UMS Concert Program, Wednesday Mar. 24: University Musical Society: Winter 2010 - Wednesday Mar. 24 --
Season: Winter 2010
University Of Michigan, Ann Arbor
University Musical Society of the University of Michigan Ann Arbor
university musical society
Winter 10 University of Michigan Ann Arbor
P2 Letters from the Presidents
P5 Letter from the Chair
UMSLeadership P7 UMS Corporate and Foundation Leaders
P14 UMS Board of DirectorsNational Council
P15 UMS StaffCorporate Council
Teacher Advisory Committee
UMSlnfo P17 General Information
P19 UMS Tickets
UMSAnnals P 21 UMS History
P22 UMS Venues and Burton Memorial Tower
Event Program 24 Your event program content follows page 24
UMSExperience 25 UMS Education and Audience Development
UMSSupport 33 Corporate Sponsorship and Advertising
P33 Individual Donations
35 UMS Advisory Committee
P37 Annual Fund Support
P44 Endowment Fund Support
P48 UMS Advertisers
Cover Cyro Baptista, Bill T. JonesArnie Zane Dance Company (photo: Paul B. Goode),
Bela Fleck, Maly Drama Theater of St. Petersburg (photo: Viktor Vassiliev)
FROM THE U-M PRESIDENT
Welcome to this University Musical Society (UMS) performance. At the University of Michigan we are proud of UMS and of the world-class artists and ensembles it brings each season to the University and southeast Michigan.
We are also proud of the outstanding educational programs UMS offers to people of all ages and of the new works in dance, theater, and music it com?missions and premieres. Through the U-MUMS
Partnership Program, the University is pleased to pro?vide support to UMS as it car?ries out its commitment to education, creation, and pres?entation, paralleling the University's commitment to teaching, research, and public engagement.
UMS offers a variety of pro?grams designed to engage
U-M students in the arts. These include programs that provide academic context and background for arts performances, or combine arts performances with social activities; initiatives to make ticket pur?chases more affordable and convenient; and opportunities for students to gain direct experience in arts administration.
UMS is a member of the University's Public Goods Council (PGC), a cluster of campus organizations dedicated to advancing scholarship and culture through music, works of art, special collections, historical archives, natural science resources, per?formance programs, coursework, and experiential learning. The PGC promotes collaboration in ways that enrich the educational and cultural experience on campus and in the community.
I encourage you to attend more UMS events and those offered by the other many outstanding arts and cultural organizations of the University. To learn more about these activities, visit the University's website at www.umich.edu.
Mary Sue Coleman
President, University of Michigan
Photo: Lu Huang
FROM THE UMS PRESIDENT
Welcome to this UMS performance. All of us associated with UMS are grateful that you're here. We hope you will enjoy the experience and attend more UMS events during our 131st season. You will find a listing of events on page 2 of this program book.
The UMS Fall 2009 Season. Many thanks to those of you who attended some of the out?standing events of the UMS Fall 2009 Season. Whether it was embracing a young artist making her UMS debut (cellist Alisa Weilerstein), laughing riotously at the behavior of the actors on and off the stage (Shakespeare's Globe Theatre's Love's Labour's Lost), or being totally captivated by the glorious sounds in the reverberant St. Francis sanctuary (Stile Antico), you demonstrated once again why artists like to come to Ann Arbor. You were totally engaged with them, listening intent?ly, absorbing their performances, and then letting them know how much you appreciate them. When I visited Sir Simon Rattle in his dressing room before his Ann Arbor debut as conductor of the Berliner Philharmoniker, the first words out of his mouth were, "There was no way Ann Arbor would be left off this tour. The orchestra members insisted we return here." When I visited with him after the concert, he picked up where he left off, saying, "And now I know why. What a glorious hall--and what a remarkable audience! I could hear them listening."
UMS Strategic Plan. In January 2009, UMS began a strategic planning process with the assis?tance of external consultant Stephen Y. Nose of SYN Associates in Ann Arbor. Many members of the UMS community took part in gathering data through focus groups, personal interviews, sur?veys, and other means in assessing competition, trends, products, and our partnerships. The UMS Board approved key goals and objectives in the fall, and the UMS staff is working on the develop?ment of implementation strategies to achieve them. Many of the goals and objectives deal with internal matters related to staff development, board and staff succession, the UMS brand, and our relationship with key partners including the University of Michigan. The most important objectives are those that deal most directly with
our mission, which is "To inspire individuals and enrich communities by connecting audiences and artists in uncommon and engaging experiences." These include enabling UMS to take greater artis?tic and programmatic risks on an ongoing basis, increasing participation of emerging and new audiences in UMS programs, and creating deeper UMS experiences by providing new and renewed connection points for audiences and artists in both virtual and physical spaces. Stay tuned for
more information as we complete the strategies.
Ford Honors Program.
The 15th Ford Honors Program occurs on Saturday, March 20 during the residency of the San Francisco Symphony when we honor both the SFS and its music director, Michael Tilson Thomas, with the UMS Distinguished Artist
Award. The format takes a different approach this year. The gala dinner precedes the performance, and a champagne reception follows, both planned and organized by our dynamic Advisory Committee. A very brief awards presentation on the Hill stage precedes the performance of Mahler's Symphony No. 2 featuring the SFS and the UMS Choral Union. Look for more informa?tion on our website at www.ums.org.
Feel free to get in touch with me if you have any questions, comments, or problems. If you don't see me in the lobby, send me an e-mail message at email@example.com or call me at 734.647.1174.
Thanks again for coming to this event. Very best wishes,
Kenneth C. Fischer UMS President
The UMS Lobby
In June 2009, UMS was one of four organizations awarded an "Innovation Lab" grant by EMCArts, with support from the Doris Duke Charitable Foundation, to develop an idea that could have a profound impact on how they do business. UMS will launch a beta version of the project in February.
The UMS Lobby will expand and redefine what we mean by "the UMS experience." By combining online and live components in everything UMS does, we will enable a wide range of participants to engage more continuously and more deeply with each other, with the extraordinary history of UMS, with the artists we now present, and with the life of UMS in Ann Arbor and throughout the region.
The UMS Lobby is both a virtual and physical space where people meet, exchange ideas, and build relation?ships -a bridge between daily life and the special places we devote to artistic experiences. The UMS Lobby will include:
-Live preand post-performance events that extend the UMS experience
-A digitized historical archive that includes access to UMS's extraordinary 131 -year history, including the opportunity to submit your own comments, memories, and observations about events that you've attended
-A multimedia blog with articles, video, audio, photos, and links
-Stories from patrons and others about the impact of UMS -in essence, a "living archive" that will grow with time and supplement the historical archive
-Conversation areas that include feeds from our facebook, twitter, and other networks, but that also provide a place to listen and to be heard
FROM UMS CHAIRMAN, JIM STANLEY
How fortunate we are to be part of a UMS audience experiencing artistic performanc?es that have the potential to transform lives. That is of little surprise given the role UMS has in inspiring us, enriching our community, and broadening our understandings of each other. Be it the sound of music, the movement of dance, or the voice of theater, UMS has brought extraordi?nary performances and new experiences from some of the world's most distinctive artists to us for 131 years. UMS is regarded as one of the country's most respected organizations bringing artists and audiences together. UMS makes a dif?ference.
UMS events are presented in many diverse venues, all of which are chosen to create an unusual bond between the performers and the audience. Both the seasoned attendee and the newcomer quickly grasp this unique connection. Lasting ovations and knowledgeable chatter of those leaving the hall let the artists know they have been deeply appreciated and understood. That atmosphere has established a special rela?tionship between UMS audiences and artists. It's been that way for generations.
But there is more than simply a few hours of respite from our busy lives. Our forbearers knew the importance of sustaining their emotional and intellectual spirit by revisiting the many cultural roots that surround them. And so do we. In today's times of world conflict and economic stress, UMS plays a most valuable role in sustain?ing our global community's well being. The 0910 season is a testament to that role. As a starter, the first half of the year witnessed the likes of the Berlin Philharmonic, Shakespeare's Globe Theatre of London, The Suzanne Farrell Ballet, and the Vienna Boys Choir. The second half offers the classical music of the Chicago Symphony Orchestra and the San Francisco Symphony, Lang Lang at the piano and Julia Fischer on the violin, the moods of Wynton
Marsalis and the Jazz at Lincoln Center Orchestra, the singing of Ladysmith Black Mambazo, the voices of St. Petersburg's Maly Drama Theater, the motion of Hubbard Street Dance Chicago, and the wit of The New Yorker music critic Alex Ross. These performances are a small bit of what UMS is doing for us now. It just doesn't get any better anywhere.
The UMS Board and I encourage you to engage yourself in the many experiences afford-
ed by UMS. Dare yourself to be exposed to the different sounds and colors that are part of our ever-shrinking planet. They are all here. Enjoy the pride in being among our individual and corporate donors whose contributions fund more than half the expenses of bringing worldwide artists to our doors each year. The
back of this program documents the wonderful support, both large and small, from our benefac?tors. Join them and participate as advocates for the cultural contributions that UMS offers to our greater community. Do it for yourself and for those who follow. Learn about us and talk to us at www.ums.org. We like to listen. And remem?ber how very fortunate you are to be part of the UMS difference.
James C. Stanley I
Chair, UMS Board of Directors
CORPORATE AND FOUNDATION LEADERS
James G. Vella
President, Ford Motor Company Fund '
and Community Services
Through music and the arts, we are inspired
to broaden our horizons, bridge differences
among cultures, and set our spirits free.
We are proud to support the University
Musical Society and acknowledge the
important role it plays in our community."
Dr. Ora Hirsch Pescovitz
Executive Vice President for Medical Affairs, University of Michigan, and CEO, University of Michigan Health System "When I was young, I contemplated becoming a concert pianist. Though I didn't pursue that career path, the arts have remained a prominent fixture in my life, both personally and professionally. Music and the arts feed our imaginations, heal our spirits, and inspire us to evolve and grow. We are very fortunate to have the University Musical Society as part of our community, and the University of Michigan Health System is privileged to sponsor such a creative, vibrant part of our culture. Here's to a great year!"
Douglass R. Fox
President, Ann Arbor Automotive "We at Ann Arbor Automotive are pleased to support the artistic variety and program excellence given to us 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."
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."
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."
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."
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."
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."
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."
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."
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
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.
Owner, Mainstreet Ventures, Inc. 'As restaurant and catering service owners, we consider ourselves fortunate that our business provides so many opportunities for supporting the University Musical Society and its continuing success in bringing internationally acclaimed talent to the Ann Arbor community."
Sharon J. Rothwell
Vice President, Corporate Affairs and Chair, Masco Corporation Foundation 'Masco recognizes and appreciates the value the performing arts bring to the region and to our young people. We applaud the efforts of the University Musical Society for its diverse learning opportunities and the impact its programs have on our communities and the cultural leaders of tomorrow."
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."
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."
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."
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."
President, University of Michigan Credit Union "Thank you to the University Musical Society for enriching our lives. The University of Michigan Credit Union is proud to be a part of another great season of performing arts."
FOUNDATION AND GOVERNMENT SUPPORT
UMS gratefully acknowledges the support of the following foundations and government agencies:
S100.000 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
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
UNIVERSITY MUSICAL S 0 C I E T Y of the University of Michigan UMS BOARD OF DIRECTORS
James C. Stanley,
Chair David J. Herzig,
Wee Chair Martha Darling,
Secretary Robert C. Macek,
Treasurer Carl W. Herstein,
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,
Council A. Douglas Rothwell,
Council Janet Callaway,
UMS NATIONAL COUNCIL
Clayton E. Wilhite, Chair Marylene Delbourg-Delphis John Edman Janet Eilber
Eugene Grant Charles Hamlen Katherine Hein David Heleniak
Toni Hoover Judith Istock Wallis Klein Zarin Mehta
Herbert Ruben Russell Willis Taylor Carl W. Herstein, Exofficio James C. Stanley, Exofficio
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
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 5. Omenn Joe E. O'Neal John D. Paul Randall Pittman Philip H. Power John Psarouthakis Rossi Ray-Taylor John W. Reed Richard H. Rogel Prudence I. Rosenthal A. Douglas Rothwell Judy Dow Rumelhart Maya Savarino Ann Schriber Erik H. Serr Harold T. Shapiro
George I. Shirley John 0. Simpson Herbert Sloan Timothy P. Slottow Carol Shalita Smokier Jorge A. Solis Peter Sparling Lois U. Stegeman Edward D. Surovell James L. Teller 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 Phyllis Herzig, Past Chair
Ricky Agranoff ManAnn Apley Sandy Aquino Lone Arbour Barbara Bach Pat Ban tie Francine Bomar
Luciana Borbely Dennis J. Carter Stefani Carter Cheryl Cassidy Patricia Chapman Cheryl Clarkson Wendy Comstock Sheila Crowley Doug Czinder Norma Davis Mary Dempsey Mary Ann Faeth Michaelene Farrell Sara Fink
Susan A. Fisher Susan R. Fisher Rosamund Forrest Kathy Goldberg Walter Graves Linda Grekin Nicki Griffith Joe Grimley Susan Gross Susan Gutow Charlene Hancock Shelia Harden Alice Han Meg Kennedy Shaw
Pam Krogness Marci Raver Lash Mary LeDuc Joan Levitsky Jean Long Eleanor Lord Jane Maehr Jennifer J. Maisch Melanie Mandeil Ann Martin Fran Martin Joanna McNamara Deborah Meadows Liz Messiter
Robin Miesel Natalie Mobley Bonita Davis Neighbors Kay Ness Thomas Ogar Liz Othman Allison Poggi Lisa Psarouthakis Agnes Moy Sarns Penny Schreiber Bev Seiford Aliza Shevrin Alida Silverman
Loretta Skewes Andrea Smith Becki Spangler Nancy Stanley Carlin C Stockson Gail Ferguson Stout Eileen Thacker Janet Torno Louise Townley Amanda Uhle Enid Wasserman Kirsten Williams Ellen Woodman
Kenneth C. Fischer, President Kathy M. Brown, Executive Assistant John B. Kennard, Jr.,
Director of Administration Beth Gilliland,
Gift ProcessorIT Assistant Patricia Hayes, Senior Accountant John Peckham,
Information Systems Manager
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
Claire C. Rice, Interim Director Mary Roeder,
Residency Coordinator Omari Rush, Education Manager
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
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
UMS CORPORATE COUNCIL
Rothwell, Chair Albert Berriz
Bruce Brownlee Robert Buckler James Garavaglia
Steven K. Hamp Mary Kramer David Parsigian
Sharon Rothwell Michael B. Staebler James G. Vella
James C. Stanley, Ex-officio
UMS TEACHER ADVISORY COMMITTEE
Abby Alwin Fran Ampey Robin Baiiey 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 Carl Clark Ben Cohen Julie Cohen Leslie Criscenti Orelia Dann Saundra Dunn
Johanna Epstein Susan Filipiak Katy Fillion Delores Flagg Joey Fukuchi Jeff Gaynor Joyce Gerber Barb Grabbe Joan Grissing Linda Jones Jeff Kass
Rosalie Koenig Sue Kohfeldt Laura Machida 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
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.
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.
University of Michigan policy forbids smoking in any public area, including the lobbies and restrooms.
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.
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
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 firstname.lastname@example.org.
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.
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 UMOT
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.
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.
Available in any amount and redeemable for any events throughout our season, delivered with your personal message, the UMS Gift Certificate is ideal for weddings, birthdays, Christmas, Hanukkah, Mother's and Father's
Days, or even as a housewarming present when new friends move to town.
UMS Gift Certificates are valid for five years from the date of purchase. For more information, please visit www.ums.org.
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.
UMS VENUES AND BURTON MEMORIAL TOWER
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.
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.
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: Modem Tapestry by Roy Lichtenstein and Volutes (Arabesque) by Pablo Picasso.
The Power Center seats approximately 1,400 people.
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
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
Wednesday, March 24 through Thursday, April 8, 2010
Wednesday, March 24, 8:00 pm 5
Thursday, March 25, 8:00 pm 7
Maly Drama Theatre of St. Petersburg
Uncle Vanya 9
Wednesday, March 24, 8:00 pm (Student Performance)
Thursday, March 25, 8:00 pm
Friday, March 26, 8:00 pm
Saturday, March 27, 8:00 pm
Sunday, March 28, 2:00 pm
Schleswig-Holstein Festival Orchestra 17
with Lang Lang
Wednesday, April 7, 8:00 pm Hill Auditorium
Danilo Perez: 21st-century Dizzy 25
Thursday, April 8, 8:00 pm Hill Auditorium
THE 131St UMS SEASON
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 Barnatan, piano
The Suzanne Farrell Ballet
NT Live: All's Well That Ends Well
Ravi Shankar and Anoushka Shankar
Shakespeare's Globe Theatre of London:
Love's Labour's Lost
Stile Antico: Heavenly Harmonies
Michigan Chamber Players
Christine Brewer, soprano with
Craig Rutenberg, piano
Keith Terry and the SLAMMIN
Gal Costa and Romero Lubambo
St. Lawrence String Quartet
Patti LuPone: Coulda, Woulda, Shoulda
Vienna Boys Choir: Christmas in Vienna
Handel's Messiah Jean-Yves Thibaudet, piano
22-23; Bill T. JonesArnie Zane Dance Company: ! Fondly Do We Hope...Fervently Do We
27 ! Chicago Symphony Orchestra 31 ! Ladysmith Black Mambazo
4 ! The Bad Plus
6 ! So Percussion
7 ! NT Live: Nation
10 ! Angela Hewitt, piano
11 Luciana Souza Trio
14 i Schubert Piano Trios
17 ! Bela Fleck: The Africa Project 21 ; Swedish Radio Choir
13 I Cyro Baptista's Beat the Donkey
15 I Takacs Quartet
17 : Jazz at Lincoln Center Orchestra i with Wynton Marsalis
19 ! San Francisco Symphony
j with Christian Tetzlaff, violin
20 i San Francisco Symphony I with UMS Choral Union:
i 15th Ford Honors Program 1-25 Julia Fischer, violin:
i Solo Violin Works of J.S. Bach --28 Maly Drama Theatre of
I St. Petersburg: Anton Chekhov's Uncle Vanya
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 j The Rest is Noise in Performance: i Alex Ross and Ethan Iverson, piano
9 NT Live: The Habit of Art 15 I Break in' Curfew
Through Thursday, April 8, 2010
[IMS Educational and Community Events
All UMS educational activities are free, open to the public, and take place in Ann Arbor unless otherwise noted. For complete details and updates, please visit www.ums.org or contact the UMS Education Department at 734.615.4077 or email@example.com.
Maly Drama Theatre of St. Petersburg
Who is Anton Chekhov
Monday, March 22, 7:00-8:30 pm
Ann Arbor District Library Downtown Branch
Multipurpose Room, 343 South Fifth Avenue
U-M Professor of Slavic Languages and Lit?eratures Michael Makin and U-M Residential College Drama Lecturer Katherine Mendeloff will center on Chekhov's role in Russian literature and society and as transformer and innovator of Russian drama. U-M acting students will perform several scenes from Uncle Vanya featuring costume, live music, and other scenic elements, setting the stage for a lively discussion of Chek?hov's classic play and the challenges set forth for actors and directors in mounting this production.
A collaboration with the Ann Arbor District Library; the U-M Center for Russian, East Euro?pean, and Eurasian Studies; and the U-M Depart?ment of Slavic Languages and Literatures.
Youssou N'Dour: Bring What I Love
Monday, April 5, 7:00 pm
U-M Biomedical Science Research Building
Auditorium, 109Zina Pitcher Place
This never-before-told story follows Youssou N'Dour, Africa's most famous musician, at a turning point in his life and career as he releases his most personal and controversial album Egypt. I Bring What I Love is an unforgettable musical journey with an artist whose courage and convic?tion shook the music industry and ultimately awakened the world.
A collaboration with U-M African Studies Center and the U-M Center for Afroamerican and African Studies.
Who is Baaba Maal
Tuesday, April 6, 7:00-8:30 pm
Ann Arbor District Library Downtown Branch
Multipurpose Room, 343 South Fifth Avenue
The social and intellectual power of Baaba Maal's art is matched only by his artistry and cultural awareness. In the final installation of our Who Is... Series, U-M Theater Professor Mbala Nkanga will lead a discussion of where Maal fits in the pantheon of African musicians that have bridged the gap between musical genres and social causes.
A collaboration with the Ann Arbor District Library and the U-M School of Music, Theatre & Dance.
Johann Sebastian Bach
Wednesday Evening, March 24, 2010 at 8:00 Rackham Auditorium Ann Arbor
Sonata for Solo Violin No. 1 in g minor, BWV 1001
Adagio Fuga: Allegro Siciliana Presto
Sonata for Solo Violin No. 2 in a minor, BWV 1003
Grave Fuga Andante Allegro
Sonata for Solo Violin No. 3 in C Major, BWV 1005
Adagio Fuga Largo Allegro assai
50th Performance of the 131st Annual Season
47th Annual Chamber Arts Series
The photographing or sound and video recording of this recital or possession of any device for such recording is prohibited.
Media partnership for this performance is provided by WGTE 91.3 FM and WRCJ 90.9 FM.
Ms. Fischer appears by arrangement with Jack Mastroianni, IMG Artists, New York, NY.
Ms. Fischer is exclusive to Decca Records.
Large print programs are available upon request.
German violinist Julia Fischer is recognized worldwide for possessing a talent of uncommon ability and as an exceptionally gifted performer, reflected in the numerous awards and effusive reviews she has received for both her live performances and recordings, including being named "Artist of the Year" at the Gramophone Awards in 2007.
Praised for her imaginative and illuminating interpretations of the classical repertoire, 26-year-old Ms. Fischer is equally lauded for her technical skill: "She may have spitfire technique...but in Fis?cher's case the notes are not an end in themselves but purely a means to expressing musical truths" (Financial Times).
In January 2009, Ms. Fischer released a record?ing of Bach concertos on the Decca label recorded with the Academy of St. Martin in the Fields Cham?ber Orchestra. Upon its US release, the recording became the fastest-selling classical music debut in iTunes history. Ms. Fischer subsequently toured as director and soloist with the Academy orchestra to 11 European cities and 10 North American cit?ies. In its five-star review of the recording, BBC Music Magazine described Ms. Fischer as "...an intuitive Bachian. Her phrasing is elegant and she has an unerring feeling for Bach's broad architec?tural melodic contours."
Ms. Fischer recorded Bach's Sonatas and Parti?tas for solo violin in 2005 and revisits these works on a two-month tour in 2010 encompassing 12 European cities and seven US cities, including two performances at Carnegie Hall's Zankel Hall in March. The recording earned worldwide criti?cal praise including the rare distinction of winning three of France's most prestigious awards: the Diapason d'Or from Diapason; the CHOC from Le Monde de la Musique; and the highest rating from Classica Repertoire. The Bach recording also saw her awarded the BBC Music Magazine Award as "Best Newcomer" in 2006.
In addition to the Bach tours, Ms. Fischer's European 0910 season concert schedule includes tours of Europe with the St. Petersburg Philhar?monic and Yuri Temirkanov and the Netherland Philharmonic Orchestra and Yakov Kreizberg. Ms. Fischer is the Artist-in-Residence with the Tonhalle Orchestra in Zurich and performed a chamber mu?sic concert in December 2009 and will perform Shostakovich's Violin Concerto No. 1 in three con?certs with Michael Sanderling in June 2010. She will continue as Artist-in-Residence with the Or-
chestra in the 1011 season in Baden-Baden.
Born in Munich in 1983 to a pianist mother from Slovakia and a mathematician father from Eastern Germany, Ms. Fischer began learning the piano with her mother at age three, but was soon persuaded to take up the violin as well because, as her brother also played piano, her mother thought it would be nice to have another instrument in the family. She began violin lessons at the Leopold Mozart Conservatoire in Augsburg, and three years later, she became a pupil of the famous Ana Chumachenco at the Munich Academy of Music (Musikhochschule). At just 11 years old, she won the Yehudi Menuhin International Violin Competi?tion, an event that catapulted her toward a career as a soloist.
Ms. Fischer lives in Munich, Germany. Her sec?ond recording for Decca of Paganini caprices is scheduled for worldwide release in late 2010.
This week's performances mark Julia Fischer's third and fourth appearances under UMS auspices. Ms. Fischer made her UMS debut as soloist with the St. Petersburg Philharmonic in November 2007 at Hill Auditorium. She last appeared in April 2009 at Hill Auditorium in recital with pianist Milana Chernyavska.
presents Julia Fischer violin
Program Thursday Evening, March 25, 2010 at 8:00
Rackham Auditorium Ann Arbor
Johann Sebastian Bach Partita for Solo Violin No. 3 in E Major, BWV 1006
Gavotte en rondeau
Bach Partita for Solo Violin No. 1 in b minor, BWV 1002
Tempo di Borea
Bach Partita for Solo Violin No. 2 in d minor, BWV 1004
51st Performance of the Media partnership for this performance is provided by WGTE 91.3 FM and
131st Annual Season WRCJ 90.9 FM.
Ms. Fischer appears by arrangement with Jack Mastroianni, IMG Artists,
47th Annual New York, NY.
Chamber Arts Series Ms. Fischer is exclusive to Decca Records.
The photographing or
sound and video recording
of this recital or possession
of any device for such
recording is prohibited. Large print programs are available upon request.
and the Maxine and Stuart Frankel Foundation present Uncle Vanya Scenes from Village Life in Four Acts by Anton Chekhov A production of Maly Drama Theatre of St. Petersburg-Theatre of Europe Artistic Director for the Maly Drama Theatre Lev Dodin Lev Dodin, Director David Borovsky, Set Designer Olga Dazidenko, Stage Manager Evgeny Nikiforov, Technical Director Nikolai Murmanov, Set Constructor Igor Tupikin and Ekaterina Dorofeeva, Lighting Yury Vavilov, Sound Svetlana Tretiakova and Lubov Betechtina, Props Maria Fomina and Natalia Selezneva, Wardrobe Alia Nudel, Makeup
Program Wednesday, March 24, 2010 at 8:00 (Student Performance) Thursday, March 25, 2010 at 8:00 Friday, March 26, 2010 at 8:00 Saturday, March 27, 2010 at 8:00 Sunday, March 28, 2010 at 2:00 Power Center Ann Arbor There will be one 20-minute intermission. English surtitles commissioned by the Barbican Centre, London.
52nd, 53rd, 54th, 55th, and 56th Performances of the 131st Annual Season International Theater Series The photographing or sound and video recording of these performances or possession of any device for such recording is prohibited. The UMS presentation of the Maly Drama Theatre is sponsored by the Maxine and Stuart Frankel Foundation. The Saturday evening performance is supported by the Medical Community Endowment Fund. The Sunday performance is supported by participants of the 2002 Shakespeare's Birthday Celebration Trip. Media partnership is provided by Between the Lines and Michigan Radio 91.7 FM. Special thanks to Marysia Ostafin and the U-M Center for Russian, East European, and Eurasian Studies; Michael Makin and Olga Maiorova of the U-M Department of Slavic Languages and Literatures; Katherine Mendeloff of the U-M Residential College; and Ken Raynor and Tim Grimes of the Ann Arbor District Library for their support of and participation in this residency. The Maly Drama Theatre appears by arrangement with David Eden Productions Ltd. Large print programs are available upon request.
UMS Uncle Vanya
Professor Serebriakov Igor Ivanov
Elena, his wife Ksenia Rappoport
Sonia, his daughter from first marriage Elena Kalinina
Professor's first wife's mother Tatiana Shuko
Voinitskiy Ivan (Uncle Vanya), her son Sergei Kurishev
Doctor Astrov Igor Chernevich
Telegin Ilia (Waffles),
impoverished gentry Alexander Zavialov
Marina, old nurse Vera Bikova
Servant Alexander Koshkarev
Action takes place in Serebriakov's country house.
Professor Serebriakov, recently retired from the university, comes to the family's country estate with his second wife, Elena Andreyevna. For years the property has been run by Uncle Vanya, the brother of Serebriakov's first wife, now deceased, and by Sonia, the professor's daughter from his first marriage. The country house is also home to Sonia's grandmother, Maryia Voinitskaia, the professor's first mother-in-law; the family's nanny Marina ("nyanya" in Russian); and their impover?ished friend Telegin Ilia.
The sultry summer heat and the presence of Serebriakov and his young wife affect everyone's daily existence on the estate in many disturbing ways. The ailing professor imposes his habits on the others and demands special attention. Elena struggles in her position as the much younger wife of an ailing man. The country doctor, Mikhail Lvovich Astrov, is called in. His visits become more frequent than ever before. Sonia is secretly in love with the doctor and hopes that one day he will respond to her passion. Both Vanya and Astrov are attracted to the beautiful Elena. But for Vanya this becomes an obsession, fueled by his realiza-
tion that the self-important professor does not deserve either a high intellectual reputation or such a young and beautiful wife.
Vanya's frustration and anger reach a dra?matic climax when he discovers Elena in the arms of Doctor Astrov and, soon thereafter, finds out that the professor has decided to sell the estate. Suddenly aware of his wasted life, Vanya grabs a pistol and starts shooting at Serebriakov. But he misses his target. Dejected and overwhelmed by his own helplessness he drops the weapon while Elena, in shock, demands that she and her hus?band leave the estate right away.
In the last act, the visitors take their farewells and depart. Doctor Astrov, who respects Sonia but does not love her, is ready to leave too. Eventually everyone's life on the estate retums to what it was before this stormy summer. Or does it Sonia and Vanya sit at the table and resume their duties; the grandmother reads one of her books; Marina car?ries on with her knitting; and Telegin plays the gui?tar softly. The concluding words belong to Sonia: "You've had no joy in your life, but wait, Uncle, just wait...we'll rest...we'll rest. We'll rest!"
Printed with permission by the Guthrie Theater.
The life is flowing and sooner or later a man starts to see his lived-through years as a treasure he didn't manage to put to good use. He starts to see visions of other possible but unlived lives. In these other lives, all his secret dreams come true, all his hopes are fulfilled, all his sweetest fan?tasies become real. The man furiously bums up the past, denies the present, and gives himself totally to this other life which he could but didn't manage to live. The fuller the man understands life, the sharper he feels this gap, this contradiction which grows into a tragedy. Time goes by, and gradually you are faced with a choice--either to refuse the life completely, or to find courage to live through the life which was given to you by God and Fate and which you've been carrying out and are carrying out by yourself, with your willpower and personality.
Lethally ill doctor Chekhov knew this paradox only too well and he analyzed it with amazing tenderness and des?perate ruthlessness. This, as well as many other things, makes Chekhov's plays and Uncle Vanya--the most beau?tiful of them--a simple but eternal melody with simple but eternal themes.
Lev Dodin on Set Designer David Borovsky
David Borovsky's (1934-2006) departure is a personal loss for me. For many of the last years he's been my irreplaceable friend and an absolutely irreplaceable co-author. I can hardly imagine now doing the things we've done without him and it is equally hard to imagine doing something new without him. We have lost a great theater artist of the 20th and 21st century, since his last works were clearly creations of the 21st century. David Borovsky strongly and har?moniously combined in him the incarnations of a great artist, of a serious profound thinker, and of a wonderful man. Such a powerful combination in one human being is very rare-or maybe it's the only possible combination for a serious artist.
Mr. Borovsky was one of the first set designers in the world and in Russia who started looking for a new theater language. Having acquired all the best lessons of his predecessors, he moved on from furnishing the performance (creating sets) to the idea of set design as creating a space for life, a space which would define the performance-to-be, dictating certain rules to it as opposed to simply depicting where the action was supposed to be taking place. A space to become a philoso?phy of life. His spaces--I can't make myself call them simply "sets"--were always beautiful and always came alive once filled with the flow of the performance. Most often they came alive in those theaters where David was an equal co-author of the performance. In fact, he was always a secret co-director of all the performances he designed. It suffices to remember the great performances of the Moscow Taganka Theatre--Borovsky was their very soul. His great curtain across the stage, sweeping all the characters into eternity in Ham?let, the military lorry taking the girls-soldiers of the Second World War straight into eternity in How Quiet Are The Dawns Here, his coach propelling itself into eternity in the performance dedicated to Pushkin--I can go on enumerating on end.
He felt, understood, and designed music mi?raculously well. His many works in the internation?al opera theater are absolute masterpieces, music incarnated in space. The deepest understanding of the philosophy of the musical dramaturgy was characteristic of his works. His opera set designs are unfortunately almost unknown in Russia, since he mostly designed for opera in Europe.
Developing and remaining an innovator until his
last day, living next to us all, he was becoming a clas?sic, affirming absolute harmony and spiritual beauty through all the tragic curves and angles of theatrical spaces he created. With every passing year he valued harmony above all else. In essence he was a living classic by definition--both in his philosophy and his way of thinking. It was enough to take a glance of his Socrates forehead and his Jewish eyes filled with wisdom to realize that he made a metier of getting to the heart of things. He became the leader and the teacher of several generations of set designers. The most outstanding set designers of Russia treated him as a senior, and called him "rabbi." His judg?ment was law for the most willful and tempestuous theater personalities.
Born in 1944 in Siberia, where his mother had been evacuated during the war, Lev Dodin began studying theater as a child at the Len?ingrad Young Viewers' Theatre directed by Matvey Grigorievich Dubrovin. He entered the Leningrad Theatre Institute immediately after graduating high school and studied under the famous theater direc?tor and teacher Boris Vulfovich Zon.
Mr. Dodin's debut as a director came in 1966 with the televised performance of First Love, based on the story by Ivan Turgenev. Then came dozens of shows staged at theaters in St. Peters?burg, Moscow, and abroad, including: It's a Fam?ily Affair--We'll Settle It Ourselves (Leningrad Young Viewers' Theatre); The Minor and Rosa Berndt (Leningrad Theatre of Drama and Com?edy); A Gentle Creature with Oleg Borisov (BDT and MKhAT); The Golovlev Family with Innokenty Smoktunovsky (MKhAT); Bankrupt (Finnish Na?tional Theatre); the opera Elektra at the Salzburg Festival with Claudio Abbado; Lady Macbeth of the Mtsensk District at the Florence Musical May Festival; The Queen of Spades in Amsterdam, Flor?ence, and Paris with Semen Bychkov; Mazepa at La Scala in Milan with Mstislav Rostropovich; and The Demon at Theatre du Chatelet in Paris with Valery Gergiev.
In 1992, Mr. Dodin and his theater were invit?ed to join the Union of Theatres of Europe, and in 1998 his theater was the third granted the status "Theatre of Europe" after the Theatre de I'Odeon in Paris and the Piccolo Teatro di Milano. Mr. Do?din is a member of the General Assembly of the Union of Theatres of Europe.
Mr. Dodin's directing for the Maly Drama Theatre started in 1975 with Karel Chapek's The Robber. The staging of Abramov's The House in 1980 determined the artistic fate of Mr. Dodin and his company. Mr. Dodin has been the theater's artis?tic director since 1983. Those years have brought stagings of Brothers and Sisters, Lord of the Flies, Stars in the Morning Sky, Gaudeaumus, The Pos?sessed, Love Under the Elms, Claustrophobia, The Cherry Orchard, A Play with No Name, Chevengur, Uncle Vanya, and others.
In 1967 Mr. Dodin began teaching acting and directing. He is now a professor at the Saint Pe?tersburg Academy of Theatrical Arts where he chairs the directing department. Mr. Dodin has raised many generations of actors and directors and has taught master classes at theater schools in Great Britain, France, Japan, and the US.
Today the Maly Drama Theatre unites genera?tions of Mr. Dodin's students. Mr. Dodin's direct?ing and productions have won many state and international prizes and awards, including state prizes of Russia and the USSR, the Triumph In?dependent Prize, Golden Mask National Awards, and a Laurence Olivier Award.
David Borovsky (1934-2006) (Set Designer) began working as an artist in Kiev with the Lesya Ukrainka Russian Drama Theatre. He created sets for Shostakovich's Katerina Izmailova at the Taras Shevchenko The?atre of Opera and Ballet, and then worked with director Leonid Varpakhovsky at MkhAT and with the Maly Drama Theatre. Mr. Borovsky be?gan working with Yury Lyubimov at the Taganka Theatre in Moscow in the 1960s. He co-authored some of the theater's most famous productions, such as Alive (staged in 1968 but was banned and only shown to the public in 1989), Mother, Ham?let, The House on the Embankment, The Intersec?tion, Crime and Punishment, Master and Marga?rita, The Dawns are Quiet Here, Vladimir Vysotsky, Believe, Comrade, and others.
Mr. Borovsky often worked abroad. He cre?ated sets for Lyubimov's productions in Italy and Great Britain. He worked with Istvan Horvai in Hungary, Oleg Tabakov in West Germany, and Kama Ginkas in Finland. Years of close collabora?tion and friendship with Lev Dodin brought such plays as Lord of the Flies, Molly Sweeney, Uncle Vanya, and his last oeuvre King Lear (2006) at the Maly Drama Theatre. Mr. Borovsky participated in many international exhibits. He was awarded nu?merous Russian and international awards, includ?ing the Russian State Prize and the Triumph inde?pendent prize. He also held gold medals from the Russian Arts Academy, the Prague Quarenialle, the Yugoslav Trienialle, and was a People's Art?ist of Russia. On the drama and opera stages of Russia, Italy, Germany, Hungary, France, Finland, and the US, Mr. Borovsky created more than 150 performances.
The Maly Drama Theatre (MDT) was found?ed in 1944 in Leningrad at a time when most theaters had been evacuated from the city. Founded by a decision of the Oblast Execu?tive Committee, the theater had neither a clear artistic program, nor its own building. The small company performed in towns and villages of the Leningrad Oblast. From time to time, interesting plays were staged, but the theater was still little-known in the city. In 1973 Efim Padve, a student of Tovstonogov, was invited to serve as chief di?rector. He later attracted well-known playwrights and young directors, one of whom was Lev Dodin. The theater soon gained popularity in the city and found its viewers.
The 1980 premiere of Lev Dodin's adaptation of Fedor Abramov's The House became a major event not only for the theater, but for the theatri?cal life of Leningrad. It was difficult to get approv?al to perform the play publicly. The truth told first by Fedor Abramov and then retold by the theater was hard for culture bureaucrats to swallow. But the play was bound for success and remained in the theater's repertoire for 20 years. It played to full houses in St. Petersburg and on Russian and foreign tours, and it was awarded the USSR State Prize in 1986. The death of the leading actor, Nikolay Lavrov (who played Mikhail Pryaslin), put an end to this favorite of many.
Today the MDT is a recognized leader among Russian theaters and receives international ac?claim. Based on the novel by Fedor Abramov, Brothers and Sisters (part of a trilogy, along with The House) traveled almost all over Europe during its 20 years in repertoire. It was shown in the US and Japan and was awarded many prizes, includ?ing the USSR State Prize in 1986, "Best Foreign Performance of the Year" in Great Britain, and the UBU Italian Prize in 1995.
Until 2003, the MDT was the establishment of regional culture. In one season, the theater gave over 60 performances in the Leningrad region. The theater has now officially received all-Russia status and works under control of the Federal Agency for Culture and Cinematography, but still continues its relationship with the Leningrad region.
Since 1969, Lev Dodin has taught at the St. Pe?tersburg State Theatre Arts Academy. He is now a professor and head of the stage direction depart?ment. Actors and directors receive much of their education at the MDT. In 1999, the MDT opened a chamber stage with an auditorium of 50 seats, used as an experimental laboratory where young actors and directors test their talents.
The Maly Drama Theatre is a regular guest and participant in prestigious theater festivals of the world. Led by Lev Dodin, the theater's coaches hold workshops at major theater schools in Eu?rope and America. The MDT offers internships to young directors and actors from around the world. The MDT conducts stage speech, stage movement, and singing classes daily which are obligatory for beginning and mature actors. There are 56 actors in the company, most of whom are past or present students of Lev Dodin.
This week's performances mark the UMS debuts of Lev Dodin and the Maly Drama Theatre of St. Petersburg.
For over 20 years, David Eden Productions, Ltd (DEP) has been one of the leading Amer?ican organizations devoted to producing in?ternational work in the US. Most recently, DEP has produced North American tours of Druid's production of Enda Walsh's The Walworth Farce (2009) and their production of J.M. Synge's The Shadow of the Glen & The Playboy of the Western World (2008), along with a 2009 US tour of the Batsheva Dance Company. In the past five years, DEP has been responsible for touring the State Bal?let of Georgia, Russian Patriarchate Choir of Mos?cow, Gate Theatre Dublin's Waiting for Godot, Declan Donnellan's Twelfth Night, Propeller's The Winter's Tale, and Piccolo Teatro di Milano's Ar-lecchino. In 2004, David Eden curated the Lincoln Center Festival's Ashton Celebration, a two-week retrospective at the Metropolitan Opera House cel?ebrating the 100th birthday of Sir Frederick Ash?ton featuring the master choreographer's ballets.
For David Eden Productions, Ltd:
Chris Buckley and Claire MarbergP&PFC, Inc.,
US Tour Production Management Katya Khellblau, US Tour Technical Director Armen Danilian, Company Manager Erica Charpentier, General Management Elise-Ann Konstantin, Visa Coordinator Lori HarrisonAtlas Travel, Travel Agent
For Maly Drama Theatre of St. Petersburg-Theatre of Europe:
Lev Dodin, Artistic Director KINEF, Sponsor General of the Theatre Mikhail Prokhorov Foundation, Partner General of the Theatre
This production of Uncle Vanya premiered in St. Petersburg on April 29, 2003.
The 2010 US tour of Uncle Vanya is supported by the Ministry for Culture of Russian Federation.
and Dennis and Ellie Serras present Schleswig-Holstein Festival Orchestra Lang Lang ano Christoph Eschenbach conductor
Program Sergei Prokofiev Prokofiev Johannes Brahms Wednesday Evening, April 7, 2010 at 8:00 Hill Auditorium Ann Arbor Symphony No. 1 in D Major, Op. 25 Allegro Larghetto Gavotta: Non troppo allegro Finale: Molto vivace Piano Concerto No. 3 in C Major, Op. 26 Andante--Allegro Tema con variazioni Allegro ma non troppo Lang Lang INTERMISSION Symphony No. 2 in D Major, Op. 73 Allegro non troppo Adagio non troppo Allegretto grazioso--Presto ma non assai Allegro con spirito
57th Performance of the 131st Annual Season 131st Annual Choral Union Series The photographing or sound and video recording of this performance or possession of any device for such recording is prohibited. This evening's performance is co-sponsored by Dennis and Ellie Serras. Media partnership is provided by WGTE 91.3 FM. The Steinway piano used in this evening's performance is made possible by William and Mary Palmer and by the Steinway Piano Gallery of Detroit. Special thanks to Tom Thompson of Tom Thompson Flowers, Ann Arbor, for his generous contribution of lobby floral art for this evening's performance. Special thanks to Steven Ball for coordinating the pre-concert music on the Charles Baird Carillon. Lang Lang appears by arrangement with Ronald A. Wilford and Jean-Jacques Cesbron, Columbia Artists Music, LLC. Large print programs are available upon request.
Now that you're in your seat...
In many ways, Prokofiev and Brahms may be considered opposites. Brahms was the very embodiment of the German romantic tradition against which the young Prokofiev rebelled. The master from Hamburg could be serious or playful but never sarcastic as the young Russian from Sontsovka. Their lives overlapped just barely: Prokofiev was born six years before Brahms's death. Yet the author of the German Requiem is no stranger to the biography of the composer who wrote The Love for Three Oranges. Prokofiev played Brahms's music as a student, and even conducted Brahms's Violin Concerto during his final year at the St. Petersburg conservatory. Prokofiev expert Harlow Robinson finds Brahmsian echoes in the slower section of the finale from Prokofiev's Piano Concerto No. 3, and even stronger influences in the Fifth Symphony. Yet one can hardly imagine two "classical symphonies" that are as different (despite being in the same key) as Prokofiev's tongue-in-cheek tribute to Haydn and Brahms's organic continuation of Beethoven. The world had indeed changed a great deal during the 40 years that separate these two masterpieces.
Symphony No. 1 in D Major, Op. 25 ("Classical") (1917)
Born April 27, 1891 in Sontsovka, Ukraine
Died March 5, 1953 in Moscow
Snapshot of History... In 1917:
Two revolutions in Russia (February and October)
Ravel composes ie tombeau de Couperin, one of the most important early neo?classical scores next to Prokofiev's "Classical" Symphony
The US enters World War I
In the Balfour Declaration, the British government approves the creation of a Jewish state in Palestine
Buster Keaton makes his film debut
With his first two piano concertos and the Scythian Suite, the young Prokofiev established a reputation, in the 1910s, as the enfant terrible of Russian music, shocking critics and audiences with his highly unconventional harmonies and wild rhythms. His early works seemed to be all about defying authority. He rebelled against his teachers at the St. Petersburg Conservatory (Glazunov and Liadov), but his music also reflected the
more general intellectual unrest of the war years that led to the 1917 revolutions (the overthrow of the Czar in February and the Bolshevik coup in October). Yet in one of his first works written after the revolution broke out, Prokofiev went out of his way to appear non-revolutionary: he spent much of the summer of 1917 working on a "Classical Symphony," ostensibly conceived within the harmonic and structural world of Haydn's symphonies. In retrospect, though, it is clear that this return to Classicism was just another contrary move on the part of a young man always intent on doing the unexpected. Nor is that return complete: we are frequently jolted out of our classical dreams by some change of key Haydn had never dreamt of, or some metric irregularity that would have astounded 18th-century musicians.
In his autobiography, Prokofiev wrote:
It seemed to me that had Haydn lived to our day he would have retained his own style while accepting something of the new at the same time. That was the kind of symphony I wanted to write: a symphony in the classical style. And when I saw that my idea was beginning to work, I called it the Classical Symphony: in the first place because that was simpler, and secondly, for the fun of it, to "tease the geese," and in the secret hope that I would prove to be right if the symphony really did turn out to be a piece of classical music.
The first ideas for the symphony date from 1916--the third-movement "Gavotta" was written that year. Thus the decision to replace the minuet, a dance in 34 time, by a dance in duple meter, was made early on. The "Gavotta" was clearly Prokofiev's favorite among old dance forms: he had included it earlier in his Ten Pieces for Piano, Op. 12, and again later in the ballet Romeo and Juliet, where he reused, in a somewhat expanded form, the music from the third movement of the symphony. The first and second movements were also sketched in 1916, but the bulk of the work was completed during the summer of 1917, in a country house where Prokofiev was sheltered from the turmoil of that difficult summer. The composer had left his piano in the city, having decided for the first time to write without one. "I believed that the orchestra would sound more natural," he wrote later; and in fact, he had achieved a bright and delicate orchestral sound that his earlier works didn't have.
At 15 minutes' duration, the "Classical" is the shortest of Prokofiev's seven symphonies, and shorter than many by Haydn. The themes are all kept brief and developments are sparse, with the emphasis on shorter, well-rounded, and separated units. The very simplicity of the writing sometimes becomes the source of musical humor. For instance, the first movement's second theme consists of only two different notes, each of which is repeated two octaves lower--an unusually large melodic leap that saves the melody from becoming banal. The orchestration also adds more than a few comic touches, as in the third movement where, after the middle section, the "Gavotta" theme retums in sharply reduced scoring, causing the theme to vanish into thin air, as it were. A more serious tone is introduced in the second-movement "Larghetto," which anticipates the lyricism of Prokofiev's Soviet-period works from the 1930s. But the work ends on a cheerful note, with a sparkling finale that is hard to listen to without at least a smile.
Program note by Peter Laki.
Piano Concerto No. 3 in C Major, Op. 26
Snapshot of History... In 1921:
Luigi Pirandello writes Six Characters in Search of an Author
Ludwig Wittgenstein writes Tractatus Logico-philologicus
Camille Saint-Saens dies at the age of 86
Picasso paints Three Musicians
Catastrophic famine kills millions in Russia
Prokofiev, the last great Russian composer who worked in the West as well as in his homeland, was born in a remote Ukrainian village where his agronomist father was employed as a manager of a large estate and his mother gave him his first music lessons. Later he studied at the Conser?vatory in St. Petersburg and became a brilliant pianist. After the Revolution, Prokofiev came to America and then settled in Paris, where he was an influential figure until his return to the Soviet Union in 1933.
Prokofiev accumulated ideas for this concerto over a period of years. Some originated as early as 1911, but he did not plan the work as a whole until 1917, a year of intense creative activity in which he also worked on his Violin Concerto No. 1, Symphony No. 7, two piano sonatas, and the opera 77ie Love of Three Oranges. In 1918 he was allowed to leave Russia for a long trip across Asia and the Pacific Ocean to the US and, eventu?ally, Western Europe. He finished the Concerto in France, in October 1921, and on December 16 he was the soloist in its first performance with the Chicago Symphony Orchestra. The Concerto was a success in Chicago, with public and press, but failed in New York 10 days later. It soon made its way to London and Paris, and even to Moscow. Since then, it has become one of the most popular 20th-century piano concertos, for it is at once bril?liant, lyrical, witty, and profound; a great virtuoso piece for both soloist and orchestra.
Alfred Frankenstein, the distinguished critic who as a young man was present at the Con?certo's American premiere, wrote more than 40
years later, "To hear Prokofiev play the piano was an utterly shattering experience. The piano seemed to bend and sway under the impact of Prokofiev's assault, and yet his playing was monumental in its clarity and in the sharp, steely planes of sound. He created the pianistic style of the 20th century--a classically inspired style in keeping with the charac?ter of the music, but one which overwhelmed the listener with its elemental force." We now know that these qualities in Prokofiev's performance are inherent in the music of the Concerto itself.
The first movement begins with a slow in?troduction, "Andante," in which a solo clarinet presents a lyric melody that will be transformed into the two contrasting subjects of the "Allegro" main section. The first is vigorously athletic and the second may be interpreted as either witty or grotesque, but Prokofiev also retums, in the course of the movement, to the opening clarinet theme, to be sure that the listener does not forget it. The second movement presents a march-like theme with a series of five inventive variations on it, and the third movement, "Allegro ma non troppo," is constructed, like the first, on the classical principle of contrast between two themes.
Program note by Leonard Burkat.
Symphony No. 2 in D Major, Op. 73
Bom May 7, 1833 in Hamburg, Germany Died April 3, 1897 in Vienna
Snapshot of History... In 1877:
The Bell Telephone Company is created
Bruckner's Symphony No. 3 is performed
Tchaikovsky's Swan Lake is performed
Edouard Manet paints Nana
Thomas Alva Edison invents the phonograph
It took Brahms almost 20 years to complete his Symphony No. 7. After the successful premiere of the work in November 1876, however, the ice was
broken, and the Second Symphony was written in a single summer the following year.
Symphony No. 2 is usually considered an "idyl?lic" work (musicologist Reinhold Brinkmann has called his book-length study of the symphony Late Idyll). Yet the usual cliche about Symphony No. 2 (that it is Brahms's "Pastorale") is just as mislead?ing as the one about his First Symphony, which was called "Beethoven's Tenth" (meaning some kind of continuation of Beethoven's Ninth Sym?phony, on account of the last movement's main theme, which is reminiscent of the "Ode to Joy" melody). It is true that the Second is the happiest of the four Brahms symphonies, but there is no programmatic intent as in Beethoven's Symphony No. 6. Also, the rhythm of the first movement's opening theme recalls, if anything, the first theme of Beethoven's "Eroica," and the triumphant trum?pet fanfares of the closing measures resemble the end of the overture from Egmont, one of the most glorious examples of Beethoven's heroic style.
In fact. Symphony No. 2 describes a rather unique emotional curve, from a soft-spoken and lyrical, indeed somewhat pastorale-like first movement to this exuberant ending, with a mel?ancholy "Adagio" and a graceful "Allegretto" in between. In addition, each movement departs from its basic character to encompass others that are sometimes very different from the initial ones; so it would be hard to attach a single descriptive label to the symphony.
The first movement is mostly gentle and sweet, and contains some of Brahms's warmest melodic thoughts. But there are some "dim and spectral effects," as Karl Geiringer called them in his classic Brahms monograph, right at the beginning of the symphony, as the trombones and tuba (the latter not used in any of the other Brahms symphonies) make their presence felt by their somber chordal progressions, punctuated by soft timpani rolls. Brahms "rocks the boat" in particular by introduc?ing a series of rhythmical irregularities: the martial dotted rhythms, which Brahms used with some frequency in his work, are distinguished in this case by the asymmetry between the two halves of the phrase. In the development section there are moments of intense drama, but the recapitulation eases these tensions and the coda even adds a gentle smile as one of the themes receives a new accompaniment by pizzicato (plucked) strings.
The second-movement "Adagio non troppo" (the only full-fledged adagio in the Brahms sym-
phonies) begins with an expansive cello melody that does not obey any Classical rules of articu?lation; the listener may never be sure when the phrase will come to a rest. After the melody has been repeated in a fuller instrumentation, a haunt?ing horn solo leads into a more animated middle section, culminating in a dense forte passage. The recapitulation that follows still seems to be under the spell of the excitement that has not complete?ly passed, and includes a second outburst of emo?tions after which the movement dies away with a brief clarinet solo and a soft orchestral chord.
The third movement is a lyrical intermezzo, similar to the analogous movement in Brahms's Symphony No. 7. The alternation of two contrast?ing thematic materials (ABABA) is an idea bor?rowed from scherzo form. The "B" section (or trio) is in a faster tempo than the opening ae-gretto, and its theme is a variant of the latter. The second time, the 24 meter of the trio is changed to 38. The final repeat of the "Allegretto" theme is somewhat extended, with a digression to a re?mote key; a beautiful, bittersweet new idea ap?pears in the violins just before the end.
The finale begins in a subdued piano as a uni?son melody; harmonies and counterpoint are add?ed later as the full orchestra enters and the vol?ume increases to forte. The broad second theme is played by violins and violas in parallel sixths. The development section opens by the main theme in its original form, giving the impression for a moment that the whole movement is starting all over again. Soon, however, the music takes a new turn and a true development follows, progressing towards a true anti-climax, getting slower and softer and finally reaching a mysterious moment with mere melodic fragments played by the winds over tremolos of the strings. The recapitulation is shortened and contains many subtle changes; but it brings back all the important thematic material and leads into the rousing trumpet fanfare that concludes the symphony.
After hearing the symphony, the composer's longtime friend, the eminent surgeon and ac?complished amateur musician Theodor Bill-roth exclaimed: "How beautiful it must be at Portschach!" Billroth knew that the piece had been written at the resort on the Worthersee (Lake of Worth) in the Austrian province of Car-inthia; Brahms spent three consecutive summers there between 1877 and 1879. There is no doubt that the beauty of the lake surrounded by moun-
tains exerted a strong influence on him, and some of the similarity in tone between Symphony No. 2 and the Violin Concerto, completed at Portschach the following year, can probably be ascribed to the genius locations.
The premiere, conducted by Hans Richter on December 30, 1877, was one of Brahms's greatest triumphs; the third movement had to be repeated. The enthusiastic reception of his Symphony No. 2 marked the beginning of Brahms's reconciliation with his native city.
Program note by Peter Laki.
When the great American conductor, artistic mentor, and patron Leonard Bernstein created the Orchestral Acad?emy in 1987, it was the first of its kind in Europe. Modeled on the famous American festival Tangle-wood, Bernstein envisioned the Orchestral Acade?my as a center for training young orchestral musi?cians of the highest caliber. Today, the Orchestral Academy is at the core of the educational mission of the Schleswig-Holstein Music Festival, one of Europe's most important classical music festivals, held annually in the north of Germany. Each year, the Orchestral Academy assembles an interna?tional youth orchestra by vetting students from around the world. Auditions are offered each win?ter in 30 cities across North and South America, Asia, Europe, and the Middle East to more than 1,200 young musicians. Based on these perfor?mances, a jury admits approximately 100 hand-picked musicians, 26 years of age and younger, to join the Orchestral Academy. In other words, the Schleswig-Holstein Festival Orchestra is com?prised of the world's finest young musicians.
Participation in the Schleswig-Holstein Festival Orchestra provides an extraordinary opportunity for these students to grow musically. Stipends covering travel, room, and board as well as tu?ition expenses are granted to all participants by the Foundation of the Schleswig-Holstein Music Festival. While in residence at the Festival, expe?rienced teachers from the Berlin Philharmonic, Munich Philharmonic, and the NDR Symphony Orchestra guide sectional rehearsals. Famous conductors lead two intensive rehearsals per day with the entire orchestra. Under the guidance of these mentors, the orchestra has the opportunity
to read, study, and perform the greatest orches?tral music. Chamber music is also an important component, and lectures, seminars, and an ex?hibition related to chamber music round off the summer program.
The official home of the Orchestral Academy is the Salzau Castle, the state cultural center located 100 kilometers north of Hamburg. This 19th-cen?tury building, surrounded by an expansive park in Schleswig-Holstein's most beautiful region, offers ideal conditions for intensive work and diverse recreational activities. Musicians are housed in the castle and rehearse and perform in a large barn, refitted as a concert hall. At Salzau, young people from around the world not only grow together as an orchestra, but also form a social community. Mutual understanding, respect, tolerance, and an awareness of the universality of music and life be?yond it are the values that lie at the heart of the Orchestral Academy.
Lang Lang has played sold-out concerts in every major city in the world, appeared in Time magazine's 2009 list of the "100 Most Influential People in the World," inspired 35 mil?lion Chinese children to learn classical piano, and is one of the 250 Young Global Leaders picked by the World Economic Forum. Five billion people viewed his performance at the 2008 Beijing Olym?pics. In 2008, he launched the Lang Lang Inter?national Music Foundation to inspire and support the next generation of musicians. He is the first ambassador of the YouTube Symphony Orchestra, and in 2008, his biography, Journey of a Thou?sand Miles, was released to critical acclaim, with a version for younger readers entitled Playing with Flying Keys.
By the age of five, Lang Lang had won the Shenyang Piano Competition and had given his first public recital. Entering Beijing's Central Music Conservatory at age nine, he won first prize at the Tchaikovsky International Young Musicians Com?petition. Stardom came at age 17, when he was called upon for a dramatic last-minute substitution at the "Gala of the Century," playing the Tchaik?ovsky concerto with the Chicago Symphony.
Lang Lang is the featured soloist on Alexandre Desplat's Golden Globe-winning score The Paint?ed Veil, and perfornns on Tan Dun's soundtrack for The Banquet. All of his albums have entered the
top classical charts and many pop charts around the globe. His first and fourth Beethoven piano concertos with L'Orchestre de Paris and Christoph Eschenbach debuted at number one on the clas?sical Billboard chart, and he has appeared on Bill?board's New Artist chart at the highest position ever for a classical artist. In 2007, he was nominat?ed for a Grammy Award--the first Chinese artist to be nominated for "Best Instrumental Soloist." His latest recording is of Chopin's first and second piano concertos with Zubin Mehta conducting the Vienna Philharmonic.
Photo: Philip Glaser
Music Director Designate of the National Symphony Orchestra as well as the John F. Kennedy Center for the Performing Arts in Washington DC, Christoph Eschenbach is in demand as a guest conductor with the fin?est orchestras and opera houses throughout the world. Artistic Director of the Schleswig-Holstein Music Festival from 1999-2002, he has continued a close relationship with the Festival, regularly conducting the Orchestra at home and on tour as well as playing piano concerti and recitals.
Now in his 10th and final season as Music Director of the Orchestre de Paris, highlights of Maestro Eschenbach's current season include his first concerts with the National Symphony as Music Director Designate; tours with the Lon?don Philharmonic and the Staatskapelle Dresden; and engagements with the Wiener Philharmoni-ker, the Filarmonica della Scala, the New York Philharmonic, the San Francisco Symphony, the Munchner Philharmoniker, the Orchestra Sinfon-ica deN'Accademia Nazionale di Santa Cecilia, and the NDR Symphony, where he served as music director from 1998-2004. As a pianist, Maestro Eschenbach continues his collaboration with bari?tone Matthias Goerne, with whom he is record?ing Schubert's three song cycles for the Harmonia Mundi label. A prolific recording artist over five decades, Maestro Eschenbach has recorded as both a conductor and a pianist on labels includ?ing Deutsche Grammophon, SonyBMG, Decca, Ondine, Warner, and Koch. His recent Ondine re?cording of the music of Kaija Saariaho with the Orchestre de Paris and soprano Karita Mattila won the 2009 MIDEM "Classical Award in Con?temporary Music." Mentored by George Szell and Herbert von Karajan, Maestro Eschenbach's other past posts include chief conductor and artistic director of the Tonhalle Orchestra from 1982-1986; and music director of the Houston Sym?phony from 1988-1999, the Ravinia Festival from 1994-2003, and the Philadelphia Orchestra from 2003-2008. His many honors include the Legion d'honneur, Commandeur dans I'Ordre des Arts et des Lettres, the Officer's Cross with Star and Rib?bon of the German Order of Merit, and the Com?mander's Cross of the German Order of Merit. He also received the Leonard Bernstein Award from the Pacific Music Festival, where he was co-artistic director from 1992-1998.
This evening's performance marks the UMS debut of the Schleswig-Holstein Festival Orchestra.
Lang Lang makes his third UMS appearance tonight following his UMS debut in April 2004 in recital at Hill Auditorium. He last appeared under UMS auspices in April 2008 in recital at Hill Auditorium. This evening's concert marks Maestro Christoph Eschenbach's seventh appearance under UMS auspices. Maestro Eschenbach made his UMS debut in May 1986 as conductor and piano soloist with the Pittsburgh Symphony Orchestra at Hill Auditorium. He last appeared under UMS auspices in January 2002 as music director of the Orchestre de Paris at Hill Auditorium.
Photo Eric Bmuud
Schleswig-Holstein Festival Orchestra
Christoph Eschenbach, Principal Conductor Prof. Rolf Beck, President
Violin I Chuanru He Rachel Patrick Anders Hui Sheila Jaffe Ko Eun Lee Min-Ah Lee Mari Hirai Rafael Betancourt Rachelle Hunt Zhuohua Li Malika Aziz Yale Blomberg Joan Alonso Christian Torres
Violin II Jennifer Lee Anya Muminovich Emilia Burlingham Katharina Sommer Haerim Lee Hyejin Chang Tallie Brunfelt Nicolai Bernstein Sumire Hara Rahel Leiser Sofia Roldan-Cativa Beatriz Junco
Susana Hefele Carrie Robinson Jasmine Beams Emilio Argento Sylvain Seailles Ana Mba Flavia Motta Alba Gonzales Anna Pommerening Bohye Lee
Phoebe Lin Theresia Rosendorfer Julius Himmler Jean-Baptiste Schwebel Matyas Major Cecile Lino Evaristo Urraca Julie Hereish
Stephen Pfeiffer Chih-ying Lin Sukyung Chun Sebastian Espinosa Diego Marquite David Freudenberger
Julie Moulin Leonie Wolters Carla Velasco
Johannes Grosso Nuria Cabezas Castano Suzanne Bastian
David Marin Vargas Miguel Exp6sito Marco Giani
Daniel Mohrmann Dominik Schnell Ignacio Soler
Adrian Diaz Martinez Claude Tremuth Peter Schmidt Benoit Gausse Dominik Zinsstag Cenk Sahin
Moritz Gorg Oliver Krenz Antonio Faillaci
Johan Noothout Ana Isabell Delgado
Martin Patrick Flassig
Diego Aldonza Crespo Aron Leijendeckers
Benedikt Muller Simon Dillmann Christina Schonk
Schleswig-Holstein Music Festival Foundation
Palais Rantzau, Parade 1 23552 Lubeck, Germany www.shfm.de
Danilo Perez: 21st-century Dizzy
Danilo Perez, Piano
David Sanchez, Tenor Saxophone
Rudresh Mahanthappa, Alto Saxophone
Amir ElSaffar, Trumpet
Jamey Haddad, Percussion
Ben Street, Bass
Adam Cruz, Drums
Thursday Evening, April 8, 2010 at 8:00 Hill Auditorium Ann Arbor
This evening's program will be announced by the artists from the stage and will be performed without intermission.
58th 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.
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 WEMU 89.1 FM, Mefro Times, and Michigan Chronicle.
The Steinway piano used in this evening's performance is made possible by William and Mary Palmer and by the Steinway Piano Gallery of Detroit.
Danilo Perez appears by arrangement with Ted Kurland Associates and Absolutely Live Entertainment.
Large print programs are available upon request.
Grammy Award-nominated Panamanian jazz pianist Danilo Perez has joined togeth?er some of the brightest lights of the cur?rent modern jazz scene to pay tribute to the jazz legend Dizzy Gillespie. This inspiring jazz collective will perform new arrangements of classic Gillespie works, in addition to original group compositions. As the youngest member of the last edition of Dizzy Gillespie's United Nation Orchestra, Mr. Perez learned first-hand how Gillespie embraced musical and personal collaborations throughout the world. Dizzy's bands were a constant melting pot of styles, genres, and pan-global collabora?tions. Mr. Perez's hand-picked all-stars, with roots in Afro-Cuban, be-bop, Indian, African, and Mid?dle Eastern music, will more than honor Dizzy's legendary vision.
Panamanian pianist and composer Danilo Perez has led his own groups since the early 1990s, and as bandleader has earned three Grammy nominations. In just over a decade, his distinctive blend of Pan-American jazz, covering the music of the Americas, folkloric, and world music, has attracted critical acclaim and loyal audiences. Whether leading his own ensembles or touring with renowned jazz masters such as Wayne Shorter and Roy Haynes, Mr. Perez is mak?ing a decidedly fresh imprint on contemporary music. Born in Panama in 1965, Mr. Perez started his musical studies at just three years of age with his father, a bandleader and singer. By age 10, he was studying the European classical piano reper?toire at the National Conservatory in Panama. Af?ter receiving his Bachelor's degree in Electronics, he moved to the US to enroll at Indiana University of Pennsylvania and, after changing his major to music, transferred to the prestigious Berklee Col?lege of Music. Since the late 1980s, he has toured andor recorded with Wayne Shorter, Steve Lacy, Jack DeJohnette, Charlie Haden, Michael Brecker, and Joe Lovano. Currently, Mr. Perez serves as the Ambassador of Goodwill for UNICEF, Cultural Am?bassador of his native country of Panama, Presi?dent and Founder of the Panama Jazz Festival, Artistic Advisor of the innovative Mellon Jazz Up Close Series at the Kimmel Center in Philadelphia, and is the newly appointed Artistic Director of
the Berklee Global Jazz Institute (BGJI), a unique center at the Berklee College of Music designed to foster creativity and musicianship through vari?ous musical disciplines. Mr. Perez's latest release is Across the Crystal See (Decca).
Born in New York City in 1970, Adam Cruz is a drummer and composer best known for his work with Danilo Perez, Steve Wilson, David Sanchez, and Edward Simon. Throughout the 1990s, Mr. Cruz worked extensively with saxophonist David Sanchez and the Mingus Big Band. He toured briefly with Chick Corea, recording Origin--A Week at the Blue Note (Stretch), and spent the end of the decade touring in a duo setting with guitarist Charlie Hunter. In recent years, Mr. Cruz has forged a steady musical relationship with pianist Danilo Perez as a member of the Danilo Perez Trio, which also features bassist Ben Street. His teachers have included his father (percussion?ist Ray Cruz), Frank Malabe, Keith Copeland, and Kenny Washington. Mr. Cruz has also worked at various times with artists such as Tom Harrell, Chris Potter, Pharaoh Sanders, and Paquito D'Rivera. He is featured on over 40 recordings as a sideman, the latest being David Sanchez's Cultural Survival (Concord) in 2008.
Winner of the 2001 Carmine Caruso International Jazz Trumpet competition, Iraqi-American trum?peter Amir ElSaffar put his New York career on hold in 2002 to immerse himself in the music of his father's ancestral past, the Iraqi maqam. Trav?eling throughout the Middle East and Europe to study with masters of the centuries-old oral tra?ditional form, Mr. ElSaffar mastered maqam and learned to sing and play the santoor (Iraqi ham?mered dulcimer). Mr. ElSaffar now leads his own own group, Safaafir, the only American group performing Iraqi maqam. He has created new techniques that enable microtones and ornaments not typically heard from the trumpet but which are characteristic of Arabic music. Mr. ElSaffar has collaborated with an array of artists, includ?ing Rudresh Mahanthappa, Vijay Iyer, Cecil Taylor, and Daniel Barenboim, and was commissioned to compose Two Rivers, a suite that invokes Iraqi mu?sical traditions framed in a modern jazz setting. The recorded version of Two Rivers (Pi Recordings) was released in 2007, and was performed with a
17-piece ensemble at the 2008 Made In Chicago Festival and at New York's Lincoln Center Out of Doors Festival in 2009. Mr. ElSaffar has also com?posed for theater projects and film soundtracks, and appeared in Jonathan Demme's film Rachel Getting Married.
Born in Cleveland, Ohio, world music and jazz percussionist Jamey Haddad specializes in hand drums of a wide variety. At the age of four, he started playing Lebanese percussion instruments, including the goblet drum. Mr. Haddad studied at Boston's Berklee School of Music, where he now serves as an associate professor. He also has taught at the New England Conservatory, Oberlin Conser?vatory, and the Cleveland Institute of Music. Recent tours include the Paul Winter consort tour of Japan and the Fez Festival of World Sacred Music. Mr. Haddad has collaborated with a host of renowned musicians, including Yo-Yo Ma, Joe Lovano, Esper-anza Spalding, Dave Liebman, and Dawn Upshaw, and has been a member of Paul Simon's band for nine years. He is the recipient of three National En?dowments for the Arts Performance Grants and a Fulbright Fellowship, which provided for his study of the kanjira and other drums in South India for one year. Mr. Haddad can be heard as a sideman on more than 170 different recordings.
Saxophonist Rudresh Mahanthappa has
achieved international recognition performing regularly at jazz festivals and clubs worldwide. As a composer, he has received commission grants from the Rockefeller Foundation MAP Fund, American Composers Forum, Chamber Music America, and the New York State Council on the Arts to develop new work. Mr. Mahanthappa is also a New York Foundation for the Arts Fellow. He holds a BM in Jazz Performance from Berklee College of Music and a MM in Jazz Composition from Chicago's De-Paul University. Mr. Mahanthappa is a Guggenheim fellow and a 2009 Downbeat International Critics Poll Winner ("Rising Star--Jazz Artist" and "Rising Star--Alto Saxophone"). He has managed to incor?porate the culture of his Indian ancestry and fuse myriad musical influences to create a truly ground?breaking artistic vision. As a performer, he leads or co-leads seven different groups. His release, Kins?men (Pi Recordings), was named one of the Top Jazz CDs of 2008 by various publications. Mr. Ma?hanthappa currently lives in New York and teaches at the New School University.
Born in Guaynabo, Puerto Rico, David Sanchez began playing percussion and drums at age eight before migrating to tenor saxophone four years later. While a student in San Juan, he also took up soprano and alto saxophones as well as flute and clarinet. In 1986 Mr. Sanchez enrolled at the Universidad de Puerto Rico in Rio Piedras, but the pull of New York was irresistible. By 1988 he had auditioned for and won a music scholarship at Rutgers University in New Jersey. Being so close to New York City, Mr. Sanchez quickly became a member of its swirling jazz scene. Some of his first New York gigs were with piano giant Ed?die Palmieri, Hilton Ruiz, and trumpeter Claudio Roditi, who brought Mr. Sanchez to the attention of Jazz legend Dizzy Gillespie. In 1991, Gillespie invited the young saxophonist to join his "Live the Future" tour with Miriam Makeba. Mr. Sanchez has also performed and recorded with Kenny Bar-ron, Roy Haynes, Charlie Haden, Tom Harrell, and had the opportunity to perform with the legend?ary drummer Elvin Jones. Whether with Gillespie, Palmieri, Haden, his other jazz mentors, or under his own name, Mr. Sanchez has continued to tour extensively, bringing his mix of mainstream jazz with Afro-Latin influences to audiences around the globe. Additionally, Mr. Sanchez's passion for teaching has led him to conduct clinics with stu?dents around the world. He has been nominated for four Grammy Awards, and his album Coral won the Latin Grammy for "Best Instrumental Album" in 2005. Mr. Sanchez's latest release Cul?tural Survival (Concord) was released in 2008.
New York City-based jazz bassist Ben Street studied at the New Cngland Conservatory of Mu?sic in Boston with former Weather Report bassist Miroslav Vitous. Mr. Street moved to New York City in 1991, and has performed and toured with Danilo Perez, Kurt Rosenwinkel, Roswell Rudd, Paul Motian, Lee Konitz, David Sanchez, James Moody, Sam Rivers, Jimmy Scott, the Frank Car-Iberg Quintet, and Once Blue. Mr. Street's work in avant garde and free jazz during the 1990s in?cluded performing and recording with Tim Berne, and in a variety of lineups with drummer Kenny Wolleson. He is featured on many recordings, including Kurt Rosenwinkel's Next Step, Sam Riv?er's Violet Violets, Danilo Perez's Til Then, David Sanchez's Coral, and Cyndi Lauper's At Last. Mr. Street is the son of saxophonist and mouthpiece maker Bill Street.
This evening's concert marks Danilo Perez's third appearance under UMS auspices. Mr. Perez made his UMS debut in April 2002 with the Wayne Shorter Quartet and last appeared with the Quartet in September 2008 at Hill Auditorium.
David Sanchez makes his third UMS appearance tonight. Mr. Sanchez made his UMS debut in October 1995 with Slide Hampton and the Jazz Masters at the Pow?er Center. He most recently appeared un?der UMS auspices in October 2005 at Hill Auditorium with the Pat Metheny Quartet.
Tonight's concert marks JameyHaddad's second UMS appearance following his UMS debut in January 2004 with Simon Shaheen and Qantara at the Michigan Theater.
UMS welcomes Rudresh Mahanthappa, Amir ElSaffar, Ben Street, and Adam Cruz, who make their UMS debuts toniqht.
UMS EDUCATION AND AUDIENCE DEVELOPMENT PROGRAMS
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 T. JonesArnie Zane Dance Company, San Francisco Symphony, and Maly Drama Theater of St. Petersburg
Artist interviews with Bill T. Jones, Pierre Boulez, and Lev Dodin
American Orchestras Summit preceding the Chicago Symphony Orchestra concert
U40, U40! Ticket discounts and special opportunities for UMS patrons under 40
Guerilla Chamber Music events: Help take music to the streets!
Details about all educational and residency events are posted approximately one month before the performance date. Join the UMS E-mail Club to have updated event information sent directly to you. For immediate event info, please e-mail firstname.lastname@example.org, or call the numbers listed on the following pages.
ADULT, COMMUNITY, & UNIVERSITY
Please call 734.615.4077 or e-mail email@example.com 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 UMEK.!5
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 firstname.lastname@example.org or visit www.ums.org.
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 email@example.com.
YOUTH, TEEN, AND FAMILY
Please call 734.615.0122 or e-mail firstname.lastname@example.org for more information.
UMS Youth: Arts for the Next Generation
UMS has one of the largest K-12 education ini?tiatives in Michigan. Designated as a "Best Practice" program by ArtServe Michigan and the Dana Foundation, UMS is dedicated to mak?ing world-class performance opportunities and professional development activities available to K-12 students and educators.
0910 Youth Performance Series
These daytime performances give pre-K through high school students the opportunity to see the same internationally renowned performances as the general public. The Fall 2009 season fea?tured special youth presentations of Shakespeare's Globe Theatre and Keith Terry and the SLAMMIN All-Body Band. In WinterSpring 2010, UMS will present Bill T. JonesArnie Zane Dance Company, Ladysmith Black Mambazo, the Sphinx Jr. Division Finals Concert, The Bad Plus, and Hubbard Street Dance Chicago. All youth performances have accompanying curricular materials, available for free at www.ums.org, to connect the perform?ance to state curricular standards via the Michigan Grade Level Content Expectations.
Teacher Workshop Series
UMS is part of the Kennedy Center Partners in Education Program, offering educators mean?ingful professional development opportunities. Workshops, cultural immersions, and book clubs bring the best in local and national arts education to our community, through presenta-
tions by Kennedy Center teaching artists, UMS performing artists, and local arts and culture experts. This series focuses on arts integration, giving teachers techniques for incorporating the arts into everyday classroom instruction.
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 email@example.com.
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 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.
In a special collaboration with the Neutral Zone, Ann Arbor's teen center, UMS presents this annual performance on Saturday, May 15, 2010 at the Power Center, highlighting the area's best teen performers. This show is curated, designed, marketed, and produced by teens under the mentorship of UMS staff.
UMS Family Series
The UMS Family Series was created to allow families to experience the magic of the per?forming arts together, irrespective of age. Most family performances feature shorter program lengths, a more relaxed performance-going environment, and special interactive opportuni?ties for kids with the artist or art form. Fall 2009 family performances included The Suzanne Farrell Ballet, Keith Terry's SLAMMIN All-Body Band, and the Vienna Boys Choir. Please join us for Cyro Baptista's Beat the Donkey, the final family presentation of the 0910 season, on March 13, 2010 at 1pm and 4pm.
Education Program Supporters
Reflects gifts received between July 1, 2008 and November , 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
Swanna Sattiel Community Foundation for
Southeast Michigan Doris Duke Charitable
Foundation Doris Duke Foundation for
DTE Energy Foundation The Esperance Family Foundation David and Phyllis Herzig
Endowment Fund Honigman Miller Schwartz
and Cohn UP JazzNet Endowment WK Kellogg Foundation Masco Corporation
Miller. CanfieM, Paddock and
Stone. P.LC. THE MOSAIC FOUNDATION
(of R. & P. Heydon) The Mosaic Foundation.
Washington DC National Dance Project of the
New England Foundation
for the Arts
National Endowment for the Arts Prudence and Amnon
Rosenthal K-12 Education
Endowment Fund Rick and Sue Snyder TCF Bank
UMS Advisory Committee University of Michigan Credit Union University of Michigan
Health System U-M Office of the Senior Vice
Provost for Academic Affairs U-M Office of the Vice
President for Research Wallace Endowment Fund
There are many ways to support the efforts of UMS, all of which are critical to the success of our season. We would like to welcome you to the UMS family and involve you more closely in our exciting programming and activities. This can happen through corporate sponsorships, business advertising, individual donations, or through volunteering. Your financial investment andor gift of time to UMS allows us to continue connecting artists and audiences, now and into the future.
CORPORATE SPONSORSHIP AND ADVERTISING
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:
Developing business-to-business relationships
Targeting messages to specific demographic groups
Enhancing corporate image
Making highly visible links with arts and education programs
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.
UMS ADVISORY COMMITTEE
The UMS Advisory Committee is an organization of over 80 volunteers who contribute approxi?mately 7,000 hours of service to UMS each year. The Advisory Committee champions the mission and advances UMS's goals through community engagement, financial support, and other volun?teer service.
Advisory Committee members work to increase awareness of and participation in UMS programs through the Education Ambassador Committee, a new Community Ambassador proj?ect, ushering at UMS youth performances, and a partnership with the U-M Museum of Art (UMMA) Friends Board.
Meetings are held every other month and membership tenure is three years. Please call 734.647.8009 to request more information.
Raising money to support UMS Education Programs is another major goal of the Advisory Committee. The major fundraising events are:
Ford Honors Program and Gala: San Francisco Symphony Saturday, March 20, 2010
This year's program will honor the San Francisco Symphony (SFS) and Michael Tilson Thomas (MTT), Music Director. Founded in 1911, the SFS is widely considered to be among the country's most artistically adventurous arts institutions. Michael Tilson Thomas assumed his post as the Symphony's 11th Music Director in 1995. MTT's 13 seasons with SFS have been praised by crit?ics for innovative programming, for bringing the works of American composers to the fore, developing new audiences, and for an innova?tive and comprehensive education and commu?nity program.
The evening will begin with a Gala Dinner at the Michigan League, followed by the SFS's performance of Mahler's Symphony No. 2. After the performance, guests can meet SFS musicians and MTT at a Champagne Afterglow. Please call 734.764.8489 to make a reservation for the Gala Dinner and Champagne Afterglow.
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
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 www.ums.org.
Contact us for details on the specific benefits of each level
Q $100,000 or more Director
_) 550,000 Soloist
? $20,000 Maestro
? $10,000 Virtuoso
G S7.500 Concertmaster
? $5,000 Producer
? $3,500 Leader G $2,500 Principal
? $1,000 Patron
G $500 Benefactor G $250 Associate G $100 Advocate
Please check your desired giving level above and complete the form below or visit us online at www.ums.org.
(Print names exactly as you wish them to appear in UMS listings.) Address
City State Zip
Day Phone Eve. Phone E-mail
Comments or Questions
Please make checks payable Gifts of $50 or more may be Account to University Musical Society charged to: ? VISA Q MasterCard ? Discover ? American Express Expiration Date
Q I do not wish to receive non-deductible benefits.
? My company will match this gift. Matching gift form enclosed.
Send gifts to: University Musical Society, 881 N. University, Ann Arbor, Ml 48109-1011
ANNUAL FUND SUPPORT
July 1, 2008-November 1, 2009
Thank you to those who make UMS programs and presentations possible. The cost of presenting world-class performances and education programs exceeds the revenue UMS receives from ticket sales. The difference is made up through the generous sup?port of individuals, corporations, foundations, and government agencies. We are grateful to those who have chosen to make a difference for UMS! This list includes donors who made an annual gift to UMS between July 1, 2008 and November 1, 2009. Due to space constraints, we can only list those who donated $250 or more. Every effort has been made to ensure the accuracy of this list. Please call 734.647.1175 with any errors or omissions. Listing of donors to endowment funds. Listing of donors to endowment funds begins on page P44.
$100,000 or more
Doris Duke Charitable Foundation
Ford Motor Company Fund and
Community Services Forest Health Services Michigan Council for Arts and
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
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
Ken and Penny Fischer
Susan and Richard Gutow
Debbie and Norman Herbert
Carl and Charlene Herstein
Honigman Miller Schwartz and
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
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
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
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
James W. and Phyllis Ford
Jill and Dan Francis
Leon and Marcia Friedman
Otto and Lourdes Gago
Enid H. Galler
Lois Kennedy Gamble
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
Carolyn B. Houston
Robert M. and Joan F. Howe
Eileen and Saul Hymans
Wallie and Janet Jeffries
Timothy and Jo Wiese Johnson
David and Gretchen Kennard
Connie and Tom Kinnear
Philip and Kathryn Klintworth
Carolyn and Jim Knake
Regan Knapp and John Scudder
Charles and Linda Koopmann David Lampe and Susan Rosegrant Ted and Wendy Lawrence Carolyn and Paul Lichter Jean E. Long
John and Cheryl MacKrell Cathy and Edwin Marcus Ann W. Martin and Russ Larson Marilyn Mason and
William Steinhoff Mary and Chandler Matthews Carole J. Mayer W. Joseph McCune and
Georgiana Sanders Griff and Pat McDonald Bernice and Herman Merte James M. Miller and
Rebecca H. Lehto Bert and Kathy Moberg Lester and Jeanne Monts Paul Morel and Linda Woodworth Alan and Sheila Morgan Cyril Moscow Terence Murphy Randolph and Margaret Nesse Susan and Mark Orringer William Nolting and
Donna Parmelee Marylen S. Oberman Judith Ann Pavitt Elaine and Bertram Pitt Stephen and Tina Pollock Thomas Porter and
Kathleen Crispell Richard and Mary Price Mrs. Gardner C. Quarton Anthony L. Reffells Donald Regan and
Elizabeth Axelson Ginny and Ray Reilly Constance Rinehart Rosalie EdwardsAibrant
Ann Arbor Fund
Jeffrey and Huda Karaman Rosen Doris E. Rowan Karem and Lena Sakallah Dick and Norma Sarns Maya Savarino
Dr. Lynn T. Schachinger and
Dr. Sheryl S. Ulin John J.H. Schwarz MD Erik and Carol Serr Richard H. Shackson Janet and Michael Shatusky Carl Simon and Bobbi Low Sandy and Dick Simon Nancy and Brooks Sitterley Dr. Rodney Smith Lloyd and Ted St. Antoine Michael B. Staebler Lois and John Stegeman Virginia and Eric Stein Victor and Marlene Stoeffler Dr. and Mrs. Stanley Strasius Karen and David Stutz Charlotte Sundelson Lewis and Judy Tann Jan Svejnar and Katherine Terrell Ted and Eileen Thacker Fr. Lewis W. Towler Louise Townley Jeff and Lisa Tulin-Silver Jack and Marilyn van der Velde Florence S. Wagner Shaomeng Wang and Ju-Yun Li Harvey and Robin Wax W. Scott Westerman, Jr. Roy and JoAn Wetzel Dianne Widzinski and
James Skupski, MD Dr. and Mrs. Max V. Wisgerhof II Charles Witke and Aileen Gatten
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
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
Ramon and Peggyann Nowak Berguer
Sara Billmann and Jeffrey Kuras
William and llene Birge
Jerry and Dody Blackstone
Rebecca S. Bonnell
Bob and Sharon Bordeau
Sharon and David Brooks
Donald and June Brown
Morton B. and Raya Brown
Trudy and Jonathan Bulkley
Lou and Janet Callaway
Brent and Valerie Carey
Dennis J. Carter
A. Craig Cattell
Samuel and Roberta Chappell
John and Camilla Chiapuris
Dr. Kyung and Young Cho
Janice A. Clark
Brian and Cheryl Clarkson
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
Linda Dintenfass and Ken Wisinski
Eva and Wolf Duvernoy
Dr. and Mrs. Kim A. Eagle
Ernst & Young Foundation
Mary Ann Faeth
Harvey and Elly Falit
Margaret and John Faulkner
Phil and Phyllis Fellin
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
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
Maha Hussain and Sal Jafar
Stuart and Maureen Isaac
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
LaVonne L. Lang
Dale and Marilyn Larson
Ruth L. Leder
Paula and Paul Lee
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
Brigitte and Paul Maassen
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
Warren and Hilda Merchant
Robert C. Metcalf
Don and Lee Meyer
Mrs. J. Jefferson Miller
Myrna and Newell Miller
Andrew and Candice Mitchell
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
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
David Sarns and Agnes Moy-Sarns
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
Kate and Don Sullivan
Timothy W. Sweeney
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
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 Dorit Adler Martha Agnew and
Webster Smith Dr. Diane M. Agresta Mr. and Mrs.
W. Dean Alseth Catherine M. Andrea Anonymous Dan and Vicki Arbour Rosemary and John Austgen Drs. John and Lillian Back Robert L. Baird Bruce Baker and
Genie Wolfson Barbara and Daniel Balbach Barnes & Noble Booksellers Frank and Gail Beaver Gary M. Beckman and
Ken and Eileen Behmer Harry and Kathryn Benford Dr. Rosemary R. Berardi Andrew H. Berry Naren and Nishta Bhatia Jack Billi 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
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. Sandeland; 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
Herschel and Adrienne Fink
Sara and Bill Fink
David Fox and
Paula Bockenstedt Shari and Ben Fox Willard G. Fraumann Susan L. Froelich and
Richard E. Ingram Philip and Renee Frost Carol Gagliardi and
David Flesher Martin Garber and
Beth German Sandra Gast and
Gregory Kolecki Michael Gatti and
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
Mitch and Barb Goodkin Enid Gosling Mr. and Mrs. Charles and
Janet Goss Michael L. Gowing Phyllis Gracie Jeffrey B. Green Nancy Green and
William Robinson Raymond and Daphne Grew Susan and Mark Griffin Nicki Griffith Werner H. Grilk Milton and Susan Gross Bob and Jane Grover Anna Grzymala-Busse and
Joshua Berke Susan Guszynski and
Gregory Mazure Jan and Talbot Hack George and Mary Haddad M. Peter and Anne Hagiwara Tom Hammond Jeff Hannah and Nur Akcasu Abdelkader and
Huda Hawasli Rose and John Henderson
J. Lawrence Henkel and
Jacqueline Stearns Paul and Erin Hickman James C. Hitchcock John Hogikyan and
Barbara Kaye Richard and Cathy
Hollingsworth Ronald and Ann Holz Cyrus C. Hopkins James and
Wendy Fisher House Sun-Chien and Betty Hsiao Mabelle Hsueh Robert B. Ingling Mr. and Mrs.
Eugene 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
Jack and Sharon Kalbfleisch Helen and Irving Kao Carol and H. Peter Kappus Arthur Kaselemas MD Morris and Evelyn Katz John B. Kennard, Jr. Nancy Keppelman and
Michael Smerza Drs. Nabil and
Mouna Khoury Roland and Jeanette Kibler Don and Mary Kiel Paul and Leah Kileny Kirkland & Ellis Foundation Dana and Paul Kissner Jean and Arnold Kluge Aric Knuth and Jim Leija Michael Koen Rosalie and Ron Koenig Joseph and
Marilynn Kokoszka Michael J. Kondziolka and Mathias-Philippe Florent Badin
Alan and Sandra Kortesoja Charles and Mary Krieger Vejayan Krishnan Ken and Maria Laberteaux Donald John Lachowicz
Lucy and Kenneth Langa Neal and Anne Laurance Jean Lawton and James Ellis Doug Laycock and
Teresa A. Sullivan Bob and Laurie Lazebnik Leslie Meyer Lazzerin John and Theresa Lee Sue Leong
Joan and Melvyn Levitsky David Baker Lewis Jacqueline H. Lewis Ken and Jane Lieberthal Michael and Debra Lisull Michael Litt Dr. and Mrs.
Lennart Lofstrom Julie M. Loftin Bruce W. Loughry William and Lois Lovejoy Joan Lowenstein and
Jonathan Trobe Charles and Judy Lucas Marjory S. Luther Ormond and
Annie MacDougald Claire and Richard Malvin Melvin and Jean Manis Manpower, Inc. of
Southeastern Michigan Michael and
Pamela Marcovitz Nancy and Philip Margolis Betsy Yvonne Mark Stacy and David Markel Howard L. Mason Laurie McCauley and
Jessy Grizzle Margaret and
Harris McClamroch Peggy McCracken and
Doug Anderson James H. Mclntosh and
Elaine K. Gazda Bill and Ginny McKeachie Joanna McNamara and
Mel Guyer Frances McSparran Russ and Brigitte Merz Gabrielle Meyer Shirley and Bill Meyers Eugene and Lois Miller George Miller and
Deborah Webster Jack and Carmen Miller Patricia Mooradian Arnold and Gail Morawa Michael and Patricia Morgan Melinda Morris
Sean Morrison and
Theodora Ross Ronald S. Mucha Drs. Louis and
Julie Jaffee Nagel Sabine Nakouzi and
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
Jonathan and Anala Rodgers Jean P. Rowan Rosemarie Haag Rowney Lisa and William Rozek Carol D. Rugg and Richard
K. Montmorency Omari Rush Arnold Sameroff and
Susan McDonough Ina and Terry Sandalow Michael and Kimm Sarosi Rosalyn Sarver and
Stephen Rosenblum Nabil Sater Joseph Saul and
Lisa Leutheuser Albert and Jane Sayed David and Marcia Schmidt Harriet Selin
David and Elvera Shappirio Patrick and Carol Sherry James and Teri Shields George and Gladys Shirley Jean and Thomas Shope George and Nancy Shorney Mary A. Shulman Drs. Andrew and
Emily Shuman Bruce M. Siegan Dr. Terry M. Silver Scott and Joan Singer Jurgen Skoppek Ken and Marcia Slotkowski Tim and Marie Slottow Carl and Jari Smith David and Renate Smith Robert W. Smith Ren and Susan Snyder Yoram and Eliana Sorokin Joseph H. Spiegel Gretta Spier and
Jonathan Rubin Jeff Spindler David and Ann Staiger James I. 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.
ENDOWMENT FUND SUPPORT
July 1, 2008-November 1, 2009
The University Musical Society is grateful to those have supported UMS endowment funds, which will generate income for UMS in perpetuity and benefit UMS audiences in the future.
$100,000 or more
Doris Duke Charitable Foundation
Lenore M. Delanghe Trust Estate of Lillian G. Ostrand
James and Nancy Stanley
Estate of Betty Ann Peck
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 Matovinovid 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
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
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
Richard and Madelon Weber
Mary Ann Whipple
Mary C. Crichton
Edith and Richard Croake
Enid and Richard Grauer
Jonathan and Jennifer Haft
G. Elizabeth Ong
Richard L. and Lauren G. Prager
Charles W. Ross
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
7Tie 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
Carol and Herb Amster
Mr. Neil P. Anderson
Dr. and Mrs. David G. Anderson
Catherine S. Arcure
Barbara K. and Laurence R. Baker
Kathy Benton and Robert Brown
Linda and Maurice Binkow
Elizabeth S. Bishop
Mr. and Mrs. W. Howard Bond
Mr. and Mrs. Pal E. Borondy
Carl and Isabelle Brauer
Barbara Everitt Bryant
Pat and George Chatas
Mr. and Mrs. John Alden Clark
Mary C. Crichton
H. Michael and Judith L. Endres
Dr. James F. Filgas
Ken and Penny Fischer
Ms. Susan Ruth Fischer
Meredith L. and Neal Foster
Beverley and Gerson Geltner
Paul and Anne Glendon
Debbie and Norman Herbert
John and Martha Hicks
Mr. and Mrs. Richard Ives
Marilyn G. Jeffs
Thomas C. and Constance M. Kinnear
Robert and Pearson Macek
Michael G. McGuire
M. Haskell and Jan Barney Newman
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
Art and Elizabeth Solomon
Roy and JoAn Wetzel
Ann and Clayton Wilhite
Mr. and Mrs. Ronald G. Zollars
Contributions have been made in honor andor memory of the following people:
H. Gardner Ackley
Nancy L. Ascione
Linda and Maurice Binkow
Jean W. Campbell
Marie Mountain Clark
John S. Dobson
Mrs. Jane D. Douglass
Alexander Everett Fischer
Ken and Penny Fischer
Mr. Leslie Froelich
E. James Gamble
Susan and Richard Gutow
Lloyd W. Herrold
Carl W. Herstein
Dr. Julian T. Hoff
Kathleen McCree Lewis
Zelma K. Marich
Josip Matovinovic MD
Sharon Anne McAllister
Valerie D. Meyer
Amir Masud Mostaghim
Gwen and Emerson Powrie
Gail W. Rector
Margaret E. Rothstein
Eric H. Rothstein
Nona Ruth Schneider
J. Barry Sloat
George E. Smith
Edith Marie Snow
Jennifer Steiner and Patrick Tonks
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
Carl H. Wilmot, Class of 1919
Nancy Joan Wykes
Alumni Association of the University
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
Liberty Athletic Club
Martin and Jane Maehr
Kathy McKee Casting Studio
Kay and Gayl Ness
Steve and Betty Palms
Performance Network Theatre
Elisabeth and Michael Psarouthakis
Purple Rose Theatre
Dick Scheer, Village Corner
Sweet Gem Confections
Ted and Eileen Thacker
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
University Musical Society