano, Freddie Hubbard, Marcus Roberts, Christian McBride, and Geri Allen, as well as current and former JLCO members Wynton Marsalis, Wycliffe Gordon, and Ted Nash. Guest conductors have in?cluded Benny Carter, John Lewis, Paquito D'Rivera, Jon Fadis, and Loren Schoenberg.
Over the last few years, the Jazz at Lincoln Cen?ter Orchestra has performed collaborations with many of the world's leading symphony orchestras, including the New York Philharmonic, the Russian National Orchestra, and the Berlin Philharmonic Orchestra.
Along with regular appearances on the Pea-body Award-winning weekly radio show Jazz at Lincoln Center Radio, JLCO has appeared on sev?eral XM Satellite Radio live broadcasts and eight Live From Lincoln Center broadcasts, carried by PBS stations nationwide; including a program which
aired in October 2004 during the grand opening of Jazz at Lincoln Center's new home, Frederick P. Rose Hall, and in September 2005 during Jazz at Lincoln Center's Higher Ground Benefit Concert. The benefit concert raised funds for the Higher Ground Relief Fund that was established by Jazz at Lincoln Center and administered through the Baton Rouge Area Foundation to benefit the musi?cians, music industry-related enterprises, and other individuals and entities from the areas in Greater New Orleans who were impacted by Hurricane Ka-trina. JLCO was also featured an episode of Greaf Performances entitled "Swingin' with Duke: Lin?coln Center Jazz Orchestra with Wynton Marsalis," and on a BET Jazz weekly series called Journey with Jazz at Lincoln Center, featuring performances by the JLCO around the world.
To date, 12 recordings featuring the Jazz at Lin?coln Center Orchestra with Wynton Marsalis have been released and internationally distributed, in?cluding Congo Square (2007). For more information on Jazz at Lincoln Center, please visit
Wynton Marsalis, Artistic Director of Jazz at Lincoln Center, was born in New Orleans in 1961. Mr. Marsalis began his classical training on trumpet at age 12 and soon began playing in local bands of diverse genres. He entered The Juilliard School at age 17 and joined Art Blakey and the Jazz Messengers. Mr. Marsalis has recorded more than 70 jazz and classical recordings which have garnered him nine Grammy Awards. In 1983, he became the first and only artist to win both classical and jazz Grammy Awards in the same year and repeated this feat in 1984. Mr. Marsalis's rich body of compositions includes Sweet Release; Jazz: Six Syncopated Movements; Jump Start; Citi MovementGriot New York; At the Octoroon Balls; In This House, On This Morning; and Big Train. In 1997, Mr. Marsalis became the first jazz artist to be awarded the Pulitzer Prize in music for his oratorio Blood on the Fields, which was commissioned by Jazz at Lincoln Center. To date, his Blue Note Re?cords recordings include Two Men with the Blues (2008) featuring Willie Nelson; From the Plantation to the Penitentiary (2007); Wynton Marsalis: Live at The House Of Tribes (2005); The Magic Hour (2004); and Unforgivable Blackness: The Rise and Fall of Jack Johnson (2004), the companion sound?track recording to Ken Bums' PBS documentary of
the great African-American boxer.
To mark the 200th Anniversary of Harlem's historical Abyssinian Baptist Church in 2008, Mr. Marsalis composed a full mass for choir and jazz orchestra. The piece premiered at Jazz at Lincoln Center and followed with performances at the cel?ebrated church. Mr. Marsalis composed his second symphony, Blues Symphony, which was premiered in 2009 by the Atlanta Symphony Orchestra and will be performed again by the Boston Symphony Orchestra in 2010. Following is a commission for the Berlin Philharmonic in which Mr. Marsalis will compose for symphony and jazz orchestra.
Mr. Marsalis is also an internationally respected teacher and spokesman for music education and has received honorary doctorates from dozens of universities and colleges throughout the US. He conducts educational programs for students of all ages and hosts the popular Jazz for Young People" concerts produced by Jazz at Lincoln Center. In 2008, Random House published Moving to Higher Ground: How Jazz Can Change Your Life which Mr. Marsalis co-wrote with Geoffrey C. Ward.
In 2001, Mr. Marsalis was appointed Messen?ger of Peace by Mr. Kofi Annan, Secretary-Gen?eral of the United Nations, and he has also been designated cultural ambassador to the US by the US State Department through their CultureCon-nect program. In 2009, Mr. Marsalis was awarded France's Legion of Honor, the highest honor be-
stowed by this government. Mr. Marsalis was in?strumental in the Higher Ground Hurricane Relief concert, produced by Jazz at Lincoln Center, which raised over $3 million for the Higher Ground Relief Fund. He helped lead the effort to construct Jazz at Lincoln Center's new home, Frederick P. Rose Hall (opened in October 2004), the first education, per?formance, and broadcast facility devoted to jazz, which Mr. Marsalis co-founded in 1989. Wynton Marsalis is published by arrangement with Skayne's Music Boosey & Hawkes Inc., Sole Agent.
UMS Archives
This evening's performance marks Jazz at Lincoln Center Orchestra's 12th UMS appearance since their debut in February 1994.
Wynton Marsalis has appeared 13 times under UMS auspices, both with the Orches?tra and in other ensemble configurations, including a February 1997 presentation of his Pulitzer Prize-winning oratorio. Blood on the Fields, at Hill Auditorium. Mr. Marsalis made his UMS debut in January 1996 with the Lincoln Center Jazz Orchestra Octet.
Photo: Clay Patrick McBride
Jazz at Lincoln Center Orchestra
with KeyBank and the San Francisco Symphony
Catherine S. Arcure and Herbert E. Sloan Endowment Fund, Michael Tilson Thomas, Music Director and Conductor Christian Tetzlaff, Violin
James and Nancy Stanley, and
Jay and Mary Kate Zelenock
Program Friday Evening, March 19, 2010 at 8:00 Hill Auditorium Ann Arbor
Victor Kissine Post-scriptum Commissioned by the San Francisco Symphony through the generosity of the Phyllis C. Wattis Fund for New Works of Music.
Piotr llyich Tchaikovsky Violin Concerto in D Major, Op. 35 Allegro moderato--Moderato assai Canzonetta: Andante Finale: Allegro vivacissimo
Mr. Tetzlaff
Maurice Ravel Valses nobles et sentimentales Modere Assez lent Modere Assez anime Presque lent Assez vif Moins vif Epilogue: Lent
Franz Liszt Tasso: Lamento e Trionfo, S. 96

48th Performance of the 131st Annual Season
131st Annual Choral Union Series
The photographing or sound and video recording of this concert or possession of any device for such recording is prohibited.
This evening's performance is sponsored by KeyBank.
Tonight's performance is co-sponsored by the Catherine S. Arcure and Herbert E. Sloan Endowment Fund, James and Nancy Stanley, and Jay and Mary Kate Zelenock.
Funded in part by the National Endowment for the Arts as part of American Masterpieces: Three Centuries of Artistic Genius.
Media partnership is provided by WGTE 91.3 FM and WRCJ 90.9 FM.
Special thanks to Kim Osburn and the U-M School of Music, Theatre S Dance for their support of and participation in this weekend's San Francisco Symphony residency.
Special thanks to Tom Thompson of Tom Thompson Flowers, Ann Arbor, for his generous contribution of lobby floral art for this evening's concert.
Special thanks to Steven Ball for coordinating the pre-concert music on the Charles Baird Carillon.
San Francisco Symphony appears by arrangement with Columbia Artists Management LLC.
Large print programs are available upon request.
Now that you're in your seat...
This musical tour through many styles and regions features one of today's foremost violinists in one of the most beloved concertos in the repertoire, followed by works of two innovators who were inspired by different aspects of the past. Ravel dreamt up a set of waltzes in his unique brand of impressionistic style while taking the music of Schubert as his cue. Liszt, for his part, perfected his novel idea of the symphonic poem by paying tribute to a 16th-century poet. What is more, he fashioned his main theme from a traditional melody to which that poet's words used to be sung, and subjected that theme to the kind of character transformation that was one of his most original contributions to composition. The program is completed by a brand-new work that will create its own dialog with the past.
Post-scriptum (2010) Victor Kissine
Born March 15, 1953, in Leningrad, USSR, now St. Petersburg, Russia
The score calls for two flutes (second doubling alto flute) and piccolo (doubling third flute), two oboes and English horn, two clarinets and bass clarinet, two bassoons and contrabassoon, three horns plus Wagner tuba in F, three trumpets, three trombones, timpani, suspended cymbals, crotales, tam-tam, marimba, vibraphone, bar chimes, bass drum, tubular bells, snare drum, two harps, piano, celesta, and strings. The work is dedicated to Michael Tilson Thomas and the San Francisco Symphony.
Kissine stands in the tradition of Russian expressionism that evolved out of Dmitri Shostakovich by way of such figures as Schnittke, Galina Ustvolskaya, and Sofia Gubaidulina, composers whose works, however modern, maintain a core of Romantic expressiveness. His music often makes its points through minuscule gestures, quiet utterances, and motifs deconstructed into evanescence--into quietude itself. Post-scriptum derives its inspiration from Charles Ives's famous question-and-answer piece, The Unanswered Question.
The composer has provided this comment about Post-scriptum:
From a formal point of view this piece is a variation on the theme of Ives's The Unanswered Question. What we actually hear is a theme constructed out of series of
five sounds. But one can say that there are, in fact, six sounds, because, every time the question is repeated, the last sound changes, forming with the preceding one an interval of either a minor or major third. The idea, the subject, the form, the tonal order, and the orchestration of my Post-schptum all stem precisely from this alternating sequence.
Program note by James M. Keller.
Violin Concerto in D Major, Op. 35 (1878) Piotr llyich Tchaikovsky
Born May 7, 1840 in Votkinsk, Viatka district, Russia Died November 6, 1893 in St. Petersburg
Snapshot of History... In 1878:
Thomas Edison patents his phonograph
Edgar Degas paints L'ttoile (The Star)
Lev Tolstoy publishes Anna Karenina
Brahms writes his Violin Concerto
Gilbert and SuWwan's HMS Pinafore is first performed
In addition to the solo violin it is scored for two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, timpani, and strings.
In 1878, Tchaikovsky took a trip to Switzerland with the young violinist Yosif Yosifovich Kotek, a former pupil. They played through a lot of music together, including Lalo's Symphonie espagnole.
and it was that work that inspired Tchaikovsky to write a violin concerto himself. He composed it in a heat of inspiration, with Kotek offering technical advice. When Tchaikovsky sent the score to his patron Nadezhda Filaretovna von Meek, she wrote back that she didn't like it; the composer defended his piece, although he did decide on his own to replace his original slow movement. Further objections came from the violinist Leopold Auer, to whom Tchaikovsky wanted to entrust the premiere: he declared it unplayable. The honor of the premiere instead went to Adolf Brodsky, who worked on the concerto for more than two years before he dared to play it, and for this he was rewarded with the concerto's official dedication.
Tchaikovsky's Violin Concerto wasted little time staking a place in the repertory. It is an overwhelmingly lyrical work that rarely ventures into the stormy outbursts that often characterize his symphonic pieces. The first movement, by tums balletically graceful and comparatively urgent, makes difficult technical demands, but the fireworks generally sparkle as counterpoint to the overall gentility. The slow movement is elegiac but not depressive, and the "Finale" emerges without a break, serving up a dazzling array of pyrotechnics.
Program note by James M. Keller. A different form of this program note appeared in the programs of the New York Philharmonic, and is used with permission. O New York Philharmonic
Valses nobles et sentimentales (1912) Maurice Ravel
Bom March 7, 1875 in Ciboure, Basses-Pyrenees, France Died December 28, 1937 in Paris
Snapshot of History... In 1912:
The catastrophe of the Titanic
Woodrow Wilson is elected President of the United States
Marcel Duchamp paints Nude Descending a Staircase
Arnold Schoenberg's Pierrot lunaire first performed
Thomas Mann writes Death in Venice
The score calls for two flutes, three oboes (first and second doubling English horn), two clarinets,
two bassoons, four horns, two trumpets, three trombones, tuba, timpani, bass drum, cymbals, harp, celesta, and strings.
The title of Ravel's Valses nobles et sentimentales comes from Schubert, who has a set of Valses nobles of uncertain dates and another of Valses sentimentales from 1823 or 1824. Quotation, allusion, and masks are never far away in the work of Ravel. He also loved dance music of all kinds, courtly and popular, homely and exotic, ancient and modern. About waltzes he once wrote to a friend, "You know of my deep sympathy for these wonderful rhythms and that I value theoe de vivre expressed by the dance far more deeply than Franckian puhtanism." The Valses nobles et sentimentales had their premiere in 1911 at a concert of the newly founded Societe Musicale Independante. All the pieces were presented anonymously, the audience being invited to guess the composers. The guessing did not go well, though Ravel's waltzes were among the few pieces correctly attributed (in spite of heavy voting for Satie and Kodaly). It is music of sensuous delight and of nostalgia. Harmony and texture (both in the piano version and in the 1912 orchestration) are new, and they drew from Debussy the comment that Ravel's ear "was the finest ever to have existed"; on the other hand, shape and a certain muted sweetness of feeling are as Schubertian as the title.
Program note by Michael Steinberg.
Tasso: Lamento e Trionfo, S. 96
(Tasso: Lament and Triumph) (18491854) Franz Liszt Born October 22, 1811 in Raiding, near Odenburg,
Hungary Died July 31, 7 886 in Bayreuth, Germany
Snapshot of History... In 1849:
Charles Dickens writes David Copperfield
Edgar Allan Poe dies at age 40
Frederic Chopin dies at age 39
The Hungarian Revolution is defeated by an Austrian-Russian coalition
The first pre-Raphaelite exhibition in London
The score calls for two flutes and piccolo, two oboes, two clarinets and bass clarinet, two bassoons, four horns, four trumpets, three trombones, tuba, timpani, triangle, military drum, cymbals, bass drum, harp, and strings.
Liszt's Tasso piece began as a prelude to a stage-work, a five-act, five-character verse-play that had premiered to mixed reviews in 1807 but whose reputation solidified in ensuing years. Derived from a pair of biographies about the 16th-century Italian poet Torquato Tasso, its theme is the relationship between art and state, and particularly the precarious thread that connects creative artists to their means of support.
In 1854, Liszt expanded a previous work on Tasso, his Ouverture de Tasso von Goethe, most noticeably by composing an entirely new section to insert in the middle. By the time the composer published it two years later, he had also crafted a lengthy prefatory text explaining the work's program. There he revealed that his inspiration was not just Goethe's play but also a poem by Byron ("The Lament of Tasso")--in fact, more the latter than the former. Liszt wrote:
Lamento e Trionfo: these are the two great contrasts in the destiny of poets, of whom it has been truly said that if fate curses them during life, blessing never fails them after death. In order to give to this idea not only the authority but also the splendor of reality, I have endeavored to borrow even its form from fact; and for this purpose have taken, as the theme of this musical poem, the melody to which, 300 years after the poet's death, we have heard the gondoliers of Venice sing upon her waters the opening lines of his Jerusalem:
'Canto I'armi pietose e'l Capitano,
Che'l gran Sepulcro libro di Cristol'
[I sing the sacred armies, and their leader,
That the great sepulcher of Christ did free...]
This melody is in itself plaintive, slow, and mournfully monotonous, but the gondoliers give it quite a special character by dragging certain notes and holding out their voices, which, heard from a distance, produce an effect similar to that of rays of light reflected from the ripple of the waves. This song had already so powerfully impressed me, that when the subject of Tasso was suggested to
me for musical illustration, I could not but take for the text of my thoughts this enduring homage rendered by his nation to a genius of whom the court of Ferrara had proved itself unworthy. The Venetian melody breathes so gnawing a melancholy, so irremediable a sadness, that a mere reproduction of it seems sufficient to reveal the secret of Tasso's sad emotions.
Program note by James M. Keller.
Please refer to page 24 in your program book for complete biographies and rosters from the San Francisco Symphony Residency Weekend.
and Ford Motor Company present San Francisco Symphony Michael Tilson Thomas, Music Director and Conductor Laura Claycomb, Soprano Katarina Karneus, Mezzo-soprano UMS Choral Union Jerry Blackstone, Music Director
Program Gustav Mahler Saturday Evening, March 20, 2010 at 8:00 Hill Auditorium Ann Arbor Presentation of the UMS Distinguished Artist Award to Michael Tiison Thomas and San Francisco Symphony Mary Sue Coleman, President, University of Michigan James G. Vella, President, Ford Motor Company Fund and Community Services Symphony No. 2 in c minor Allegro maestoso Andante moderate In quietly flowing motion Urlicht (Primal Light). Very solemn but simple, like a hymn In the tempo of the Scherzo--Bursting out wildly--Slow--Allegro energico--Slow--Very slow and expansive--Slow. Misterioso This evening's concert will be performed without intermission.
49th Performance of the 131st Annual Season 15th Ford Honors Program 131st Annual Choral Union Series The photographing or sound and video recording of this concert or possession of any device for such recording is prohibited. The Ford Honors Program recognizes the longtime generous support of UMS's Education Program by Ford Motor Company Fund and Community Services. Special thanks to DTE Energy Foundation for its generous sponsorship of the DTE Energy Foundation Educator and School of the Year Awards. Special thanks to Ford Honors Program Leadership Donors the mosaic FOUNDATION (of R. and P. Heydon), Randall and Mary Pittman and Forest Health Services, and the University of Michigan Health System. Special thanks to Ford Honors Program Hosts Rani Kotha and Howard Hu. Receiving the UMS Distinguished Artist Award on behalf of San Francisco Symphony are President John Goldman and Executive Director Brent Assink. Special thanks to Ford Honors Gala Chair Louise Townley and to all members of the committee for their care, time, and planning of this evening's Gala. The San Francisco Symphony Residency is funded in part by the National Endowment for the Arts as part of American Masterpieces: Three Centuries of Artistic Genius. Media partnership is provided by WGTE 91.3 FM. Special thanks to Kim Osburn and the U-M School of Music, Theatre & Dance for their support of and participation in this weekend's San Francisco Symphony residency. Special thanks to Tom Thompson of Tom Thompson Flowers, Ann Arbor, for his generous contribution of lobby floral art for this evening's concert. Special thanks to Steven Ball for coordinating the pre-concert music on the Charles Baird Carillon. San Francisco Symphony appears by arrangement with Columbia Artists Management LLC. Large print programs are available upon request.

Now that you're in your seat...
Gustav Mahler famously held that a symphony had to embrace the entire world. He certainly lived up to this postulate in his Symphony No. 2, which opens with death and ends with resurrection, with the entire life of the protagonist passing before his (and our) eyes in between. It is one of the most transcendent musical works ever written, one in which the composer's typical building blocks (the march, the chorale, the Landler dance) unite to form a breathtaking panorama of the human experience, in turn tragic, relaxed, ironic, and uplifting.
Symphony No. 2 in c minor
("Resurrection") (1888-1894) Gustav Mahler
Born July 7, 1860 in Kalischt, Bohemia Died May 18, 1911 in Vienna
Snapshot of History... In 1894:
The Dreyfus Affair erupts in France
Debussy's Prelude to the Afternoon of a Faun first performed
Arthur Conan Doyle publishes The Memoirs of Sherlock Holmes
Claude Monet paints several pictures of the Rouen Cathedral
Brahms writes his two sonatas for clarinet and piano
The Symphony No. 2 is scored for soprano and alto soloists, large mixed chorus, and an extremely large orchestra of four flutes (all doubling piccolos); two oboes; two English horns (doubling third and fourth oboes); two high clarinets in E-flat; two clarinets in B-flat; bass clarinet (doubling third B-flat clarinet); three bassoons; contrabassoon (doubling fourth bassoon); ten horns; eight trumpets (four each of the horns and trumpets first play offstage in the finale; most of these then move onstage); four trombones; tuba; organ; two harps; percussion consisting of two sets of timpani, bass drum, cymbals, high and low tamtams, triangle (another timpanum, triangle, bass drum, and pair of cymbals are offstage), two snare drums, glockenspiel, three deep bells of unspecified pitch, and twig cluster (Rute in German--the "rod," or schoolmaster's switch, played against the body of the bass drum); and strings.
In February 1888, Gustav Mahler, second conductor at the theater in Leipzig and at work on his First Symphony, began a large orchestral piece called Todtenfeier, or Funeral Rites. In May, he resigned his Leipzig post to become music director of the opera in Budapest. He returned to Todtenfeier, completing the score in September. Five years later--Mahler had meanwhile become principal conductor in Hamburg--he realized that Todtenfeier was not an independent piece but the first movement of a second symphony. Between 1893-94, the rest fell into place as quickly as his conducting obligations permitted, and Symphony No. 2 was completed on December 28, 1894. Tonight's concert version incorporates revisions Mahler made up to 1909.
The Second Symphony is often called the "Resurrection," but Mahler himself gave it no title. On various occasions, though, he offered programs to explain the work. He was skeptical about these programs and he changed his mind repeatedly as to just what the program was. His scenarios share certain features. The first movement celebrates a dead hero, retaining its original Todtenfeier aspect, and since the First and Second Symphonies were, in a sense, of simultaneous genesis, it is worth citing Mahler's comments that the hero of the Symphony No. 1 is born to his grave in the funeral music of the Second and that "the real, the climactic denouement [of the First] comes only in the Second." The second and third movements represent retrospect, the former being innocent and nostalgic, the latter including a certain element of the grotesque. The fourth and fifth movements are the resolution and deal with the Last Judgment, redemption, and resurrection.
All this has bearing on Mahler's perception of the structure of his Symphony No. 2, whose
premiere the composer conducted with the Berlin Philharmonic in December 1895. He said that the first three movements were in effect "only the exposition " of the symphony. The appearance of the "Urkht" song, he wrote, sheds light on what comes before. Writing to the critic Arthur SeidI in 1897, he refers to the three middle movements as having the function only of an "interludium." There is, as well, the question of breaks between movements. The score is explicit, specifying a pause "of at least five minutes" after the first movement and demanding that the last three movements follow one another without interruption. In March 1903, Mahler wrote to Julius Buths, who was getting ready to conduct the work in Dusseldorf, and told him that there ought to be "an ample pause for gathering one's thoughts after the first movement because the second movement has the effect after the first, not of contrast, but as a mere irrelevance.... The 'Andante' is composed as a kind of intermezzo (like some lingering resonance of long past days from the life of him whom we bore to his grave in the
first movement--something from the days when the sun still smiled upon him)."
The first and last movements are the symphony's biggest. In other ways, they are as different as possible, partly because of the six years that separate them, still more crucially because of their different structural and expressive functions. The Todtenfeier is anchored to the classical sonata tradition. Its character is that of a march, and Mahler's choice of key--c minor--surely alludes to the classic exemplar of such a piece, the marcia funebre in Beethoven's "Eroica." A feature very much Mahler's own is the disruption of tempo. Against scrubbing violins and violas, low strings hurl tums, scales, and broken chords. Their instruction is to play not merely fff, but "ferociously." At the same time, though, Mahler prescribes two distinct speeds for the string figures and rests that separate them, the former "in violent onslaught" at about quarter-note = 144, the latter in the movement's main tempo of about quarter-note = 84-92. Later, the climax of the development is fixed not only
Honorary Co-Chairs
President Mary Sue Coleman The University of Michigan
James G. Vella
President, Ford Motor Company
Fund and Community Services
Gala Chair
Louise Townley
Gala Committee
Sandy Aquino Stefani Carter Cheryl Cassidy Cheryl Clarkson Michaelene Farrell Joe Grim ley Susan Gutow Joan Levitsky Jean Long Mary LeDuc Sarah Nicoli
Leadership Donors
THE MOSAIC FOUNDATION (of R. & P. Heydon) Randall and Mary Pittman and Forest Health Services University of Michigan Health System
Program Hosts
Rani Kotha and Howard Hu
The DTE Energy Foundation Educator and School of the Year Awards are made possible by
by maximal dissonance, but by a series of three caesuras, each followed by an "out of tempo" forward rush.
The thematic material of the second movement--the dance with which it begins and the cello tune that soon joins in--goes back to Leipzig and the time of the Todtenfeier. The third movement is a symphonic expansion of the Knaben Wunderhorn song about Saint Anthony of Padua's sermon to the fishes. The sardonic Fischpredigt scherzo skids into silence, and its final shudder is succeeded by a new sound, that of a human voice. "Urlicht," one of Mahler's loveliest songs, is full of Mahlerian paradox in that its hymn-like simplicity and naturalness are achieved by a metrical flexibility so vigilant of prosody and so complex that the opening section of 35 bars has 21 changes of meter. The chamber musical scoring is characteristically detailed and inventive.
The peace that the song lays across the symphony like balm is shattered by an outburst whose ferocity refers to the corresponding place in Beethoven's Symphony No. 9. Like Beethoven, Mahler draws on music from earlier in the symphony; not, however, to reject it, but to build upon it. He spreads before us a great and pictorial pageant. Horns sound in the distance (Mahler referred to this as "the crier in the wilderness"). A march with a suggestion of the Gregorian Dies irae is heard, and music saturated in angst, more trumpet signals, marches, and a chorale. Then Mahler's "grosse Appell," the Great Summons, the Last Trump: horns and trumpets loud but at a great distance, while in the foreground a solitary bird flutters across the scene of destruction. Now, from silence, voices emerge in a Hymn of Resurrection.
Mahler knew he wanted a vocal finale, but the problem of text baffled him. Here Hans von Biilow enters the scene--von Biilow, the pianist who gave the first performance of Tchaikovsky's most famous piano concerto, who conducted the premieres of Tristan and Meistersinger (and whose young wife left him for Wagner), and who was one of the most influential supporters of Brahms. When Mahler went to the Hamburg Opera in 1891, the other important conductor in town was von Bulow, who was in charge of the symphony concerts. Von Bulow was not often a generous colleague, but Mahler impressed him. As von Bulow's health declined, Mahler began to substitute for him, and he was much moved by von Bulow's death early in 1894. At the memorial
service, the choir sang a setting of the Resurrection Hymn by the 18thcentury Saxon poet Friedrich Gottlieb Klopstock. "It struck me like lightning," Mahler wrote to Arthur Seidl, "and everything was revealed to my soul clear and plain." He took the first two stanzas of Klopstock's hymn and added verses of his own that deal still more explicitly with redemption and resurrection.
The lines about vanquishing pain and death are given to the two soloists in passionate duet. The verses beginning "Mit Flugeln, die ich mir errungen" (With wings that I have won) form the upbeat to the triumphant reappearance of the chorale: "Sterben werd' ich, um zu leben" (I will die, that I might live!), and the symphony closes in fanfares and pealing bells.
Program note by Michael Steinberg.
Biographies of the Artists of the San Francisco Symphony Residency Weekend
Michael Tilson Thomas became the San Francisco Symphony's Music Director in September 1995. A Los Angeles native, he studied piano with John Crown and composition and conducting with Ingolf Dahl at the University of Southern California, becoming Music Director of the Young Musicians Foundation Debut Orchestra at the age of 19 and working with Stravinsky, Boulez, Stockhausen, and Copland on premieres of their compositions at the famed Monday Evening Concerts. He was pianist and conductor for masterclasses given by Piatigorsky and Heifetz and, as a student of Friedelind Wagner, an assistant conductor at Bayreuth. In 1969, at 24, Mr. Tilson Thomas won the Koussevitzky Prize and was appointed Assistant Conductor of the Boston Symphony. Ten days later he came to international recognition, replacing Music Director William Steinberg in mid-concert at Lincoln Center. He went on to become the BSO's Associate Conductor, then Principal Guest Conductor, and he has also served as Chief Conductor and Director of the Ojai Festival, Music Director of the Buffalo Philharmonic, and a Principal Guest Conductor of the Los Angeles Philharmonic. He has toured the world with the London Symphony Orchestra,
Michael Tilson Thomas
of which he became Principal Conductor in 1988 and now serves as Principal Guest Conductor. Until 2000 he was co-Artistic Director of the Pacific Music Festival, and he continues as Artistic Director of the New World Symphony, which he founded in 1987. His compositions include From the Diary of Anne Frank; ShowaShoah; Poems of Emily Dickinson; Urban Legend; Island Music; and Notturno.
Mr. Tilson Thomas's recordings have won numerous awards, including Grammy Awards for SFS recordings of Mahler's Symphony Nos. 3, 6, 7, and 8. In 2004, he and the SFS launched Keeping Score on PBS-TV. Mr. Tilson Thomas's honors include Columbia University's Ditson Award for services to American music, the American Music Center's Letter of Distinction, the President's Award from the National Academy of Recording Arts and Sciences, and the National Medal of Arts. He is a Chevalier des Arts et des Lettres of France, has been elected to the American Academy of Arts and Sciences, and was named one of America's Best Leaders by U.S. News & World Report.
Born in Hamburg in 1966, Christian Tetzlaff began playing the violin and piano at age six. At 14, just after making his concert debut performing the Beethoven Violin Concerto, he began intensive study on the violin with Uwe-Martin Haiberg at the conservatory in Liibeck. He came to the US in 1985 to work with Walter Levine at the University of Cincinnati College-Conservatory of Music, and he spent two summers at the Marlboro Festival in Vermont. Mr. Tetzlaff made his San Francisco Symphony debut in 1991, performing the Tchaikovsky Violin Concerto. His most recent appearance with the SFS was in 2007, when he performed the Brahms Violin Concerto in D Major, Op. 77.
During the current season, Mr. Tetzlaff appears with the Los Angeles Philharmonic, Minnesota Orchestra, and Chicago, Saint Louis, and Indianapolis Symphonies. He makes his debut with the Montreal Symphony, and also performs all six of the Bach unaccompanied sonatas and partitas at Orchestra Hall in Chicago and New York's 92nd Street Y. Mr. Tetzlaff's recordings for Virgin Classics include concertos by Haydn and Bartok; an album of 20th-century sonatas by Janacek, Debussy, Ravel, and Nielsen with pianist Leif Ove Andsnes; a recording of Mozart's complete works for violin and orchestra in which he both solos and conducts the Deutsche Kammerphilharmonie; a Grammy Award-nominated album of Bartok's Violin Sonatas Nos. 7 and 2 with Leif Ove Andsnes as well as Bartok's Sonata for Solo Violin; and a Diapason d'Or-winning recording of the complete works for violin and orchestra of Sibelius with the Danish National Radio Orchestra.
Other recordings include the Brahms Sonatas for Piano and Violin with Lars Vogt (EMI Classics) and the Beethoven Violin Concerto with the Tonhalle
Orchestra (Arte Nova). Mr. Tetzlaff's most recent releases are the Bach sonatas and partitas for solo violin (Musical Heritage and Haenssler) and a recording of the Brahms and Joachim violin concertos with the Danish Radio Orchestra (Virgin Classics). In 2005, Mr. Tetzlaff was named
ChristianTetziaff "Instrumentalist of the
Year" by Musical America. He plays an instrument by Peter Greiner, modeled after a Guarnerius del Gesu.
Photo Alexandra Voiding
Laura Claycomb, a native of Dallas, studied at Southern Methodist University before joining the San Francisco Opera's Merola Program. From 1991 to 1994 she was an Adler Fellow at the San Francisco Opera Center. In 1994, Ms. Claycomb made her European debut as Giulietta in Bellini's Capuleti e i Montecchi, and debuted at La Scala in the title role of Donizetti's Linda di Chamounix in 1998. Significant opera roles include Zerbinetta in Ariadne auf Naxos; Morgana in Alcina; Lucia in Lucia di Lammermoor; Cleopatra in Giulio Cesare; Ginevra in Ariodante; Cunegonde in Candide; Marie in La fille du regiment; and Sophie in Der Rosenkavalier. Concert engagements have included the world premiere of Esa-Pekka Salonen's Five Images after Sappho with the composer conducting the Los Angeles Philharmonic; as well as performances with the Cleveland Orchestra; London and Saint Louis Symphonies; and New York, Munich, Moscow, and
Rotterdam Philharmonics.
Ms. Claycomb made her
San Francisco Symphony
debut in 1990, and has since
appeared numerous times
I with the Symphony. In
I 2008, she joined Michael
Tilson Thomas and the
I Orchestra for Mahler's
? Symphony No. 8; the
Laura ciaycomb Symphony's live recording
of the performances won three Grammy Awards in 2010 (SFS Media).
This season, Ms. Ciaycomb performs Gilda in Rigoletto at the Teatro Municipale Giuseppe Verdi; Romilda in Xerxes with Houston Grand Opera; Carmina Burana at Tanglewood with the Boston Symphony and in Cincinnati with the Cincinnati Symphony; Handel's Messiah in Frankfurt and Lille; Faure's Requiem in Naples; and in concerts with the Los Angeles Chamber Orchestra. Laura Claycomb's recent recordings include Offenbach arias; Pacini's Alessandro nell'lndie, which she also sang in concert in London; and La Comtesse in Ambroise Thomas's La Cour de Celimene, all on Opera Rara. Her performance as Teresa in Berlioz's Benvenuto Cellini was released on the LSO Live label in 2008.
Born in Stockholm in 1965, Katarina Karneus studied at Trinity College of Music in London and at the National Opera Studio, sponsored by the Welsh National Opera and Glyndebourne Festival Opera.
In recent years, she has appeared at the Salzburg Festival with Sir Roger Norrington, performed in Berlioz's Romeo et Juliette for the BBC Proms, and sung the role of Annio in La demenza di Tito at the Royal Opera House in Covent Garden. She has
sung Cherubino in Le nozze di Figaro with the Metropolitan Opera, the Bayerische Staatsoper in Munich, and the Brussels and Netherlands opera companies. With the Glyndebourne Festival, she played Brangane in Tristan und Isolde; at the Geneva Opera she was
Katarina Karnus Marguerite in Gounod's
Faust. As a recitalist, Ms.
Karneus appears regularly at London's Wigmore Hall, and has performed at the Cheltenham and Edinburgh International Festivals, and at La Monnaie in Brussels, the Frankfurt Opera, Washington, San Francisco, Vancouver, and Lincoln Center in New York. She made her debut with the San Francisco Symphony in 2008, singing in Mahler's Symphony No. 8. The performance was recorded live for release on the SFS Media label and won three Grammy Awards in 2010.
Engagements for the current season include the title role in a new production of Xerxes for the Royal Swedish Opera; Ruggiero in Alcina in Goteborg; and Donna Elvira in Don Giovanni for Covent Garden. She also performs Berlioz's Les Nuits d'ete with the BBC National Orchestra of Wales; Mendelssohn's Elijah in Barcelona; and Beethoven's Symphony No. 9 with the Vienna Symphony Orchestra.
Beginning with a 1999 solo recital disc on EMI, her recordings include Ravel's Chansons Madecasses, Szymanowski's Love Songs of Hafiz, and two albums of songs by Grieg and Sibelius on Hyperion. In addition, her 2009 performance as Brangane in Tristan und Isolde at the Glyndebourne Festival can now be seen on DVD. In 1994, Ms. Karneus received the Christine Nielsen Award; she was also winner of the 1995 BBC Singer of the World Competition.
Photo: Kirati Thaisirisuk
The San Francisco Symphony (SFS) gave its first concerts in 1911 and has grown in acclaim under a succession of music directors: Henry Hadley, Alfred Hertz, Basil Cameron, Issay Dobrowen, Pierre Monteux, Enrique Jorda, Josef Krips, Seiji Ozawa, Edo de Waart, Herbert Blomstedt, and, since 1995, Michael Tilson Thomas. The SFS has won such recording awards as France's Grand Prix du Disque and Britain's Gramophone Award, and the Mahler cycle inaugurated in 2001 on the Symphony's own label has been honored with numerous Grammy Awards, including those for "Best Classical Album" (Mahler's SymphonyNos. 3, 7, and 8), "Best Choral Performance" and "Best Engineered Classical Album" (Mahler's Symphony No. 8), and "Best Orchestral Performance" (Mahler's Symphony Nos. 6 and 7). A series of earlier recordings by Mr. Tilson Thomas and the Orchestra, for RCA Red Seal, has also won praise, and their collection of Stravinsky ballets for RCA {Le Sacre du printemps, The Firebird, and Persephone) received three Grammy Awards.
Some of the most important conductors of the past and recent years have been guests on the SFS podium, among them Bruno Walter, Leopold Stokowski, Leonard Bernstein, and Sir Georg Solti, and among the composers who have led the Orchestra are Stravinsky, Ravel, Copland, and John Adams. The SFS Youth Orchestra, founded in 1980, has become known around the world, as has the SFS Chorus, heard on recordings and on the soundtracks of such films as Amadeus and Godfather III. "Adventures in Music," the longest running education program among US orchestras, brings music to children in first through fifth grades in San Francisco's public schools. SFS radio broadcasts, the first in the nation to feature symphonic music when they began in 1926, today carry the Orchestra's concerts across the country. In a multimedia program designed to make classical music accessible to all, the SFS has launched the second season of Keeping Score on PBS-TV, DVD,, and radio (The MTT Files). San Francisco Symphony recordings are available at www.sfsymphony.orgstore.
Throughout its 131-year history, the UMS Choral Union has performed with many of the world's distinguished orchestras and conductors.
Based in Ann Arbor under the aegis of UMS, the 175-voice Choral Union is known for its definitive performances of large-scale works for chorus and orchestra. Fourteen years ago, the UMS Choral Union further enriched that tradition when it began appearing regularly with the Detroit Symphony Orchestra (DSO). Amidst performances of Stravinsky's Symphony of Psalms, Beethoven's Symphony No. 9, and others, the Choral Union recorded Tchaikovsky's The Snow Maiden with the orchestra for Chandos, Ltd.
Led by Grammy Award-winning conductor and Music Director Jerry Blackstone, the UMS Choral Union was a participant chorus in a rare performance and recording of William Bolcom's Songs of Innocence and of Experience in Hill Auditorium in April 2004 under the baton of Leonard Slatkin. Naxos released a three-disc set of this recording in October 2004, featuring the UMS Choral Union and U-M School of Music ensembles. The recording won four Grammy Awards in 2006, including "Best Choral Performance" and "Best Classical Album." The recording was also selected as one of The New York Times "Best Classical Music CDs of 2004."
Last season, the UMS Choral Union performed two concerts in Ann Arbor: the annual performances of Handel's Messiah with the Ann Arbor Symphony Orchestra in December and a concert with two pianos featuring works of Mendelssohn, Rachmaninoff, Jonathan Dove, and Carl Orff at St. Francis of Assisi Catholic Church in April. The UMS Choral Union also performed with the DSO for its opening weekend of performances conducted by Mr. Slatkin as the orchestra's new Music Director featuring Carl Orff's Carmina Burana.
The current season began with its annual Messiah performances this past December. The season continues with two visits to the DSO, first for performances of William Walton's Henry V: Suite for Orchestra and Chorus conducted by Sir Neville Marriner in March, followed in April by performances of Mozart's Requiem conducted by Hans Graf.
Grammy Award-winning conductor Jerry Blackstone is Director of Choirs and Chair of the Conducting Department at the U-M School of Music, Theatre & Dance. He conducts the Chamber Choir, teaches conducting at the graduate level, and administers a choral program of 11 choirs. In February 2006, Dr. Blackstone won two Grammy Awards for "Best Choral Performance" and "Best Classical Album" as chorus master for the critically acclaimed Naxos recording of William Bolcom's Songs of Innocence and of Experience. In 2006, the Chamber Choir presented a special invitational performance under Dr. Blackstone's direction at the inaugural national convention of the National Collegiate Choral Organization in San Antonio.
Dr. Blackstone is considered one of the country's leading conducting teachers, and his students have received first place awards and been finalists in both the graduate and undergraduate divisions of the American Choral Directors Association biennial National Choral Conducting Awards competition.
In 2004, Dr. Blackstone was named Conductor and Music Director of the UMS Choral Union. In March 2008, he conducted the UMS Choral Union and the Detroit Symphony Orchestra in a special performance of Bach's St. Matthew Passion. Choirs prepared by Dr. Blackstone have appeared under the batons of Valery Gergiev, Neeme Jarvi, Leonard Slatkin, John Adams, Helmuth Rilling, James Conlon, Nicholas McGegan, Rafael Fruhbeck de Burgos, Peter Oundjian, and Itzhak Perlman.
As conductor of the U-M Men's Glee Club from 1988-2002, Dr. Blackstone led the ensemble in performances at ACDA national and division conventions and on extensive concert tours throughout Australia, Eastern and Central Europe, Asia, South America, and the US. The recently released U-M Men's Glee Club CD, have had singing, is a retrospective of his tenure as conductor of the ensemble.
Santa Barbara Music Publishing distributes Dr. Blackstone's acclaimed educational video Working with Male Voices and publishes the Jerry Blackstone Choral Series, a set of choral publications that presents works by several composers in a variety of musical styles.
Prior to coming to U-M in 1988, Dr. Blackstone served on the music faculties of Phillips University in Oklahoma, Westmont College in California, and Huntington College in Indiana.
The Ford Honors Program is a University Musical Society gala event that honors a world-renowned artist or ensemble with whom UMS has maintained a long-standing and significant relationship. In one evening, UMS pays tribute to and presents the artist with the UMS Distinguished Artist Award and hosts a dinner in the artist's honor. The 2010 Ford Honors Program celebrates the 15th anniversary of the UMS Distinguished Artist Award. Ford Motor Company's leadership grant to UMS, along with the additional support UMS receives from individuals and organizations participating in this evening's event, provides significant support to UMS's nationally recognized Education and Audience Development Program.
Previous awardees include:
Van Cliburn(1996)
Jessye Norman (1997)
Garrick Ohlsson (1998)
Canadian Brass (1999)
Isaac Stern (2000)
Marcel Marceau (2001)
Marilyn Home (2002)
Christopher Parkening (2003)
Sweet Honey In The Rock (2004)
Guarneri String Quartet (2005)
Dave Brubeck (2006)
Mstislav Rostropovich (2007)
Sir James Galway (2008)
Royal Shakespeare Company, RSC Artistic Director Michael Boyd, and U-M Professor Ralph Williams (2009)
UMS congratulates the DTE Energy Foundation Educator of the Year, Deb Clancy, and the DTE Energy Foundation School of the Year, Bums Park Elementary, for their continued contributions to arts education in southeastern Michigan. UMS and DTE presented these awards earlier this evening at the Ford Honors Gala benefitting UMS's Education Program.
Please refer to page PI25 in your program book for an overview of UMS's Education Program.
UMS Archives
TThis weekend's concerts mark the San Francisco Symphony's eighth and ninth appearances under UMS auspices. The San Francisco Symphony made its UMS debut in October 1980 under the baton of Edo de Waart at Hill Auditorium. The Symphony made its most recent UMS appearance under the musical direction of Michael Tilson Thomas in March 2008.
This weekend's concerts mark Michael Tilson Thomas's 10th and 11th appearances under UMS auspices. Mr. Tilson Thomas made his UMS debut leading the Pittsburgh Symphony Orchestra in an April 1988 program at the 95th Annual May Festival at Hill Auditorium featuring Vladimir Feltsman as piano soloist in Rachmaninoff's Piano Concerto No. 3. Mr. Tilson Thomas has led three orchestras in concerts at Hill Auditorium:
the Pittsburgh, New World, and San Francisco Symphonies.
Friday evening's concert marks Christian Tetzlaff's third appearance under UMS auspices. Mr. Tetzlaff made his UMS debut in February 2000 in a program of J. S. Bach's solo violin works at St. Francis of Assisi Catholic Church.
UMS welcomes soprano Laura Claycomb and mezzo-soprano Katarina Karneus in their UMS debuts Saturday evening.
Saturday evening's concert marks the UMS Choral Union's 415th appearance under UMS auspices. The UMS Choral Union most recently appeared in its annual performances of Handel's Messiah in December 2009.
UMS is honored to present its Distinguished Artist Award to both Michael Tilson Thomas and San Francisco Symphony.
San Francisco Symphony
Michael Tilson Thomas
Music Director and Conductor
Donato Cabrera
Assistant Conductor
Herbert Blomstedt
Conductor Laureate
First Violin Alexander Barantschik,
Naoum Blinder Chair Nadya Tichman, Associate
San Francisco
Symphony Foundation
Chair Mark Volkert, Assistant
75th Anniversary Chair Jeremy Constant,
Concertmaster Mariko Smiley
Paula & John Gambs
Second Century Chair Melissa Kleinbart
Katharine Hanrahan
Chair Yun Chu
Sharon Grebanier Naomi Kazama Hull Yukiko Kurakata
Catherine A. Mueller
Suzanne Leon Leor Maltinski Diane Nicholeris Sarn Oliver Florin Parvulescu Victor Romasevich Catherine Van Hoesen In Sun Jangt Sarah Knutsont Elbert Tsait
Second Violin
Dan Nobuhiko Smiley,
Dinner & Swig Families
Chair Dan Carlson, Associate
Audrey Avis Aasen-Hull
Chair Paul Brancato, Assistant
Principal Kum Mo Kim
The Eucalyptus
Foundation Second
Century Chair Raushan Akhmedyarova David Chernyavsky John Chisholm Cathryn Down Darlene Gray Amy Hiraga Frances Jeffrey Chunming Mo Kelly Leon-Pearce Polina Sedukh
Isaac Stern Chair Robert Zelnick Chen Zhao Zoya Leybint Virginia Pricet
Jonathan Vinocour,
Principal Yun Jie Liu, Associate
Principal Katie Kadarauch,
Assistant Principal John Schoening
Joanne E. Harrington S
Lorry I. Lokey
Second Century Chair Nancy Ellis Gina Feinauer David Gaudry David Kim Christina King Seth Mausner Wayne Roden Nanci Severance Adam Smyla Virginia Lenzt
Michael Grebanier,
Philip 5. Boone Chair Peter Wyrick, Associate
Peter & Jacqueline
Hoefer Chair Amos Yang, Assistant
Principal Margaret Tait
Lyman & Carol Casey
Second Century Chair Barbara Andres
The Stanley S.
Langendorf Foundation
Second Century Chair Barbara Bogatin Jill Rachuy Brindel David Goldblatt
Christine & Pierre
Lamond Second
Century Chair Carolyn Mclntosh Anne Pinsker Shu-Yi Pait
Scott Pingel, Principal Larry Epstein, Associate
Principal Stephen Tramontozzi,
Assistant Principal
Richard 8 Rhoda
Goldman Chair S. Mark Wright Charles Chandler Lee Ann Crocker Chris Gilbert Brian Marcus William Ritchen Ken Millert
Tim Day, Principal
Caroline H. Hume Chair Robin McKee, Associate
Catherine & Russell
Clark Chair Linda Lukas
Alfred S. & Dede
Wilsey Chair Catherine Payne, Piccolo
William Bennett, Principal
Edo de Waart Chair Jonathan Fischer,
Associate Principal Pamela Smith
Dr. William D. Clinite
Chair Russell deLuna, English
Joseph & Pauline
Scafidi Chair
Carey Bell, Principal
William R. & Gretchen
B. Kimball Chair Luis Baez, Associate
Principal, E-flat Clarinet David Neuman Ben Freimuth, Bass
Clarinet Jerome Simast
Stephen Paulson,
Principal Steven Dibner, Associate
Principal Rob Weir Steven Braunstein,
Contrabassoon Greg Barbert
Robert Ward, Principal
Jeannik Mequet
Littlefield Chair Nicole Cash
Associate Principal Bruce Roberts
Assistant Principal Jonathan Ring Jessica Valeri Kimberly Wright Chris Coopert Bruce Hennisst Darby Hinshawt Doug Hullt Mike Lewellent Alex Rosenfeldt
Mark Inouye, Principal
William G. Irwin
Charity Foundation
Chair Glenn Fischthal, Associate
Peter Pastreich Chair Jeff Biancalanat Scott Macombert
Ann L. 8 Charles B.
Johnson Chair David Burkhartt Sam Hykent Adam Luftmant Darren Muldert Vance Woolft
Timothy Higgins, Principal Robert L. Samter Chair
Paul Welcomer
John Engelkes, Bass Trombone
Mark Lawrencet
Jeffrey Anderson, Principal James Irvine Chair
Douglas Rioth, Principal Karen Gottliebt
David Herbert, Principal
Jack Van Geem, Principal Carol Franc Buck Foundation Chair
Raymond Froehlich
Tom Hemphill
James Lee Wyatt III
Victor Avdienkot
Robin Sutherland
Jean S Bill Lane Chair Jonathan Dimmockt
John G. Van Winkle, Principal Librarian Nancy & Charles Geschke Chair
On Leave tActing member of
the San Francisco
The San Francisco Symphony string section utilizes revolving seating on a systematic basis. Players listed in alphabetical order change seats periodically.
Orchestra Personnel John D. Goldman,
President Brent Assink, Executive
Director John Kieser, General
Manager Gregg Gleasner, Director
of Artistic Planning Nan Keeton, Director of
Marketing, Communi?cations, and External
Affairs Robert Lasher, Director of
Development lean Shirk, Public
Relations Manager Rebecca Blum, Orchestra
Personnel Manager Joyce Cron Wessling,
Manager, Tours and Media
Production Tim Carless, Production
Stage Technicians
Vance DeVost, Sfage
Manager Dennis DeVost Rob Doherty
UMS Choral Union
Jerry Blackstone, Conductor and Musical Director
Jason Harris, Assistant Conductor
Jean Schneider and Scott VanOrnum, Accompanists
Kathleen Operhall, Chorus Manager
Nancy K. Paul, Librarian
Donald Bryant Conductor Emeritus
Kathryn Borden Ann Marie Borders Jamie Bott Debra Joy Brabenec Ann K. Burke Anne Busch Carol Callan Susan F. Campbell Antonia Chan Jessica Chung Young Cho Cheryl D. Clarkson Joy Collman Elizabeth Crabtree Marie Ankenbruck Davis Kristina Eden Avlana Eisenberg Gabriele Fazio Emilia Fracz Jennifer Freese Keiko Goto Elizabeth Grapentine Bethany Isackson Karen Isble Anne Jaskot Carol Keith Kyoung Kim Jessie Kirchner Catherine Kublik Allison Lamana Kay Leopold Patricia Lindemann Loretta Lovalvo Natalie Lueth Carole McNamara Linda Selig Marshall Toni Marie Micik Ann Ophoff Nancy K. Paul Ann Payne Sara J. Peth Margaret Dearden
Petersen Julie Pierce Alexis Ridener Dana Sadava Susie Shaefer Erin L. SchefflerFranklin Mary A. Schieve
Joy C. Schultz Elizabeth Starr Jennifer Stevenson Sue Ellen Straub Ashley Talsma Virgina A. Thorne-
Katy Vaitkevicius-Wyner Barbara Hertz Wallgren Barbara J. Weathers Mary Wigton
Paula Allison-England Olga Astapova Carol Barnhart Dody Blackstone Lorraine Buis Anne Casper Melissa Doyle Angela C. Esquivel Marilyn Finkbeiner Katherine Fisher Norma Freeman Grace Gheen Heidi Goodhart Johanna Grum Kat Hagedorn Linda Hagopian Sook Han Brianne Hawes Nancy Heaton Diana Herstein Carol Kraemer Hohnke Laura Holladay Stefanie Iwashyna Josephine Kasa-Vubu Katherine Klykylo Jessica Lehr Jan Leventer Jean Leverich Cynthia Lunan Karla K. Manson Jennifer McFarlane-Harris Beth McNally Marilyn Meeker Nicole Michelotti Carol Milstein Mary Morse Stephanie Normann
Sherry Root Susan Schilperoort Joy Schroeder Cindy Shindledecker Sue Sinta Beverly N. Slater Hanna Song Connie Soves Katherine Spindler Gayle Beck Stevens Ruth A. Theobald Carrie Throm Alice E. Tremont Barbara Trevethan Cheryl Utiger Jane A. VanSteenis Alice VanWambeke Mary Beth Westin Sandra K. Wiley Susan Wortman Allison Anastasio Zeglis
Michael I. Ansara Gary Banks Philip Cheng Fr. Tim Dombrowski John W. Etsweiler III Steven Fudge Randy Gilchrist Roy Glover Arthur Gulick Jason Harris Steve Heath Nathan Kalmoe Ezra Keshet Arian Khaefi Bob Klaffke Nils Klykken Mark A. Krempski Richard Marsh David Schnerer Ray Shuster Carl Smith Joshua Smith Patrick Tonks Jim VanBochove Vincent Zuellig
Seth Aylesworth Sam Baetzel William Baxter Robert Boardman David Bowen Paul Bowling Jeff Clevenger Michael Coster Daniel Dryden John Dryden Don Faber Kenneth A. Freeman Seth Galligan Todd Galloway Mark Goodhart Scott Goodhart Philip J. Gorman Matthew Gray Chris Hampson James Head William Kinne Christopher Lee Steven K. Lundy Edward Maki-Schramm William Malone Joseph D. McCadden Gerald Miller Nicholas Mischel Michael Peterson James Cousins
Rhodenhiser Ryan Seay Yaniv Segal Bradley Schick William Shell Donald Sizemore Jeff Spindler John Paul Stephens Robert Stevenson William Stevenson Alexander Sutton Steve Telian Terril 0. Tompkins Tom Trevethan John Van Bolt Alexander Von Hagen-
Jamar James Wessel Walker
'Section Leader
0910 Season: Breaking Down Walls
UMS's Education Program deepens the relation?ship between audiences and art, while efforts in Audience Development raise awareness of the positive impact the performing arts and educa?tion can have on the quality of life in our com?munity. The program creates and presents the highest quality arts education and community engagement experiences to a broad spectrum of constituencies, proceeding in the spirit of part?nership and collaboration.
Both literally and figuratively, the 0910 UMS Education season celebrates the breaking down of walls: literally in the celebration of the 20th anniversary of the fall of the Berlin Wall and events surrounding the presentation of the Berlin Philharmonic; and figuratively, in the attempt to break down walls that impede personal and intellectual growth, participation in the arts, and connections to community. Each event chal?lenges participants to expand the way they think about art, culture, and creativity, and encourages a greater investment in UMS and the arts as a whole.
In this time of economic challenge, the UMS 0910 education programs "go deeper" with projects that encourage sustained engagement over time, allow a variety of entry points for a wide range of interests and audiences, and explore the diversity of artists, art forms, ideas, and cultures featured in the current UMS season.
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 I JonesArnie Zane Dance Company, San Francisco Symphony, and Maly Drama Theater of St. Petersburg
Artist interviews with Bill I 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, or call the numbers listed on the following pages.
Please call 734.615.4077 or e-mail for more information.
Public Events: Extending the Experience
UMS hosts a wide variety of educational and community events to inform the public about arts and culture and to provide forums for dis?cussion and celebration of the performing arts. These events include:
Artist Interactions: Public interviews, inter?active workshops with artists, master classes, and meet-and-greet opportunities for visiting and local artists to share their craft and process while getting to know the Ann Arbor community.
LecturesRound-Table DiscussionsBook Clubs: In-depth adult education related to specific artists, art forms, cultures, films, books, or ideas connected to the UMS season.
Audience as Artist: Opportunities for the public to participate in the performing arts: dance parties, jam sessions, staged readings.
Community Receptions: Relaxed events for audiences to network and socialize with each other and with artists.
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 UMSBSSS
With support from the U-M Alumni Association
Internships and College Work-Study
Internships and College Work-Study with UMS provide experience in performing arts adminis?tration, marketing, ticket sales, programming, production, fundraising, and arts education. Semesterand year-long unpaid internships are available in many of UMS's departments. If you are a U-M student interested in working at UMS, please e-mail or visit
Student Committee
As an independent council drawing on the diverse membership of the U-M community, the UMS Student Committee works to increase stu?dent interest and involvement in various UMS programs by fostering increased communication between UMS and the student community, promoting awareness and accessibility of stu-
dent programs, and promoting the value of live performance. For more information or to join, please call 734.615.6590 or email
Please call 734.615.0122 or e-mail for more information.
UMS Youth: Arts for the Next Generation
UMS has one of the largest K--12 education ini?tiatives in Michigan. Designated as a "Best Practice" program by ArtServe Michigan and the Dana Foundation, UMS is dedicated to mak?ing world-class performance opportunities and professional development activities available to K--12 students and educators.
0910 Youth Performance Series
These daytime performances give pre-K through high school students the opportunity to see the same internationally renowned performances as the general public. The 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, 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
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 I. 2008 and November I, 2009.
University of Michigan
Michigan Council for Arts and Cultural Affairs
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 Conn LLP JazzNet Endowment WK Kellogg Foundation Masco Corporation
Miller, Canfield. Paddock and
(of R. & P. Heydon) The Mosaic Foundation,
Washington DC National Dance Project of the
New England Foundation
for the Arts
National Endowment for the Arts Prudence and Amnon
Rosenthal K-12 Education
Endowment Fund Rick and Sue Snyder TCF Bank
UMS Advisory Committee University of Michigan Credit Union University of Michigan
Health System U-M Office of the Senior Vice
Provost for Academic Affairs U-M Office of the Vice
President for Research Wallace Endowment Fund
There are many ways to support the efforts of UMS, all of which are critical to the success of our season. We would like to welcome you to the UMS family and involve you more closely in our exciting programming and activities. This can happen through corporate sponsorships, business advertising, individual donations, or through volunteering. Your financial investment andor gift of time to UMS allows us to continue connecting artists and audiences, now and into the future.
When you advertise in the UMS program book you gain season-long visibility among ticket buyers while enabling an important tradition of providing audiences with the detailed program notes, artist biographies, and program descrip?tions that are so important to the performance experience. Call 734.764.6833 to learn how your business can benefit from advertising in the UMS program book.
As a UMS corporate sponsor, your organization comes to the attention of an educated, diverse, and growing segment not only of Ann Arbor, but all of southeastern Michigan. You make possible one of our community's cultural treas?ures and also receive numerous benefits from your investment. For example, UMS offers you a range of programs that, depending on your level of support, provide a unique venue for:
Cultivating clients
Developing business-to-business relationships
Targeting messages to specific demographic groups
Enhancing corporate image
Making highly visible links with arts and education programs
Recognizing employees
Showing appreciation for loyal customers
For more information, please call 734.647.1176.
We could not present our season without the invaluable financial support of individual donors. Ticket revenue only covers half of the cost of our performances and educational events. UMS donors help make up the differ?ence. If you would like to make a gift, please fill out and mail the form on page P36 or call 734.647.1175.
The UMS Advisory Committee is an organization of over 80 volunteers who contribute approxi?mately 7,000 hours of service to UMS each year. The Advisory Committee champions the mission and advances UMS's goals through community engagement, financial support, and other volun?teer service.
Advisory Committee members work to increase awareness of and participation in UMS programs through the Education Ambassador Committee, a new Community Ambassador proj?ect, ushering at UMS youth performances, and a partnership with the U-M Museum of Art (UMMA) Friends Board.
Meetings are held every 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.
UMS is proud to be a member of the following organizations:
Ann Arbor Area Convention & Visitors Bureau
Ann Arbor Chamber of Commerce
Arts Alliance of the Ann Arbor Area
ArtServe Michigan
Association of Performing Arts Presenters
Chamber Music America
Cultural Alliance of Southeastern Michigan
International Society for the Performing Arts
Main Street Area Association
Michigan Association of
Community Arts Agencies National Center for Nonprofit Boards State Street Association Think Local First
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
Contact us for details on the specific benefits of each level
Presenters Circle
? $100,000 or more Director Zl $50,000 Soloist
J 520,000 Maestro
? $10,000 Virtuoso
_) $7,500 Concertmaster J $5,000 Producer 3 S3.500 Leader
? $2,500 Principal
? $1,000 Patron
? $500 Benefactor -J $250 Associate -I $100 Advocate
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.
$100,000 or more
Doris Duke Charitable Foundation
Ford Motor Company Fund and
Community Services Forest Health Services Michigan Council for Arts and
Cultural Affairs
National Endowment for the Arts Randall and Mary Pittman University of Michigan Health System
Emily W. Bandera MD
Brian and Mary Campbell
Community Foundation for Southeast
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
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.
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
$10,000-$!9,999 Jerry and Gloria Abrams Michael Allemang and
Janis Bobrin Herb and Carol Amster Anonymous Arts at Michigan Arts Midwest's Performing Arts
Bank of Ann Arbor Carl and Isabelle Brauer Fund Marilou and Tom Capo Alice B. Dobson Paul and Anne Glendon Eugene and Emily Grant
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
Marina and Robert Whitman Ann and Clayton Wilhite
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
American Syrian Arab Cultural
Ann Arbor Automotive Anonymous
Essel and Menakka Bailey Beverly Franzblau Baker Kathy Benton and Robert Brown Charlevoix County Community
Mary Sue and Kenneth Coleman Creative Campus Innovations
Grant Program Dennis Dahlmann and
Patricia Garcia
Sophie and Marylene Delphis The Herbert and Junia Doan
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
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
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
$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
$1,000-$2,499 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
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 EdwardsVibrant
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
Bonnie Ackley
Alan and Susan Aldworth
Richard and Mona Alonzo Family Fund
Fahd Al-Saghir and Family
Helen and David Aminoff
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
L.S. 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 Cohn
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
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 Sarns 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
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
$250-$499 Judith Abrams Dont 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 Rente 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 Graver 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 O. 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
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 S. 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 Katherine 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 JOrgen 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 Yablonky Richard and Kathryn Yarmain Zakhour and
Androulla Youssef Gail and David Zuk
UMS also expresses its deepest appreciation to its many donors who give less than $250 each year, enabling the ongoing success of UMS programs.
July 1, 2008-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
Lenore M. Delanghe Trust Estate of Lillian G. Ostrand
James and Nancy Stanley
Estate of Betty Ann Peck
AMGEN Foundation
Herb and Carol Amster
John R. Edman and Betty B. Edman
Susan and Richard Gutow
Gilbert Omenn and Martha Darling
Stephen and Agnes Reading
Susan B. Ullrich
Marina and Robert Whitman
Bernard and Raquel Agranoff Jean and Ken Casey Charles and Julia Eisendrath Sid Gilman and Carol Barbour Paul and Anne Glendon Debbie and Norman Herbert Diane S. Hoff Natalie Matovinovic Prue and Ami Rosenthal Jay and Mary Kate Zelenock
Jerry and Gloria Abrams
Dr. Jo Ann Aebersold
Hiroko and Michael Akiyama
Bob and Martha Ause
Emily W. Bandera
Ramon and Peggyann Nowak Berguer
Inderpal and Martha Bhatia
Anne Chase
Malcolm and Juanita Cox
Linda Davis and Robert Richter
Stefan and Ruth Fajans
David Fink and Marina Mata
Neal R. Foster and Meredith Lois Spencer Foster
Robert and Frances Gamble Trust
Thomas and Barbara Gelehrter
Lewis and Mary Green
John and Joyce Henderson
Dr. and Mrs. Robert Hensinger
Marilyn G. Jeffs
Robert and Jeri Kelch
Dorothea Kroll and Michael Jonietz
John Lawrence and Jeanine DeLay
Richard LeSueur
Joan and Melvyn Levitsky
Barbara and Michael Lott
Joan Lowenstein and Jonathan Trobe
Regent Olivia Maynard and Olof Karlstrom
Frieda H. Morgenstern
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
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 MatovinoviC Endowment Fund
NEA Matching Fund
Palmer Endowment Fund
Mary R. Romig-deYoung Music Appreciation Fund
Prudence and Amnon Rosenthal K-12 Education
Endowment Fund Charles A. Sink Endowment Fund Catherine S. ArcureHerbert E. Sloan Endowment Fund University Musical Society Endowment Fund The Wallace Endowment Fund
Burton Tower Society
The 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
MaryC. 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
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
3en Johnson
Robert Lazzerin
athleen McCree Lewis
Ellen Livesay
"harles 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
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 Psaroutha
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
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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