Press enter after choosing selection

UMS Concert Program, Saturday Apr. 10 To 25: University Musical Society: Winter 2010 - Saturday Apr. 10 To 25 --

Download PDF
Rights Held By
University Musical Society
OCR Text

Season: Winter 2010
University Of Michigan, Ann Arbor

University Musical Society of the University of Michigan Ann Arbor
ums 0910
university musical society
Winter 10 University of Michigan Ann Arbor
P2 Letters from the Presidents
P5 Letter from the Chair
UMSLeadership 7 UMS Corporate and Foundation Leaders
P14 UMS Board of DirectorsNational Council
SenateAdvisory Committee
P15 UMS StaffCorporate Council
Teacher Advisory Committee
UMSlnfo P17 General Information
P19 UMS Tickets
UMSAnnals 21 UMS History
P22 UMS Venues and Burton Memorial Tower
Event Program 24 Your event program content follows page 24
UMSExperience 25 UMS Education and Audience Development
UMSSupport 33 Corporate Sponsorship and Advertising
33 Individual Donations
P35 UMS Advisory Committee
37 Annual Fund Support
P44 Endowment Fund Support
48 UMS Advertisers
Cover: Cyro Baptista. Bill T. JonesArnie Zane Dance Company (photo: Paul B. Goode),
Bela Fleck, Maly Drama Theater of St. Petersburg (photo: Viktor Vassiliev)

Welcome to this University Musical Society (UMS) performance. At the University of Michigan we are proud of UMS and of the world-class artists and ensembles it brings each season to the University and southeast Michigan.
We are also proud of the outstanding educational programs UMS offers to people of all ages and of the new works in dance, theater, and music it com?missions and premieres. Through the U-MUMS
Partnership Program, the University is pleased to pro?vide support to UMS as it car?ries out its commitment to education, creation, and pres?entation, paralleling the University's commitment to teaching, research, and public engagement.
UMS offers a variety of pro?grams designed to engage
U-M students in the arts. These include programs that provide academic context and background for arts performances, or combine arts performances with social activities; initiatives to make ticket pur?chases more affordable and convenient; and opportunities for students to gain direct experience in arts administration.
UMS is a member of the University's Public Goods Council (PGC), a cluster of campus organizations dedicated to advancing scholarship and culture through music, works of art, special collections, historical archives, natural science resources, per?formance programs, coursework, and experiential learning. The PGC promotes collaboration in ways that enrich the educational and cultural experience on campus and in the community.
I encourage you to attend more UMS events and those offered by the other many outstanding arts and cultural organizations of the University. To learn more about these activities, visit the University's website at
Mary Sue Coleman
President, University of Michigan
Welcome to this UMS performance. All of us associated with UMS are grateful that you're here. We hope you will enjoy the experience and attend more UMS events during our 131st season. You will find a listing of events on page 2 of this program book.
The UMS Fall 2009 Season. Many thanks to those of you who attended some of the out?standing events of the UMS Fall 2009 Season. Whether it was embracing a young artist making her UMS debut (cellist Alisa Weilerstein), laughing riotously at the behavior of the actors on and off the stage (Shakespeare's Globe Theatre's Love's Labour's Lost), or being totally captivated by the glorious sounds in the reverberant St. Francis sanctuary (Stile Antico), you demonstrated once again why artists like to come to Ann Arbor. You were totally engaged with them, listening intent?ly, absorbing their performances, and then letting them know how much you appreciate them. When I visited Sir Simon Rattle in his dressing room before his Ann Arbor debut as conductor of the Berliner Philharmoniker, the first words out of his mouth were, "There was no way Ann Arbor would be left off this tour. The orchestra members insisted we return here." When I visited with him after the concert, he picked up where he left off, saying, "And now I know why. What a glorious hall--and what a remarkable audience! I could hear them listening."
UMS Strategic Plan. In January 2009, UMS began a strategic planning process with the assis?tance of external consultant Stephen Y. Nose of SYN Associates in Ann Arbor. Many members of the UMS community took part in gathering data through focus groups, personal interviews, sur?veys, and other means in assessing competition, trends, products, and our partnerships. The UMS Board approved key goals and objectives in the fall, and the UMS staff is working on the develop?ment of implementation strategies to achieve them. Many of the goals and objectives deal with internal matters related to staff development, board and staff succession, the UMS brand, and our relationship with key partners including the University of Michigan. The most important objectives are those that deal most directly with
our mission, which is "To inspire individuals and enrich communities by connecting audiences and artists in uncommon and engaging experiences." These include enabling UMS to take greater artis?tic and programmatic risks on an ongoing basis, increasing participation of emerging and new audiences in UMS programs, and creating deeper UMS experiences by providing new and renewed connection points for audiences and artists in both virtual and physical spaces. Stay tuned for
more information as we complete the strategies.
Ford Honors Program.
The 15th Ford Honors Program occurs on Saturday, March 20 during the residency of the San Francisco Symphony when we honor both the SFS and its music director, Michael Tilson Thomas, with the UMS Distinguished Artist
Award. The format takes a different approach this year. The gala dinner precedes the performance, and a champagne reception follows, both planned and organized by our dynamic Advisory Committee. A very brief awards presentation on the Hill stage precedes the performance of Mahler's Symphony No. 2 featuring the SFS and the UMS Choral Union. Look for more informa?tion on our website at
Feel free to get in touch with me if you have any questions, comments, or problems. If you don't see me in the lobby, send me an e-mail message at or call me at 734.647.1174.
Thanks again for coming to this event. Very best wishes,
Kenneth C. Fischer UMS President
In June 2009, UMS was one of four organizations awarded an "Innovation Lab" grant by EMCArts, with support from the Doris Duke Charitable Foundation, to develop an idea that could have a profound impact on how they do business. UMS will launch a beta version of the project in February.
The UMS Lobby will expand and redefine what we mean by "the UMS experience." By combining online and live components in everything UMS does, we will enable a wide range of participants to engage more continuously and more deeply with each other, with the extraordinary history of UMS, with the artists we now present, and with the life of UMS in Ann Arbor and throughout the region.
The UMS Lobby is both a virtual and physical space where people meet, exchange ideas, and build relation?ships -a bridge between daily life and the special places we devote to artistic experiences. The UMS Lobby will include:
-Live preand post-performance events that extend the UMS experience
-A digitized historical archive that includes access to UMS's extraordinary 131-year history, including the opportunity to submit your own comments, memories, and observations about events that you've attended
-A multimedia blog with articles, video, audio, photos, and links
-Stories from patrons and others about the impact of UMS -in essence, a "living archive" that will grow with time and supplement the historical archive
-Conversation areas that include feeds from our facebook, twitter, and other networks, but that also provide a place to listen and to be heard
How fortunate we are to be part of a UMS audience experiencing artistic performanc?es that have the potential to transform lives. That is of little surprise given the role UMS has in inspiring us, enriching our community, and broadening our understandings of each other. Be it the sound of music, the movement of dance, or the voice of theater, UMS has brought extraordi?nary performances and new experiences from some of the world's most distinctive artists to us for 131 years. UMS is regarded as one of the country's most respected organizations bringing artists and audiences together. UMS makes a dif?ference.
UMS events are presented in many diverse venues, all of which are chosen to create an unusual bond between the performers and the audience. Both the seasoned attendee and the newcomer quickly grasp this unique connection. Lasting ovations and knowledgeable chatter of those leaving the hall let the artists know they have been deeply appreciated and understood. That atmosphere has established a special rela?tionship between UMS audiences and artists. It's been that way for generations.
But there is more than simply a few hours of respite from our busy lives. Our forbearers knew the importance of sustaining their emotional and intellectual spirit by revisiting the many cultural roots that surround them. And so do we. In today's times of world conflict and economic stress, UMS plays a most valuable role in sustain?ing our global community's well being. The 0910 season is a testament to that role. As a starter, the first half of the year witnessed the likes of the Berlin Philharmonic, Shakespeare's Globe Theatre of London, The Suzanne Farrell Ballet, and the Vienna Boys Choir. The second half offers the classical music of the Chicago Symphony Orchestra and the San Francisco Symphony, Lang Lang at the piano and Julia Fischer on the violin, the moods of Wynton
Marsalis and the Jazz at Lincoln Center Orchestra, the singing of Ladysmith Black Mambazo, the voices of St. Petersburg's Maly Drama Theater, the motion of Hubbard Street Dance Chicago, and the wit of The New Yorker music critic Alex Ross. These performances are a small bit of what UMS is doing for us now. It just doesn't get any better anywhere.
The UMS Board and I encourage you to engage yourself in the many experiences afford-
ed by UMS. Dare yourself to be exposed to the different sounds and colors that are part of our ever-shrinking planet. They are all here. Enjoy the pride in being among our individual and corporate donors whose contributions fund more than half the expenses of bringing worldwide artists to our doors each year. The
back of this program documents the wonderful support, both large and small, from our benefac?tors. Join them and participate as advocates for the cultural contributions that UMS offers to our greater community. Do it for yourself and for those who follow. Learn about us and talk to us at We like to listen. And remem?ber how very fortunate you are to be part of the UMS difference.
James C. Stanley I
Chair, UMS Board of Directors
UMS Leadership
James G. Vella
President, Ford Motor Company Fund ( and Community Services 'Through music and the arts, we are inspired to broaden our horizons, bridge differences among cultures, and set our spirits free. We are proud to support the University Musical Society and acknowledge the important role it plays in our community."
Dr. Ora Hirsch Pescovitz
Executive Vice President for Medical Affairs, University of Michigan, and CEO, University of Michigan Health System "When I was young, I contemplated becoming a concert pianist. Though I didn't pursue that career path, the arts have remained a prominent fixture in my life, both personally and professionally. Music and the arts feed our imaginations, heal our spirits, and inspire us to evolve and grow. We are very fortunate to have the University Musical Society as part of our community, and the University of Michigan Health System is privileged to sponsor such a creative, vibrant part of our culture. Here's to a great year!"
Douglass R. Fox
President, Ann Arbor Automotive We at Ann Arbor Automotive are pleased to support the artistic variety and program excellence given to us by the University Musical Society."
Timothy G. Marshall
President and CEO, Bank of Ann Arbor "Bank of Ann Arbor is pleased to continue its longstanding tradition of supporting the arts and cultural organizations in our town and region. The University Musical Society provides all of us a wonderful and unique opportunity to enjoy first-class performances covering a wide range of artists from around the world. We are proud to continue our support of UMS for the 0910 season."
Habte Dadi
Manager, Blue Nile Restaurant "At the Blue Nile, we believe in giving back to the community that sustains our business. We are proud to support an organization that provides such an important service to Ann Arbor."
Claes Fornell
Chairman, CFI Group, Inc.
"The University Musical Society is a marvelous magnet for attracting the world's finest in the performing arts. There are many good things in Ann Arbor, but UMS is a jewel. We are all richer because of it, and CFI is proud to lend its support."
Bruce Duncan
Ann Arbor Regional Bank President, Comerica Bank "Comerica is proud to support the University Musical Society. UMS continues to enrich the local community by bringing the finest performing arts to Ann Arbor, and we're pleased to continue to support this long-standing tradition."
Fred Shell
Vice President, Corporate and Government Affairs, DTE Energy
"The DTE Energy Foundation is pleased to support exemplary organizations like UMS that inspire the soul, instruct the mind, and enrich the community."
Edward Surovell
President, Edward Surovell Realtors
"Edward Surovell Realtors and its 300 employees and sales asso?ciates are proud of our 21-year relationship with the University Musical Society. We honor its tradition of bringing the world's leading performers to the people of Michigan and setting a standard of artistic leadership recognized internationally."
Leo Legatski
President, Elastizell Corporation of America "Elastizell is pleased to be involved with UMS. UMS's strengths are its programming--innovative, experimental, and pioneering--and its education and outreach programs in the schools and the community."
Joseph A. Maffesoli
Branch ManagerVice President, Ann Arbor Investor Center "The Fidelity Investments Ann Arbor Investor Center is proud to support the University Musical Society and the continued effort to inspire our community through the arts. We look forward to another season of great performances!"
Carl W. Herstein
Partner, Honigman Miller Schwartz and Cohn UP --
"Honigman is proud to support non-profit organizations in the communities where our partners and employees live and work. We are thrilled to support the University Musical Society and commend UMS for its extraordinary programming, com?missioning of new work, and educational outreach programs."
Mark A. Davis
President and CEO, Howard & Howard
"At Howard & Howard, we are as committed to enriching the communities in which we live and work as we are to providing sophisticated legal services to businesses in the Ann Arbor area. The performing arts benefit us all, and we are proud that our employees have chosen to support the cultural enrichment provided by the University Musical Society."
Mohamad Issa
Director, Issa Foundation
"The Issa Foundation is sponsored by the Issa family, which has been established in Ann Arbor for the last 30 years, and is involved in local property management as well as area pub?lic schools. The Issa Foundation is devoted to the sharing and acceptance of culture in an effort to change stereotypes and promote peace. UMS has done an outstanding job bringing diversity into the music and talent of its performers."
Bill Kerby
Owner, Kerby's Kurb Service 'Kerby's Kurb Service has been a part of the University Musical Society for over a decade. It has been a pleasure working with the UMS staff and an organization that has brought world-renowned artists to the local area for the cultural benefit of many, especially the Ann Arbor community."
Tim Gretkierewicz
Market President, KeyBank
"KeyBank remains a committed supporter of the performing arts in Ann Arbor and we commend the University Musical Society for bringing another season of great performances to the community. Thank you, UMS, for continuing the tradition.
Dennis Serras
Owner, Mainstreet Ventures, Inc. "As restaurant and catering service owners, we consider ourselves fortunate that our business provides so many opportunities for supporting the University Musical Society and its continuing success in bringing internationally acclaimed talent to the Ann Arbor community."
Sharon J. Rothwell
Wee President, Corporate Affairs and Chair, Masco Corporation Foundation "Masco recognizes and appreciates the value the performing arts bring to the region and to our young people. We applaud the efforts of the University Musical Society for its diverse learning opportunities and the impact its programs have on our communities and the cultural leaders of tomorrow."
Scott Merz
CEO, Michigan Critical Care Consultants, Inc. (MC3) "MC3 is proud to support UMS in recognition of its success in creating a center of cultural richness in Michigan."
Erik H. Serr
Principal, Miller, Canfield, Paddock and Stone, P.L.C. "Miller Canfield proudly supports the University Musical Society for bringing internationally-recognized artists from a broad spectrum of the performing arts to our community, and applauds UMS for offering another year of music, dance, and theater to inspire and enrich our lives."
John W. McManus
Market President, South Central Michigan, National City "National City Bank is proud to support the efforts of the University Musical Society and the Ann Arbor community."
Michael B. Staebler
Senior Partner, Pepper Hamilton LIP 'The University Musical Society is an essential part of the great quality of life in southeastern Michigan. We at Pepper Hamilton support UMS with enthusiasm."
Joe Sesi
President, Sesi Lincoln Mercury Volvo Mazda
'The University Musical Society is an important cultural
asset for our community. The Sesi Lincoln Mercury
Volvo Mazda team is delighted to sponsor such a fine
Thomas B. McMullen
President, Thomas B. McMullen Co., Inc.
"I used to feel that a U-M-Ohio State football ticket was
the best ticket in Ann Arbor. Not anymore. UMS provides
the best in educational and artistic entertainment."
Tom Thompson
Owner, Tom Thompson Flowers
"Judy and I are enthusiastic participants in the UMS family. We appreciate how our lives have been elevated by this relationship."
Shigeki Terashi
President, Toyota Technical Center "Toyota Technical Center is proud to support UMS, an organization with a long and rich history of serving diverse audiences through a wide variety of arts programming."
Jeff Trapp
President, University of Michigan Credit Union "Thank you to the University Musical Society for enriching our lives. The University of Michigan Credit Union is proud to be a part of another great season of performing arts."
UMS gratefully acknowledges the support of the following foundations and government agencies:
$100,000 and above
Doris Duke Charitable Foundation W.K. Kellogg Foundation National Endowment for the Arts
Community Foundation for Southeast Michigan Doris Duke Foundation for Islamic Art Esperance Family Foundation
Cairn Foundation
DTE Energy Foundation
Maxine and Stuart Frankel Foundation
Charles H. Gershenson Trust
Masco Corporation Foundation
The Mosaic Foundation, Washington DC
Arts Midwest's Performing Arts Fund Eugene and Emily Grant Foundation Martin Family Foundation Michigan Council for Arts and Cultural Affairs THE MOSAIC FOUNDATION (of R. & P. Heydon)
Consulate General of The Netherlands in New York
Mohamad and Hayat Issalssa Foundation
National Dance Project of the New England Foundation
for the Arts Sarns Ann Arbor Fund Target
James C. Stanley,
Chair David J. Herzig,
Wee Chair Martha Darling,
Secretary Robert C. Macek,
Treasurer Carl W. Herstein,
Past Chair
Wadad Abed Carol L. Amster
Kathleen Benton Lynda W. Berg DJ Boehm
Charles W. Borgsdorf Robert Buckler David Canter Mary Sue Coleman Julia Donovan Darlow Junia Doan Maxine J. Frankel Patricia M. Garcia Chris Genteel Anne Glendon
Joel D. Howell Christopher Kendall S. Rani Kotha Melvin A. Lester Joetta Mial Lester P. Monts Roger Newton Stephen G. Palms Todd Roberts Sharon Rothwell Edward R. Schulak John J.H. Schwarz Ellie Serras
Joseph A. Sesi Anthony L. Smith Cheryl L. Soper
Clayton E. Wilhite,
Chair, National
Council A. Douglas Rothwell,
Chair, Corporate
Council Janet Callaway,
Chair, Advisory
Clayton E. Wilhite, Chair Marylene Delbourg-Delphis John Edman Janet Eilber
Eugene Grant Charles Hamlen Katherine Hein David Heleniak
Toni Hoover Judith Istock Wallis Klein Zarin Mehta
Herbert Ruben Russell Willis Taylor Carl W. Herstein, Ex-offido James C. Stanley, Ex-offido
UMS SENATE (former members of the UMS Board of Directors)
Robert G. Aldrich Michael C. Allemang Herbert S. Amster Gail Davis Barnes Richard 5. Berger Maurice S. Binkow Lee C. Bollinger Janice Stevens
Botsford Paul C. Boylan Carl A. Brauer William M. Broucek Barbara Everitt Bryant Letitia J. Byrd Kathleen G. Charla Leon S. Cohan Jill A. Corr Peter B. Corr Ronald M. Cresswell
Hal Davis
Sally Stegeman DiCarlo Robert F. DiRomualdo Cynthia Dodd Al Dodds
James J. Duderstadt Aaron P. Dworkin David Featherman Robben W. Fleming David J. Flowers George V. Fornero Beverley B. Geltner William S. Hann Randy J. Harris Walter L. Harrison Deborah S. Herbert Norman G. Herbert Carl W. Herstein Peter N. Heydon
Toni Hoover Kay Hunt Alice Davis Irani Stuart A. Isaac Thomas E. Kauper David B. Kennedy Gloria James Kerry Thomas C. Kinnear Marvin Krislov F. Bruce Kulp Leo A. Legatski Earl Lewis Patrick B. Long Helen B. Love Judythe H. Maugh Paul W. McCracken Rebecca McGowan Barbara Meadows Alberto Nacif
Shirley C. Neuman Jan Barney Newman Len Niehotf Gilbert S. Omenn Joe E. O'Neal John D. Paul Randall Pittman Philip H. Power John Psarouthakis Rossi Ray-Taylor John W. Reed Richard H. Rogel Prudence L. Rosenthal A. Douglas Rothwell Judy Dow Rumelhart Maya Savarino Ann Schriber Erik H. Serr Harold T. Shapiro
George I. Shirley John O. Simpson Herbert Sloan Timothy P. Slottow Carol Shalita Smokier Jorge A. Solis Peter Sparling Lois U. Stegeman Edward D. Surovell James L. Telfer Susan B. Ullrich Michael D. VanHemert Eileen Lappin Weiser B. Joseph White Marina v.N. Whitman Clayton E. Wilhite Iva M. Wilson Karen Wolff
Janet Callaway, Chair Betty Palms, Wee Chair Karen Stutz, Secretary Sarah Nicoli, Treasurer Phyllis Herzig, Past Chair
Ricky Agranoff ManAnn Apley Sandy Aquino Lorie Arbour Barbara Bach Pat Bantle Francine Bomar
Luciana Borbely Dennis J. Carter Slefam Carter Cheryl Cassidy Patricia Chapman Cheryl Clarkson Wendy Comstock Sheila Crowley Doug Czinder Norma Davis Mary Dempsey Mary Ann Faeth Michaelene Farrell Sara Fink
Susan A. Fisher Susan R. Fisher Rosamund Forrest Kathy Goldberg Walter Graves Linda Grekin Nicki Griffith Joe Grimley Susan Gross Susan Gutow Charlene Hancock Shelia Harden Alice Hart Meg Kennedy Shaw
Pam Krogness Mara Raver Lash Mary LeDuc Joan Levitsky Jean Long Eleanor Lord Jane Maehr Jennifer J. Maisch Melanie Mandell Ann Martin Fran Martin Joanna McNamara Deborah Meadows Liz Messiter
Robin Miesel Natalie Mobley Bonita Davis Neighbors Kay Ness Thomas Ogar Liz Othman Allison Poggi Lisa Psaroulhakis Agnes Moy Sams Penny Schreiber Bev Seiford Aliza Shevrin Ahda Silverman
Loretta Skewes Andrea Smith Becki Spangler Nancy Stanley Carlin C. Stockson Gail Ferguson Stout Eileen Thacker Janet Torno Louise Townley Amanda Uhle Enid Wasserman Kirsten Williams Ellen Woodman
Kenneth C. Fischer, President Kathy M. Brown, Executive Assistant John B. Kennard, Jr.,
Director of Administration Beth Gilliland,
Gift ProcessorIT Assistant Patricia Hayes, Senior Accountant John Peckham,
Information Systems Manager
Choral Union
Jerry Blackstone,
Conductor and Music Director Jason Harris, Assistant Conductor Kathleen Operhall, Chorus Manager Nancy K. Paul, Librarian Jean Schneider, Accompanist Scott VanOrnum, Accompanist Donald Bryant, Conductor Emeritus
Susan McClanahan, Director Susan Bozell Craig, Senior Manager
for Marketing and Corporate
Partnerships Rachelle Lesko, Development
Administrative Assistant Lisa Michiko Murray,
Manager of Foundation and
Government Grants M. Joanne Navarre, Manager of
Annual Giving Marnie Reid, Manager of
Individual Support Cynthia Straub, Advisory Committee
and Events Coordinator
EducationAudience Development
Claire C. Rice, Interim Director Mary Roeder,
Residency Coordinator Omari Rush, Education Manager
MarketingPublic Relations
Sara Billmann, Director
Susan Bozell Craig, Senior Manager
for Marketing and Corporate
Partnerships James P. Leija, Public Relations
Manager Stephanie Normann, Marketing
Michael J. Kondziolka, Director Jeffrey Beyersdorf,
Technical Director Mark Jacobson,
Programming Manager Carlos Palomares,
Production Manager Liz Stover, Programming
Ticket Services
Jennifer Graf, Ticket Services
Manager Sally A. (lushing, Ticket Office
Associate Suzanne Davidson, Assistant Ticket
Services Manager Adrienne Escamilla,
Ticket Office Associate Sara Sanders, Front-of-House
Coordinator Sarah Wilber, Group Sales
Coordinator Dennis Carter, Bruce Oshaben,
Brian Roddy, Head Ushers
Emily Barkakati Adam Bichir Greg Briley Tyler Brunsman Allison Carron Shannon Deasy Michelle Dimuzio Kelsy Durkin Carrie Fisk Dana Harlan Tim Hausler Jasmine Hentschel Jennifer Howard Harsh Jhaveri Mark Johnson Andy Jones Neal Kelley Olivia Lloyd Rachel Lum Brooke Lundin Mary Martin Michael Matlock
Michael Mauskapf Bryan McGivern Michael Michelon Paula Muldoon Leonard Navarro Scott Padden Steven Rish Michael Rochelle Andrew Smith Cahill Smith David Jones Sparks Trevor Sponseller Bennett Stein Maureen Stych Catherine Tippman Julie Wallace
A. Douglas
Rothwell, Chair Albert Berriz
Bruce Brownlee Robert Buckler James Garavaglia
Steven K. Hamp Mary Kramer David Parsigian
Sharon Rothwell Michael B. Staebler James G. Vella
James C. Stanley, Ex-officio
Abby Alwin Fran Ampey Robin Bailey Greta Barfieid 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 Orel i a Darin Saundra Dunn
Johanna Epstein Susan Fihpiak Katy Fillion Delores Flagg Joey Fukuchi Jeff Gaynor Joyce Gerber Barb Grabbe Joan Gnssing Linda Jones Jeff Kass
Rosalie Koenig Sue Kohfeldt Laura Machida Jose Mejia Kim Mobley Eunice Moore Michelle Peet Anne Perigo Rebeca Pietrzak Cathy Reischl Jessica Rizor
Vicki Shields Sandra Smith Gretchen Suhre Julie Taylor Cayla Tchalo Dan Tolly Alex Wagner Barbara Wallgren Kimberley Wright Kathryn Young
Barrier-Free Entrances
For persons with disabilities, all venues have barrier-free entrances. Wheelchair locations vary by venue; visit www.ums.orgtickets or call 734.764.2538 for details. Ushers are available for assistance.
Listening Systems
For hearing-impaired persons, Hill Auditorium, Power Center, and Rackham Auditorium are equipped with assistive listening devices. Earphones may be obtained upon arrival. Please ask an usher for assistance.
Lost and Found
For items lost at Hill Auditorium, Lydia Mendelssohn Theatre, Power Center, or Rackham Auditorium, please call University Productions at 734.763.5213. For the Michigan Theater, call 734.668.8397. For St. Francis of Assisi, call 734.821.2111.
Please allow plenty of time for parking as the campus area may be congested.
Parking is available in the Church Street, Maynard Street, Thayer Street, Fletcher Street, and Fourth Avenue structures for a minimal fee. Please allow enough time to park before the performance begins. UMS donors at the Patron level and above ($1,000) receive 10 complimentary parking passes for use at the Thayer Street or Fletcher Street structures in Ann Arbor.
UMS offers valet parking service for Hill Auditorium performances in the 0910 Choral Union series. Cars may be dropped off in front of Hill Auditorium beginning one
hour before each performance. There is a $20 fee for this service. UMS donors at the Concertmaster level ($7,500) and above are invited to use this service at no charge.
Other recommended parking that may not be as crowded as on-campus structures: Liberty Square structure (formerly Tally Hall), entrance off of Washington Street between Division and State; about a two-block walk from most performance venues, $2 after 3 pm weekdays and all day SaturdaySunday. Maynard Street structure, entrances off Maynard and Thompson between Willliam and Liberty, $.45half-hour, free on Sunday.
For up-to-date parking information, please visit www.ums.orgparking.
Refreshments are available in the lobby during intermissions at events in the Power Center, in the lower lobby of Hill Auditorium (beginning 75 minutes prior to concerts--enter through the west lobby doors), and in the Michigan Theater. Refreshments are not allowed in the seating areas.
Non-Smoking Venues
University of Michigan policy forbids smoking in any public area, including the lobbies and restrooms.
Start Time
UMS makes every effort to begin concerts at the published time. Most of our events take place in the heart of central campus, which does have limited parking and may have several events occurring simultaneously in different theaters. Please allow plenty of extra time to park and find your seats.
Latecomers will be asked to wait in the lobby until seated by ushers. Most lobbies have been outfitted with monitors andor speakers so that latecomers will not miss the performance.
The late-seating break is determined by the artist and will generally occur during a suitable repertory break in the program (e.g., after the first entire piece, not after individual movements of classical works). There may be occasions where latecomers are not seated until intermission, as determined by the artist. UMS makes every effort to alert patrons in advance when we know that there will be no late seating. Please be sure the Ticket Office has your e-mail address on file.
UMS works with artists to allow a flexible late-seating policy for family performances.
Group Tickets
Treat 10 or more friends, co-workers, or family members to an unforgettable performance of live music, dance, or theater. Whether you have a group of students, a business gathering, a college reunion, or just you and a group of friends, the UMS Group Sales Office can help you plan the perfect outing. You can make it formal or casual, a special celebration, or just friends enjoying each other's company. The many advantages to booking as a group include:
Reserving tickets before tickets go on sale to the general public
Discounts of 15-25 for most performances
Accessibility accommodations
No-risk reservations that are fully refundable up to 14 days before the performance, unless the group order is completed
1-3 complimentary tickets for the group organizer (depending on size of group). Complimentary tickets are not offered for performances without a group discount.
For more information, please contact 734.763.3100 or
Classical Kids Club
Parents can introduce their children to world-renowned classical music artists through the Classical Kids Club. The Classical Kids Club allows students in grades 1-8 to purchase tick?ets to all classical music concerts at significantly discounted rates. Parents can purchase up to two children's tickets for $10 each with the purchase of a $20 adult ticket beginning two weeks before the concert. Seating is subject to availability. For information, call 734.764.2538 or sign-up for UMS E-News and check the box for Classical Kids Club.
If you are unable to attend a concert for which you have purchased tickets, you may turn in your tickets until curtain time by calling the Ticket Office. Refunds are not available; how?ever, you will be given a receipt for an income tax deduction. Please note: ticket retums do not count towards UMS giving levels.
Ticket Exchanges
Subscribers may exchange tickets free of charge up until 48 hours prior to the perform?ance. Non-subscribers may exchange tickets for a $6 per ticket exchange fee up until 48 hours prior to the performance. Exchanged tickets must be received by the Ticket Office (by mail or in person) at least 48 hours prior to the per?formance. The value of the tickets may be applied to another performance or will be held as UMS Credit until the end of the season. You may also fax a copy of your torn tickets to 734.647.1171. Lost or misplaced tickets cannot be exchanged. UMS Credit must be redeemed by Sunday, April 25, 2010.
New this year! UMS now accepts ticket exchanges within 48 hours of the performance for a $10 per ticket exchange fee (applies to both subscribers and single ticket buyers). Tickets must be exchanged at least one hour before the published performance time. Tickets received less than one hour before the per?formance will be returned as a tax-deductible contribution.
A variety of discounted ticket programs are available for University students and teenagers.
Half-Price Student Ticket Sales
At the beginning of each semester, UMS offers half-price tickets to college students. A limited number of tickets are available for each event in select seating areas. Simply visit www.ums.orgstudents, log-in using your U-M uniqname and Kerberos password, and fill out your form. Orders will be processed in the order they are received. You will pay for and pick up your tickets at a later date at the Michigan League Ticket Office.
Winter Semester Sale: Begins Sunday, January 10 at 8pm and ends Tuesday, January 12 at 5pm.
Sponsor by TJMOT5
UMS Rush Bucks
Worried about finding yourself strapped for cash in the middle of the semester UMS Rush Bucks provide online access to Rush Tickets two weeks before most performances. UMS Rush Bucks are available in $60 and $100 increments. Please visit www.ums.orgstudents for more information.
Teen Tickets
Teens can attend UMS performances at signifi?cant discounts. Tickets are available to teens for $10 the day of the performance (or on the Friday before weekend events) at the Michigan League Ticket Office and $15 beginning 90 minutes before the performance at the venue. One ticket per student ID, subject to availability.
Gift Certificates
Available in any amount and redeemable for any events throughout our season, delivered with your personal message, the UMS Gift Certificate is ideal for weddings, birthdays, Christmas, Hanukkah, Mother's and Father's
Days, or even as a housewarming present when new friends move to town.
UMS Gift Certificates are valid for five years from the date of purchase. For more information, please visit
Through a commitment to presentation, education, and the creation of new work, the University Musical Society (UMS) serves Michigan audiences by bringing to our community an ongo?ing series of world-class artists, who represent the diverse spectrum of today's vigorous and exciting live performing arts world. Over the past 131 years, strong leadership coupled with a devoted community has placed UMS in a league of internationally recognized performing arts presenters. Today, the UMS seasonal program is a reflection of a thoughtful respect for this rich and varied history, balanced by a commit?ment to dynamic and creative visions of where the performing arts will take us in this new mil?lennium. Every day UMS seeks to cultivate, nur?ture, and stimulate public interest and participation in every facet of the live arts.
UMS grew from a group of local university and townspeople who gathered together for the study of Handel's Messiah. Led by Professor Henry Simmons Frieze and conducted by Professor Calvin Cady, the group assumed the name The Choral Union. Their first performance of Handel's Messiah was in December of 1879 and this glorious oratorio has since been per?formed by the UMS Choral Union annually.
Many Choral Union members also belonged to the University, and the University Musical Society was established in December 1880. UMS included the Choral Union and University Orchestra, and throughout the year presented a series of concerts featuring local and visiting artists and ensembles.
Since that first season in 1879, UMS has expanded greatly and now presents the very best from the full spectrum of the performing arts--internationally renowned recitalists and orchestras, dance and chamber ensembles, jazz and world music performers, and opera and theater. Through educational endeavors, commissioning of new works, youth programs, artist residencies, and other collaborative projects, UMS has maintained its reputation for quality, artistic distinction, and innovation. UMS now hosts over 60 performances and more than 125 educational events each season. UMS has flourished with the support of a generous community that this year gathers in seven different Ann Arbor venues.
The UMS Choral Union has likewise expanded its charge over its 131-year history. Recent collaborations have included the Grammy Award-winning recording of William Bolcom's Songs of Innocence and of Experience (2004), Shostakovich's Symphony No. 13 ("Babi Yar") with the Kirov Orchestra of St. Petersburg (2006), John Adams's On the Transmigration of Souls with the Detroit Symphony Orchestra (2007), and Orff's Carmina Burana during Maestro Leonard Slatkin's opening weekend as Music Director of the Detroit Symphony Orchestra (2008).
While proudly affiliated with the University of Michigan, housed on the Ann Arbor campus, and a regular collaborator with many University units, UMS is a separate not-for-profit organiza?tion that supports itself from ticket sales, corpo?rate and individual contributions, foundation and government grants, special project support from U-M, and endowment income.
Hill Auditorium
Originally built in 1913, a $38.6-million dollar renovation overseen by Albert Kahn Associates, Inc. and historic preservation architects Quinn EvansArchitects has updated Hill's infrastructure and restored much of the interior to its original splendor. Exterior renovations include the reworking of brick paving and stone retaining wall areas, restoration of the south entrance plaza, the reworking of the west barrier-free ramp and loading dock, and improvements to landscaping. Hill Auditorium re-opened to the public in January 2004.
Interior renovations included the demolition of lower-level spaces to ready the area for future improvements, the creation of additional rest-rooms, the improvement of barrier-free circula?tion by providing elevators and an addition with ramps, the replacement of seating to increase patron comfort, introduction of barrier-free seating and stage access, the replacement of theatrical performance and audio-visual sys?tems, and the complete replacement of mechanical and electrical infrastructure systems for heating, ventilation, and air conditioning.
Hill Auditorium seats 3,575.
Lydia Mendelssohn Theatre
Notwithstanding an isolated effort to establish a chamber music series by faculty and students in 1938, UMS began presenting artists in Lydia Mendelssohn Theatre in 1993 when Eartha Kitt and Barbara Cook graced the stage of the inti?mate 658-seat theater as part of the 100th May Festival's Cabaret Ball. This season the superla?tive Mendelssohn Theatre hosts UMS's Jazz Series concert presentations of the Bill Charlap Trio and The Bad Plus.
Michigan Theater
The historic Michigan Theater opened January 5, 1928 at the peak of the vaudevillemovie palace era. Designed by Maurice Finkel, the 1,710-seat theater cost around $600,000 when it was first built. As was the custom of the day, the theater was equipped to host both film and live stage events, with a full-size stage, dressing rooms, an orchestra pit, and the Barton Theater Organ. At its opening, the theater was acclaimed as the best of its kind in the country. Since 1979, the theater has been operated by the not-for-profit Michigan Theater Foundation. With broad community support, the Foundation has raised over $8 million to restore and improve the Michigan Theater. The beautiful interior of the theater was restored in 1986.
In the fall of 1999, the Michigan Theater opened a new 200-seat screening room addi?tion, which also included expanded restroom facilities for the historic theater. The gracious facade and entry vestibule was restored in 2000.
Power Center
The Power Center for the Performing Arts grew out of a realization that the University of Michigan had no adequate proscenium-stage theater for the performing arts. Hill Auditorium was too massive and technically limited for most productions, and the Lydia Mendelssohn Theatre was too small. The Power Center was built to supply this missing link in design and seating capacity.
In 1963, Eugene and Sadye Power, together with their son Philip, wished to make a major gift to the University. The Powers were immediately interested in supporting the University's desire to build a new theater, realizing that state and fed?eral governments were unlikely to provide finan?cial support for the construction of a theater.
Opening in 1971 with the world premiere of The Grass Harp (based on the novel by Truman Capote), the Power Center achieved the seemingly contradictory combination of provid?ing a soaring interior space with a unique level of intimacy. Architectural features include two
large spiral staircases leading from the orchestra level to the balcony and the well-known mirrored glass panels on the exterior. The lobby of the Power Center presently features two hand-woven tapestries: Modern Tapestry by Roy Lichtenstein and Volutes (Arabesque) by Pablo Picasso.
The Power Center seats approximately 1,400 people.
Rackham Auditorium
Seventy years ago, chamber music concerts in Ann Arbor were a relative rarity, presented in an assortment of venues including University Hall (the precursor to Hill Auditorium), Hill Auditorium, and Newberry Hall, the current home of the Kelsey Museum. When Horace H. Rackham, a Detroit lawyer who believed strong?ly in the importance of the study of human his?tory and human thought, died in 1933, his will awarded the University of Michigan the funds not only to build the Horace H. Rackham Graduate School, which houses Rackham Auditorium, but also to establish a $4 million endowment to further the development of graduate studies. Even more remarkable than the size of the gift is the fact that neither he nor his wife ever attended the University of Michigan.
Designed by architect William Kapp and architectural sculptor Corrado Parducci, Rackham Auditorium was quickly recognized as the ideal venue for chamber music. In 1941, UMS presented its first chamber music festival with the Musical Art Quartet of New York per?forming three concerts in as many days, and the current Chamber Arts Series was born in 1963. Chamber music audiences and artists alike appreciate the intimacy, beauty, and fine acoustics of the 1,129-seat auditorium, which has been the location for hundreds of chamber music concerts throughout the years.
St. Francis of Assisi Catholic Church
Dedicated in 1969, St. Francis of Assisi Catholic Church has grown from 248 families when it
first started to more than 2,800 today. The pres?ent church seats 1,000 people and has ample free parking. In 1994, St. Francis purchased a splendid three manual "mechanical action" organ with 34 stops and 45 ranks, built and installed by Orgues Letourneau from Saint Hyacinthe, Quebec. Through dedication, a commitment to superb liturgical music, and a vision to the future, the parish improved the acoustics of the church building, and the rever?berant sanctuary has made the church a gather?ing place for the enjoyment and contemplation of sacred a cappella choral music and early music ensembles.
University of Michigan Museum of Art
The University of Michigan Museum of Art (UMMA) is a dynamic meeting place for the arts that bridges visual art and contemporary cul?ture, scholarship and accessibility, and tradition and innovation. With the addition in March 2009 of the 53,000-square-foot Maxine and Stuart Frankel and the Frankel Family Wing and the restoration of historic Alumni Memorial Hall, UMMA ushered in a new era, a reimagining of the university art museum as a "town square" for the 21st century. With dramatically expand?ed galleries, special exhibition spaces that soar with new life, "open storage" galleries, and a range of lively educational and event spaces, UMS periodically presents events in multiple spaces throughout the museum.
Burton Memorial Tower
Seen from miles away, Burton Memorial Tower is one of the most well-known University of Michigan and Ann Arbor landmarks. Designed by Albert Kahn in 1935 as a memorial to U-M President Marion Leroy Burton, the 10-story tower is built of Indiana limestone with a height of 212 feet. The carillon, one of only 23 in the world, is the world's fourth heaviest containing 55 bells and weighing a total of 43 tons. UMS has occupied administrative offices in this building since its opening.
Winter 2010 Season 131st Annual Season
General Information
On-site ticket offices at performance venues open 90 minutes before each performance.
Children of all ages are welcome at UMS Family and Youth Performances. Children under the age of three will not be admitted to regular, full-length UMS performances. All children must be able to sit quietly in their own seats without disturbing other patrons. Children unable to do so, along with the adult accompanying them, will be asked by an usher to leave the audito?rium. Please use discretion in choosing to bring a child.
Remember, everyone must have a ticket, regardless of age.
While in the Auditorium
Starting Time Every attempt is made to begin concerts on time. Latecomers are asked to wait in the lobby until seated by ushers at a predetermined time in the program.
Cameras and recording equipment
are prohibited in the auditorium.
If you have a question, ask your usher. They are here to help.
Please turn off your cellular phones and other digital devices so that everyone may enjoy this UMS event disturbance-free.
In the interests of saving both dollars and the environment, please either retain this program book and return with it when you attend other UMS performances included in this edition or return it to your usher when leaving the venue.
Event Program Book
Saturday, April 10 through Sunday, April 25, 2010
Baaba Maal
Saturday, April 10, 8:00 pm Michigan Theater
Michigan Chamber Players 5
Complimentary Admission
Monday, April 12, 8:00 pm
Stamps Auditorium, Walgreen Drama Center
Hubbard Street Dance Chicago
Thursday, April 22, 8:00 pm 13
Friday, April 23, 8:00 pm 17
Saturday, April 24, 8:00 pm 21
Power Center
The Rest Is Noise in Performance 31
Sunday, April 25, 4:00 pm Rackham Auditorium
Wioter 2010
Bill T. JonesArnie Zane Dance Company:
Fondly Do We Hope...Fervently Do We
Chicago Symphony Orchestra
Ladysmith Black Mambazo
The Bad Plus So Percussion NT Live: Nation Angela Hewitt, piano Luciana Souza Trio Schubert Piano Trios Bela Fleck: The Africa Project Swedish Radio Choir
Cyro Baptista's Beat the Donkey
Takcs Quartet
Jazz at Lincoln Center Orchestra
with Wynton Marsalis
San Francisco Symphony
with Christian Tetzlaff, violin
20 i San Francisco Symphony
! with UMS Choral Union:
I 15th Ford Honors Program 24-25; Julia Fischer, violin:
I Solo Violin Works of J.S. Bach 25-28! Maly Drama Theatre of
I St. Petersburg: Anton Chekhov's
I Uncle Vanya
7 ! Schleswig-Holstein Festival Orchestra ! with Lang Lang, piano
8 i Danilo Perez & Friends: 21st-century Dizzy 10 Baaba Maal with NOMO
12 Michigan Chamber Players 20 Trio Mediaeval Canceled 22-24 Hubbard Street Dance Chicago 25 The Rest Is Noise in Performance: Alex Ross and Ethan Iverson, piano
9 15
NT Live: The Habit of Art Breakin' Curfew
UMS Educational and Community Events
All UMS educational activities are free, open to the public, and take place in Ann Arbor unless otherwise noted. For complete details and updates, please visit or contact the UMS Education Department at 734.615.4077 or
Baaba Maal
Post-Performance Dance Party!
Saturday, April 10, post-concert
Michigan Union Pendleton Room, 503 South
State Street
After the performance, UMS and the Senegalese Association of Michigan host a dance party featuring both traditional and contemporary Senegalese music.
A collaboration with the Links, Incorporated, Senegalese Association of Michigan, the U-M Center for Afroamencan and African Studies, and the U-M African Studies Center.
The Rest Is Noise in Performance
UMS Bookclub:
The Rest Is Noise, by Alex Ross
Monday, April 19, 7:00-8:45 pm
Ann Arbor District Library Downtown Branch,
343 South Fifth Avenue
Alex Ross creates vivid portraits of the 20th-century's most iconic composers in his universally acclaimed and best-selling book, The Rest Is Noise: Listening to the Twentieth Century. UMS is assembling experts from U-M on 20th-century music and history to explore the themes in the text and lead a discussion with participants. This event is an excellent primer for those attending the UMS presentation of The Rest Is Noise in Performance, featuring Alex Ross and pianist Ethan Iverson on April 25.
A collaboration with the Ann Arbor District Library.
Baaba Maal
Vocals and Acoustic Guitar
Aliou Diouf, Drums, Samples Mbara Cisse, Bass Ibrahima Cissokho, Electric Guitar Hilaire Chaby Hary, Keyboards Mansour Seek, Backing Vocals Barou Sail, Hoddu Massamba Diop, Talking Drum Momadou Sarr, Percussion
with NOMO
Elliot Bergman, Saxophones, Brainwaves, Electric Kalimba
Erik Hall, Guitar, Nu-tones, Drums
Dan Bennett, Baritone Saxophone
Justin Walter, Trumpet, Percussion
Jake Vinsel, Bass
Quin Kirchner, Drums, Percussion
Saturday Evening, April 10, 2010 at 8:00 Michigan Theater Ann Arbor
Tonight's program will be announced by the artists from the stage. There will be one intermission following NOMO's opening set.
59th Performance of the 131st Annual Season
UMS Global: Africa Festival
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 Community Foundation for Southeast Michigan and the National Endowment for the Arts.
Media partnership provided by WEMU 89.1 FM, Metro Times, Michigan Chronicle, and Ann Arbor's 107one.
Special thanks to Kelly Askew and the U-M African Studies Center; Elizabeth James and the U-M Center for Afroamerican and African Studies; Moussa Ndiaye and Alhousseynou Ba and the Senegalese Association of Michigan; and Deborah Meadows and Links, Incorporated for their support of and participation in events surrounding tonight's concert.
Baaba Maal appears by arrangement with International Music Network. NOMO appears by arrangement with The Billions Corporation.
Large print programs are available upon request.
In Senegal, Baaba Maal came from humble beginnings, but has since learned and traveled and now speaks and sings of empowerment, enlightenment, and peace. He was born in Podor, on the banks of the river Senegal. His mother was a musician who sang and wrote her own songs, educating her son in the musical forms of the area. At the same time, Mr. Maal was listening to Black music coming out of America, including James Brown, Otis Redding, Wilson Pickett, and Etta James.
Mr. Maal went to school in St. Louis, the original French colonial capital and, on winning a scholarship, left for Senegal's modern capital, Dakar. On leaving college he toured West Africa, soaking up even more knowledge. Mr. Maal took up residence in Paris for several years, studying at the Conservatoire des Beaux Arts. On arrival back in Senegal, Mr. Maal formed his band Daande Lenol (Voice of the People).
Mr. Maal's mission in West Africa extends beyond his music. He is committed to the concerns of families, young people, and the future of the continent, as is reflected in his role as Youth Emissary for the United Nations' Development Program. This role strengthened his determination to work harder to contribute more to improving the living conditions of disadvantaged people of the African continent, whose future is seriously threatened by illiteracy, poverty, and HIVAIDS.
His vision to uplift the African continent has been a constant source of inspiration for Mr. Maal. In 2003 he played the Nelson Mandela 46664 Concert in Cape Town, South Africa; the next year he performed at the Nobel Peace Prize Concert for Dr. Wangari Maathai, the Kenyan environmental campaigner who won the 2004 Peace Prize. In 2007, he played at the African Union heads of state summit in Addis Ababa, Ethiopia and later performed at the Live Earth Concert in Johannesburg, South Africa.
Other endeavors include the creation of the soundtrack for the Sony Playstation and X-Box game, Far Cry 2. Additionally, Baaba Maal collaborated with Hans Zimmer for the Oscar Award-winning Ridley Scott film, Black Hawk Down. In 2009, he headlined The African Soul Rebels tour of the United Kingdom and appeared as special guest on an edition of the esteemed Desert Island Discs on BBC Radio 4.
UMS welcomes Baaba Maal who makes his UMS debut this evening.
Ghost Rock is the new album from the Michigan-based collective NOMO. The album sheds light on the way forward for a band that has been forging its own vital sound. This is not the Afrobeat of Fela, nor the revivalist funk of a forgotten decade. This record owes as much to Can, Brian Eno, and MIA as it does Kuti, Francis Bebey, and Funkadelic.
"It is really important to participate--as an audience and as a band member--and joining the audience for a song at the beginning or end of a show invites participation," explains founding member Elliot Bergman. "On a good night, it feels like everybody is working together. Having a few great dancers in the audience can really drive the band to new levels, and we love to sing together at the end of show. It ends up solidifying the bond between the player and the listener--and it starts to dissolve the typical divisions between active and passive. It helps to make people feel that music is an event: social, spiritual, and communal rather than a commodity to be consumed."
NOMO has toured incessantly since their 2006 release, New Tones. New Tones garnered critical acclaim and appeared on Top 10 lists from NPR, Gilles Peterson, and Global Rhythm. The band has performed well over 150 live concerts, touring North America and Europe with stops at Bumbershoot, Pitchfork Music Festival, the Montreal International Jazz Festival, SXSW, and WOMEX. Able to fit anywhere, their sizable lineup hasn't kept them from sharing a stage with everyone from Earth Wind and Fire, Konono No.1, Sharon Jones, Dan Deacon, and now, the great Baaba Maal.
UMS welcomes NOMO who make their UMS debut this evening.
Michigan Chamber Players
Faculty Artists of the University of Michigan School of Music, Theatre & Dance
Sara Adlerstein, Visual Art Jason Bergman, Trumpet William Campbell, Trumpet Katherine Collier, Piano Toni Craige, Dancer Paul Dwyer, Cello Aidan Feldman, Dancer Diana Gannett, Double Bass Dan Gilbert, Clarinets Joe Gram ley, Percussion Phillip Kerr, Narrator
Nancy Ambrose King, Oboe Christopher Lees, Conductor Jeffrey Lyman, fiassoon Kaitlin McCarthy, Dancer Joan Morris, Narrator Daniel Pesca, Harpsichord Amy Porter, FlutePiccolo Stephen Shipps, Violin Donald Sinta, Alto Saxophone Robert Swedberg, Director Martin Torch-lshii, Cello
Henri Dutilleux
Bohuslav Martinu
Monday Evening, April 12, 2010 at 8:00
Stamps Auditorium, Walgreen Drama Center Ann Arbor
Les Citations,
Diptych for Oboe, Percussion, Harpsichord, and Double Bass
For Aldeburgh 85
From Janequin to Jehan Alain
Ms. King, Ms. Gannett, Mr. Gramley, Mr. Pesca
La Revue de Cuisine
Prologue: Allegretto (Marche) Tango: Lento
Charleston: Poco a poco allegro Finale: Tempo di marcia
Mr. Swedberg, Director
Mr. Feldman, Ms. Craige, Ms. McCarthy, Mr. Gilbert,
Mr. Lyman, Mr. Bergman, Mr. Dwyer, Mr. Shipps, Ms. Collier
William Walton Facade
Fanfare 11. By the Lake
1. Hornpipe 12. Country Dance
2. En Famille 13. Polka
3. Mariner Man 14. Four in the Morning
4. Long Steel Grass 15. Something Lies Beyond the Scene
5. Through Gilded Trellises 16. Valse
6. Tango-Pasodble 17. Jodelling Song
7. Lullaby for Jumbo 18. Scotch Rhapsody
8. Black Mrs. Behemoth 19. Popular Song
9. Tarantella 20. Fox-Trot, "Old Sir Faulk"
10. A Man from a Far Countree 21. Sir Beelzebub
Mr. Lees, Conductor
Ms. Adlerstein, Visual Art
Ms. Morris, Mr. Kerr, Ms. 3orter, Mr. Gilbert, Mr. Sinta,
Mr. Campbell, Mr. Gramley, Mr. Dwyer, Mr. Torch-lshii
60th Performance of the Special thanks to Amy Porter for her leadership and coordination of this
131st Annual Season evening's concert.
The photographing
or sound and video
recording of this concert
or possession of any
device for such recording
is prohibited. Large print programs are available upon request.

Les Citations,
Diptych for Oboe, Percussion, Harpsichord, and Double Bass (1991)
Henri Dutilleux
Born January 22, 1916 in Angers, Maine-et-Loire, France
Dutilleux began composing Les Citations in 1985 whilst he was composer-in-residence at the Aldeburgh Festival. In June 1990, he composed the second movement, adding a double bass to the instrumental ensemble. The opening movement contains a brief fragment from Britten's "Peter Grimes" in homage to the opera's interpreter, Peter Pears. The second movement includes a quotation from one of Dutilleux's friends and colleagues who was killed in action during World War II in June 1940, Jehan Alain. There is also another quotation from a theme and variations by Alain with a motif attributed to Janequin that had been used in one of his organ pieces. For Dutilleux, the title of the diptych, Les Citations, seemed appropriate. As a piece that is rarely performed, it was with delight to have heard, here, such a high caliber of ensemble playing and an acute sense of the piece's rhythmic design. The balance of the ensemble fully aided the vast array of events, bringing alive the rich texture of the music as well as the humorous nature of the work.
Program note by Nancy Ambrose King.
La Revue de Cuisine (1927)
Bohuslav Martinii
Born December 8, 1890 in Polica, Czechoslovakia
Died August 28, 1959 in Liestal, near Basel
Alexander Tcherepnin once remarked that his Czech contemporary Bohuslav Martinu's music was "completely free from sauerkraut," meaning it avoided German-style formalism in favor of French neo-classicism. Nowhere is Tcherepnin's gastronomic image more apt than for the music of Martinu's experimental ballet, La Revue de Cuisine, a whimsical portrayal of love and jealousy between kitchen utensils.
Despite coming to composition relatively late in his musical career, Martinu was an incredibly prolific composer. His early works date from the First World War, but he spent five years as
a second violinist with the Czech Philharmonic before settling in Paris in 1923. During the 1920s, Martinu befriended some of the leading Parisian cultural figures of the day, including Roussel, Stravinsky, and the composers of Les Six. He also began to compose more regularly, using the popular neo-classical works of his colleagues as models.
Many composers of that era looked to American jazz as the antidote to what Christopher Hogwood terms the "Teutonic oversaturation of the Twenties." Although Martinu drew on several of the same popular-music inspirations as Les Six and Stravinsky, he wasn't as convinced of jazz's relevance to European composers. He wrote in 1925, "I often think of the amazingly pregnant rhythm of our Slavonic folk songs... of their characteristic rhythmic instrumental accompaniments, and it seems to me that it is unnecessary to have recourse to the jazz band." Still, he toyed with jazz several times during his Paris years. La Revue de Cuisine, the third of his "jazz" ballets (completed in 1927), overtly embraces American jazz in its forms, melodies, harmonies, rhythms, and especially its instrumentation: an odd combination of violin, cello, clarinet, bassoon, trumpet, and piano.
With its element of fantasy and the animation of everyday objects, Jarmila Kroschlov's scenario for La Revue de Cuisine recalls Ravel's L'Enfant et les sortileges (1925), as dancers play the parts of the various kitchen utensils. In thiseccentricscenario, the marriage of Pot and Lid is threatened by the suave Stirring Stick, while Broom challenges Dishcloth to a duel. Pot and Lid are eventually reconciled, and Dishcloth elopes with Stirring Stick.
An admirer of Stravinsky's Histoire du Soldat, Martinu worked with similar economy on this score, perhaps also responding to criticisms that his earlier ballets were too ambitious. Without completely absorbing the jazz idiom as Milhaud did in La Creation du monde, Martinu uses jazz as a vehicle for satire, in the same vein as Poulenc's Les Biches or Satie's Parade, and La Revue de Cuisine went on to became his first popular success.
Both the "Prologue" and "Finale" in La Revue de Cuisine use a fanfare motive that could be a parody of Mahler's second Wayfarer song, "Ging heut' morgen iibers Feld." Martinu emphasizes the motive's jaunty, carefree qualities, spicing them with facile modulations and "wrong-note" harmony. The dark and sultry "Tango" that follows leans more toward a habanera in style. The gruffly
repeated opening cell creates a tension that rises with the addition of a muted trumpet that, though it may sound "cartoonish" to today's listeners, is testament to the immediacy of effect in Martinu's music. The same dark timbres and key of the "Tango" continue in the next movement, but soon give way to a rollicking dance that is as close an imitation of the Charleston as any European composer ever achieved. The "Finale" quotes this Charleston tune, along with other popular melodies of the day, in a medley that cleverly mimics the rhythms and improvisatory qualities of Dixieland jazz.
Program note by Luke Howard.
Facade (1922)
William Walton
Born March 29, 1902 in Oldham, Lancashire, England
Died March 8, 1983 in Ischia, Italy
While he was still at Oxford, Walton became friendly with Sacheverell Sitwell, and with the other members of his gifted, literary family, Osbert and Edith Sitwell. In 1920, Edith began to work on a group of poems she described as "technical experiments--studies in the effect that texture has on rhythm, and the effect that varying and elaborate patterns of rhymes have upon rhythm." She completed the poems the next year, and the three Sitwells, with the 18-year-old Walton, came up with the idea of putting them together as Facade, "an entertainment for reciting voice and instruments." There is much in the poems of Facade that, taken literally, makes little sense, but underneath them runs a vein of brilliant satire on the society of the time.
As time went by, Facade acquired a life and a meaning that its creators had not intended. They considered it a kind of musical abstract expressionism (to borrow a term that came into use a generation later), but it was reinterpreted as a satirical treatment of art's abstraction from society. It was intended to stimulate, perhaps even outrage, and it ended up amusing, as a kind of funny Pierrot lunaire.
As perceptions of Facade changed, in fact the work did, too, for it was subjected to several revisions during the 20 years following its creation, so we are not always certain that the work we
read about in early reports is the same one we hear now. As the years went by, almost 50 poems with music found their way into the piece. The present canon of 21 was established in the early 1940s. In the 1970s, eight others were brought back as Facade 2.
The first version was performed as home entertainment for friends at the Sitwells' on January 24, 1922. The first public performance was given on June 12, 1924, at Aeolian Hall in London. The performers were hidden by a screen on which a huge face was painted. From its mouth, Edith Sitwell read her poetry through a megaphone.
That first audience was outraged by Facade, its content, and presentation. Its aims were not understood, or if they were, they were not accepted. Listeners were shocked by the idea that words might be pronounced for sound rather than for sense. The music was not easy to apprehend then, and much less easy to comprehend. Eventually performers stressed its satiric and parodic qualities, turning into a new kind of comedy, with comic music, and the public took it to heart. Walton went along with that decision and even made little orchestral suites of the music that became the stuff of pops concerts. Performers of Facade now have the choice of playing it, as they say in the theater, straight or for laughs.
Program note by Leonard Burkat.
Sara Adlerstein (Visual Art), aquatic ecologist and visual artist, was born in Chile. She is currently a faculty member at the U-M School of Natural Resources. Her paintings have been widely exhibited in galleries and museums in Chile, North America, and Europe. Ms. Adlerstein's research focuses on Great Lakes environmental issues and her teaching is interdisciplinary, bridging arts and science. She recently collaborated with U-M faculty on Mapping the River, a multimedia performance about the cycle of water and the relationship of water and culture that was part of the 2008 Arts on Earth initiative. The body of work presented in Faqade was created as she lived in Seattle and in Hanover, Germany. Several of these images are included in the book The Mother Poems published by Eastern Washington University Press in 1996.
Jason Bergman (Trumpet), Principal Trumpet of the Saginaw Bay Symphony Orchestra and Second Trumpet with the Ann Arbor Symphony, has performed with the Canadian Brass and as a member of the Santiago Philharmonic in Chile. He also serves as Trumpet Instructor at Albion College. A prizewinner in the 2007 International Trumpet Guild Orchestral Excerpt Competition, he has also been a national finalist in the MTNA Young Artist Brass and Chamber Music Performance competitions, as well as the National Trumpet Competition. Mr. Bergman has performed as soloist with the Garland Symphony Orchestra and the Brigham Young University Philharmonic. In 2007, Mr. Bergman was a fellow at the Music Academy of the West in Santa Barbara, CA. His principal teachers include William Campbell, David Brown, Tom Booth, and Woody Yenne. He has had additional studies with Philip Smith, Paul Merkelo, and Josef Burgstaller and holds degrees from U-M and Brigham Young University. This evening's concert marks Mr. Bergman's UMS debut.
William Campbell (Trumpet), U-M Associate Professor of Trumpet, has served on the faculties at The Ohio State University and University of Kansas. He performed for seven years as principal trumpet with L'Orchestra Maggio Musicale Fiorentino in Florence, Italy, conducted by Zubin Mehta. Mr. Campbell has performed as soloist with Maestro Mehta, toured five continents, and performed on numerous recordings. He has served as Principal Trumpet with the Chicago Symphony Orchestra, the St. Louis Symphony Orchestra, the Columbus Symphony Orchestra, and the Rochester Philharmonic Orchestra. Mr. Campbell has performed with conductors including George Solti, Riccardo Chailly, Charles Dutoit, Christopher Hogwood, Leonard Slatkin, and Carlo Maria Giulini. This evening's concert marks Mr. Campbell's sixth appearance under UMS auspices.
Katherine Collier (Piano) is an active collaborator with many renowned musicians throughout the US and abroad. She has performed with such artists as Joshua Bell, Hilary Hahn, Ani Kavafian, Ida Kavafian, Andres Cardenes, Cho-Liang Lin, Erling Bengtsson, Andres Diaz, Steven Doane, Edgar Meyer, David Shifrin, and members of the Tokyo, Emerson, Orion, Vermeer, Shanghai, and Miami Quartets. She has concertized in England, Scotland, Germany, Belgium, Holland, Austria, Denmark, Japan, Taiwan, Malaysia, Israel, Mexico, Canada, and the Bahamas. Ms. Collier has been soloist with orchestras, including the Dallas, Cincinnati, Houston, and Eastman-Rochester symphonies. A graduate of the Eastman School of Music, she was awarded the Performer's Certificate
and was the top prizewinner of the National Young Artist's Competition and the National Cliburn Scholarship Competition, and was the recipient of a Rockefeller Award. She won a Kemper Educational Grant to study at the Royal College of Music in London. An active recording artist, she tours extensively with her husband, violist Yizhak Schotten. This evening's concert marks Ms. Collier's 13th appearance under UMS auspices.
Antonia Craige (Dancer) grew up in Raleigh, North Carolina. She discovered modern dance at Wesleyan University, in Connecticut. After graduation she rode her bike to Ann Arbor with a U-M dance student, where she now dances and teaches yoga. This evening's concert marks Ms. Craige's UMS debut.
Paul Dwyer (Cello) is currently a doctoral student at U-M, where he studies cello with Richard Aaron, as well as baroque cello and viola da gamba with Enid Sutherland. While at U-M, Mr. Dwyer has developed his versatility, with current performances ranging from a baroque cello recital with Edward Parmentier to a program of solo cello works he commissioned from U-M graduate student composers, as well as a performance of the seldom heard Shostakovich Cello Concerto No. 2 with the University Symphony Orchestra, conducted by Kenneth Kiesler. Growing up in Vienna, Austria, and Munich, Germany, Mr. Dwyer founded a cello quartet dedicated to heavy metal music, toured with the National Youth Orchestra of Germany, and gave the world premiere of Dean Wilmington's Prelude for Cello and Didgeridoo in a series of benefit recitals. This evening's concert marks Mr. Dwyer's UMS debut.
Aidan Feldman (Dancer) is a fifth-year senior at U-M working on dual degrees in Dance and Computer Science. You may have seen him recently in Wild Swan Theater's Hawk, You Are My Brother, Ann Arbor Ballet Theater's The Nutcracker, or Paul Taylor's Sacre du printemps (The Rehearsal), or his choreography in Musket's production of Hair. 777s evening's concert marks Mr. Feldman's UMS debut.
Diana Gannett (Bass) has spent most of her professional life on the East Coast as a teacher and performer. As a chamber musician, she has performed with the artists of the Guarneri, Emerson, Laurentian, and Stanford Quartets; the Borodin Trio; and the Iowa Center for New Music, American Chamber Players, New Band, and the Oberlin Dance Collective. As a soloist, her programs have included over 20 contemporary premieres and several solo improvisations, as well as traditional repertoire. She is recorded on Irida records,
has a solo CD titled Ladybass, and a duo CD Duetti Dolce. Ms. Gannett is Past President of the International Society of Bassists and hosted the 1999 convention at the University of Iowa. Her studies with Eldon Obrecht, Stuart Sankey, and Gary Karr culminated with being the first Yale doctorate awarded in double bass. This evening's concert marks Ms. Gannett's fifth appearance under UMS auspices.
Daniel Gilbert (Clarinets) joined the U-M faculty as Associate Professor of Clarinet in 2007. Previously, he held the position of Second Clarinet in the Cleveland Orchestra from 1995-2007. Mr. Gilbert also served as the Associate Professor of Clarinet at the Oberlin Conservatory of Music. A native of New York, Mr. Gilbert received his BA from Yale University and both a MM degree and a Professional Studies Certificate from The Juilliard School. Before joining the Cleveland Orchestra, Mr. Gilbert appeared regularly with groups including The Metropolitan Opera, American Ballet Theater, New Jersey Symphony, Solisti New York, the Stamford Symphony, and the New Haven Symphony where he played principal clarinet from 1992-95. Mr. Gilbert was a member of the Quintet of the Americas in 1994-95. He has appeared as soloist with the Cleveland Orchestra, the Cleveland Heights Chamber Orchestra, the Suburban Symphony Orchestra, the New Haven Symphony, Solisti New York, and the Aspen Mozart Orchestra. He is an active chamber musician, playing regularly on the Cleveland Orchestra Chamber Series, the Cleveland Museum of Art Chamber Series, and the Oberlin Chamber Music series. Mr. Gilbert's master classes and recitals have received critical acclaim. His teachers have included David Weber, Robert Marcellus, Stanley Hasty, Richard Waller, Burt Hara, and Judith Kalin-Freeman. This evening's concert marks Mr. Gilbert's second appearance under UMS auspices.
Joseph Gramley (Percussion) is committed to bringing fresh and inventive compositions to a broad public, and each year he commissions and premieres a number of new works. His first solo recording, American Deconstruction, an expert rendition of five milestone works in multi-percussion's huge new modern repertoire, appeared in 2000 and was reissued in 2006. His second, Global Percussion, was released in 2005. An invitation from Yo-Yo Ma in 2000 led Mr. Gramley to join the Silk Road Ensemble. In addition to participating in the group's extended residencies in American and European cities, Mr. Gramley has toured with Mr. Ma and the Ensemble throughout North America, Europe, and Asia. A 1988 graduate of the Interlochen Arts Academy,
Mr. Gramley did his undergraduate work at U-M and his graduate studies at The Juilliard School. This evening's concert marks Mr. Gramley's fourth appearance under UMS auspices.
Phillip Kerr (Narrator) is The Claribel Baird Halstead Professor of the U-M School of Theatre and Drama, and recently directed Macbeth in the Power Center. An honors graduate of Harvard, he trained at the London Academy of Music and Dramatic Art. Mr. Kerr is a veteran of six Broadway productions, and has appeared Off-Broadway at Carnegie Hall, Manhattan Theatre Club, CSC, Roundabout, Playwrights Horizons, and The Public Theatre. He has appeared in leading roles with most of the finer LORT Theatres across the country, The Manitoba Theatre Center, and toured The Netherlands. He is the recipient of Chicago's Joseph Jefferson Award for Best Actor and the U-M School of Music, Theatre & Dance's Faculty Achievement Award. This evening's concert marks Mr. Ken's UMS debut.
Nancy Ambrose King {Oboe) is the first-prize winner of the 3rd New York International Competition for Solo Oboists. She was a finalist in the Fernand Gillet Oboe Competition in Graz, Austria, has appeared as a recitalist throughout the world, and was a member of the jury for the esteemed 2009 Barbirolli Oboe Competition. She has appeared as soloist throughout the US and abroad, including performances with the St. Petersburg Philharmonic, Janaek Philharmonic, Tokyo Chamber Orchestra, Puerto Rico Symphony, and the New York String Orchestra. Currently U-M Professor of Oboe, she was previously Associate Professor and University Scholar at the University of Illinois, Urbana-Champaign, and served as the first female President of the International Double Reed Society. A U-M graduate with a BM in music, Ms. King was the recipient of the school's prestigious Stanley Medal and has been honored with the 2010 Hall of Fame Award by the U-M School of Music, Theatre & Dance. She received her DMA, MM, and Performer's Certificate from the Eastman School of Music. This evening's concert marks Ms. King's third appearance under UMS auspices.
Christopher James Lees (Conductor) is an American conductor quickly becoming recognized for his musicianship on the podium, his innovative programming skills, and his articulate and passionate advocacy for the arts. As only the second American conductor selected for the Zander Conducting Fellowship with the Boston Philharmonic Orchestra, Mr. Lees assisted conductor Benjamin Zander in performances with the Boston Philharmonic, Ulster
Orchestra, and London Philharmonia. He made his European debut conducting the music of Ravel with the Ensemble Orchestral de Paris in 2009, and debuted in South America at the 2007 Festival Internacional de Inverno de Campos do Jordao (Brazil). Mr. Lees is the recipient of both a Bruno Walter Memorial Foundation Career Development Grant and a 2009 Arts Alive Award for Rising Star Young Artists, having served as Associate Conductor for the Akron Symphony Orchestra since 2007. This year, Mr. Lees is concurrently serving as Interim Associate Director of Orchestras at the U-M School of Music, Theatre & Dance, where he conducts the University Philharmonia Orchestra and the Contemporary Directions Ensemble. This evening's concert marks Mr. Lees' UMS debut.
Jeffrey Lyman (Bassoon) has established himself as one of the premiere performers, teachers, and historians of the bassoon in the US. He has been Associate Professor of Bassoon at U-M since 2006, and, prior to that, held positions at Arizona State University and Bowling Green State University. His principal teachers include Bernard Garfield of the Philadelphia Orchestra and Richard Beene and Hugh Cooper of U-M. He holds an undergraduate degree from Temple University and his MM and DMA from U-M. Mr. Lyman has been a member of numerous orchestras across the country and has performed with ensembles including the Philadelphia Orchestra, the Metropolitan Opera Orchestra, the Opera Company of Philadelphia, the Savannah Symphony, the Pro-Musica Chamber Orchestra of Columbus, the Grand Rapids Symphony, and the Michigan Opera Theatre. This evening's concert marks Mr. Lyman's third appearance under UMS auspices.
Kaitlin McCarthy (Dancer) graduated from Mt. Holyoke College with a BA in dance. She has moved back to her hometown of Ann Arbor where she continues dance and furthering her education. This evening's concert marks Ms. McCarthy's UMS debut.
Joan Morris (Narrator) attended Gonzaga University in Spokane prior to her scholarship studies at the American Academy of Dramatic Arts in New York. Since 1981, Ms. Morris has taught a cabaret class at the U-M School of Music, Theatre & Dance. In 2003, Ms. Morris wrote, produced, co-directed, and starred in a musical revue The Police Gazette, based on materials housed in the U-M Clements Library. In 2005 she wrote, produced, directed, and had a featured role in Barnum's Nightingale, based on Jenny Lind's concert tour of America in 1850 sponsored by P. T.
Barnum. In April 2004 Ms. Morris was a soloist in the performance of William Bolcom's Songs of Innocence and of Experience (texts by William Blake), which celebrated the reopening of the newly renovated Hill Auditorium. The concert was conducted by Leonard Slatkin and took place almost 20 years to the day after its 1984 US premiere. Recent residencies have been at Rice University (Houston, TX), Central Washington University (Ellensburg, WA), the Virginia Arts Festival, Tanglewood, and the University of Evansville (IN). This evening's concert marks Ms. Morris's fourth appearance under UMS auspices.
Daniel Pesca {Harpsichord) completed his Masters degree in both composition and piano performance at U-M. He received his BA in music with highest distinction in both areas at the Eastman School of Music. He has been the featured soloist in concertos by J. S. Bach, Olivier Messiaen, and Elliott Carter. He has performed in many venues across the country, including the Kennedy Center and the Aspen Music Festival, where he was an orchestral piano fellow. He is a busy collaborator, for which he received Eastman's Excellence in Accompanying Award. He has participated in the Bowdoin International Music Festival, the American Conservatory in Fontainebleau, France, and the TCUClibum Piano Institute. A native of Huntsville, Alabama, Mr. Pesca currently resides in Evanston, Illinois. This evening's concert marks Mr. Pesca's third appearance under UMS auspices.
Three-time international prizewinner Amy Porter {FlutePiccolo) first leapt to attention when she won the Third Kobe International Flute Competition in Japan which led to international performance invitations. Ms. Porter has appeared as soloist with orchestras and music centers around the world including Atlanta, Houston, New Hampshire, Carnegie Hall, The Kennedy Center, Suntory Hall, and the National Theater Concert Hall in Taipei, Taiwan. As a recording artist, she recently released Passacaglia: Music for Solo Flute in 2007 on Equilibrium. She was also awarded the 2006 Henry Russel Award from U-M for distinguished scholarship and conspicuous ability as a teacher. A native of Wilmington, Delaware, Ms. Porter is a graduate of The Juilliard School. She held the position of Associate Principal Flute in the Atlanta Symphony Orchestra for eight years before becoming U-M Professor of Flute. She is the founder of the non-profit Southeast Michigan Flute Association. This evening's concert marks Ms. Porter's 11th appearance under UMS auspcies.
Stephen Shipps (Violin) studied with Josef Gingold at Indiana University. He also studied with Ivan Galamian and Sally Thomas at the Meadowmount School and with Franco Gulli at the Academia Chigiana in Siena, Italy. He is a former member of the Meadowmount Trio and the Amadeus Trio and has appeared as soloist with the symphony orchestras of Indianapolis, Dallas, Omaha, Seattle, and Ann Arbor, as well as the Piedmont Chamber Orchestra and the Madiera Bach Festival. He has been a member of the Cleveland Orchestra, Associate Concertmaster of the Dallas Symphony, Concertmaster of the Dallas Opera, Concertmaster and Associate Conductor of the Omaha Symphony and the Nebraska Sinfonia, and Guest Concertmaster for the Seattle and Toledo symphony orchestras. His work on the Mannheim Steamroller Christmas Albums has yielded 12 gold and two platinum records. Prior to joining the U-M faculty, he served on the faculties of Indiana University, the North Carolina School of the Arts, and the Banff Centre in Canada. This evening's concert marks Mr. Shipps's 16th appearance under UMS auspices.
Donald Sinta (Alto Saxophone) joined the U-M faculty in 1974. He is a U-M graduate and was formerly on the faculties of the Hartt School of Music and Ithaca College. For 22 years, Mr. Sinta served the School of Music, Theatre & Dance as Director of Youth Activities at U-M and at Interlochen. Mr. Sinta has been honored by an Arthur Thurnau Professorship, and holds the Earl V. Moore Professorship in the School of Music, Theatre & Dance. His recording American Music for the Saxophone is known worldwide. Mr. Sinta has premiered more than 40 works by American composers, and in 1969 was the first elected chair of the World Saxophone Congress. Mr. Sinta may be heard on the recording of William Walton's Fac.ade with the Lincoln Center Chamber Players. This evening's concert marks Mr. Sinta's fourth appearance under UMS auspices.
Robert Swedberg, (Director) U-M Associate Professor of Music, is director of the Opera Studio and Yoga for Performers at U-M. For many years he has been active as an opera director, staging and producing over 125 productions for opera companies all over the US. More recently, he has been working on the international stage, directing productions for companies such as the Macau Music Festival and the Beijing Music Festival in China; Calvia Music Festival in Mallorca, Spain; the William Walton Music Foundation in Ischia, Italy; and at several theaters in Germany, including those in Hof, Bamberg, Pforzheim, and Bayreuth. Mr. Swedberg has degrees in music and theater from California State University, Northridge, and earned a MBA from the University of Central Florida. He is also a certified yoga instructor, and is author of the book Yoga for Performers.
Martin Torch-lshii (Cello) is a student of Anthony Elliott in the DMA program at U-M. He holds a BA and MM degrees from the Cleveland Institute of Music and a Certificate from the Orchestra Academy of the Toho School of Music in Japan. Since 2008, Mr. Torch-lshii has been a cellist with Break of Reality, a cello and percussion crossover group based in New York City ( He was Assistant Principal of the Akron Symphony, a regular substitute with the San Antonio Symphony, and has participated in numerous summer festivals including Spoleto USA, Kneisel Hall, and Aspen. As an educator, he is on faculty at the Sphinx Preparatory Institute in Detroit, the Five Seasons Chamber Music Festival in Cedar Rapids, Iowa, and Graduate Student Instructor of Cello at the U-M School of Music, Theatre & Dance. This evening's concert marks Mr. Torch-lshii UMS debut.
presents Hubbard Street Dance Chicago Glenn Edgerton, Artistic Director Executive Director Jason D. Palmquist Founder Lou Conte Company Christian Broomhall Ana Lopez Jacqueline Burnett Pablo Piantino Alejandro Cerrudo Alejandro Piris-Nino Meredith Dincolo Penny Saunders Brian Enos Kevin Shannon Kellie Epperheimer Jessica Tong Laura Halm Benjamin Wardell Jason Hortin Robyn Mineko Williams
Program Choreography by Ohad Naharin Choreography by Jiri Kylian Choreography by Johan Inger Thursday Evening, April 22, 2010 at 8:00 Power Center Ann Arbor Tabula Rasa INTERMISSION 27'52" INTERMISSION Walking Mad
61st Performance of the 131st Annual Season 19th Annual Dance Series The photographing or sound and video recording of this performance or possession of any device for such recording is prohibited. Funded in part by Arts Midwest's Performing Arts Fund. Media partnership provided by Between the Lines, Metro Times, Michigan Radio 91.7 FM, and Ann Arbor's 107one. Hubbard Street Dance Chicago gratefully acknowledges the generous sup?port of the National Endowment for the Arts; the American Recovery and Reinvestment Act of 2009; the Illinois Arts Council, a state agency; and Kraft Foods, HSDC's Infrastructure Partner. In addition, this performance is partially supported by a CityArts Program 4 grant from the City of Chicago Department of Cultural Affairs. Hubbard Street Dance Chicago appears by arrangement with Rena Shagan Associates. Large print programs are available upon request.

Tabula Rasa
Choreography by Music by
Lighting Design by Costume Design by
Ohad Naharin Arvo Part Ohad Naharin Mari Kajiwara
Tabula Rasa is underwritten in part by Sidney and Sondra Berman Epstein and Randy A. White.
Originally commissioned and premiered by the Pittsburgh Ballet Theatre 1986. Staged for HSDC by Ohad Naharin and Adi Salant in June 2004.
"Tabula Rasa" from the album Tabula Rasa, published by European American Music Distributors, ECM Records.
Choreography by Jiri Kylian
Staging by Cristina Gallofre Vargas and Gerald Tibbs
Music by Dirk Haubrich
Decor by Jirl Kylian
Lighting Design by Kees Tjebbes
Costume Design by Joke Visser
Jiri Kylian's 27'52" takes the viewer along for a game of seeking and being sought, of holding and being held, pulling and pushing, a game in which the dancer must ultimately exit the stage solo. The piece creates an urge to see it again, perhaps in disbelief of what appears on the stage and wondering how this could all be physically possible.
27'52" is sponsored by the Elizabeth F. Cheney Foundation.
World premiere by Nederlands Dans Theater I, February 21, 2002, Lucent Danstheater, The Hague, NL.
Music is a new composition based on two themes by Gustav Mahler entitled 27'52".
Walking Mad
Choreography by Staging by Music by Decor Design by Lighting Design by Costume Design by
Johan Inger Urtzi Aranburu Maurice Ravel Johan Inger Erik Berglund Johan Inger
"Our greatest blessings come to us byway of madness..." --Socrates
In this madcap comedy, Johan Inger has found the perfect balance between pure dance and theatrical effects. Walking Mad consists of many bizarre and surreal situations propelled by the rhythmic Bolero by Maurice Ravel.
Walking Mad is sponsored by Meg and Tim Callahan.
Created for and premiered by Nederlands Dans Theater I at Lucent Danstheater, May 17, 2001 in The Hague, NL.
From the album Ravel: Orchestral Works, Bolero composed by Maurice Ravel, performed by the Orchestre Symphonique de Montreal, conducted by Charles Dutoit; Universal Classics.
Please refer to page 23 in your program book for complete company biographies and staff credits.
Walking Mad
62nd Performance of the 131st Annual Season
19th Annual Dance Series
The photographing or sound and video recording of this performance or possession of any device for such recording is prohibited.
Hubbard Street Dance Chicago
Glenn Edgerton, Artistic Director
Executive Director
Jason D. Palmquist
Lou Conte
Christian Broomhall Ana Lopez
Jacqueline Burnett Pablo Piantino
Alejandro Cerrudo Alejandro Piris-Nino
Meredith Dincolo Penny Saunders
Brian Enos Kevin Shannon
Kellie Epperheimer Jessica Tong
Laura Halm Benjamin Wardell
Jason Hortin Robyn Mineko Williams
Program Choreography by Terence Marling Friday Evening, April 23, 2010 at 8:00 Power Center Ann Arbor At 'em (Atem) Adam
Choreography by Jiri Kylian 27'52"
Choreography by Johan Inger Walking Mad
Funded in part by Arts Midwest's Performing Arts Fund.
Media partnership provided by Between the Lines, Metro Times, Michigan Radio 91.7 FM, and Ann Arbor's 107one.
Hubbard Street Dance Chicago gratefully acknowledges the generous sup?port of the National Endowment for the Arts; the American Recovery and Reinvestment Act of 2009; the Illinois Arts Council, a state agency; and Kraft Foods, HSDC's Infrastructure Partner. In addition, this performance is partially supported by a CityArts Program 4 grant from the City of Chicago Department of Cultural Affairs.
Hubbard Street Dance Chicago appears by arrangement with Rena Shagan Associates.
Large print programs are available upon request.
At 'em (Atem) Adam
Choreography by Music by
Lighting Design by Costume Design by
Terence Marling Various Artists Todd Clark Branimira Ivanova
At 'em (Atem) Adam is sponsored by John and Caroline Ballantine and Joel and Katie Cory, with additional support from members of the Choreographer's Circle: Linda Hutson and Marc Miller & Chris Horsman.
Created for Hubbard Street Dance Chicago. From the album Appalachia Waltz, Sony BMG Music Entertainment, "Druid Fluid" and "Pickles" by Edgar Meyer ("Druid Fluid" with Mark O'Connor). From Billie Holiday Love Songs, Sony Music Entertainment, "All of Me" by Billie Holiday, composed by Gerald Marks. From Pure Ella, UMPG Recordings Inc., "But Not for Me" by Ella Fitzgerald and Ellis Larkins, composed by George Gershwin. From Moondog, "Pastoral" by Moondog as recorded by Sony. From Luciano Berio: Duetti per due violini; Edison Denisov: Sonata for Two Violins, Duetti per due violini: Fiamma by Luciano Berio as recorded by Bis.
Please refer to page 15 in your program book for program information on 2TS2".
Walking Mad
Please refer to page 16 in your program book for program information on Walking Mad.
Please refer to page 23 in your program book for complete company biographies and staff credits.
131st Season
The Neutral Zone and UMS present
Sat, May 15 I 8 pm
Ann Arbor area youth raise the curtain of the Power Center to offer a rare glimpse into the performance art they create in their basements, garages, and schools, and at Ann Arbor's teen center, the Neutral Zone. Curated, produced, and marketed by local high school students, this annual event allows entrance into the lively and innovative minds of talented youth performers. The ultimate reflection of the extraordinary artistic variety that thrives in our teen community, Breakin' Curfew blends spoken word, dance, rock-and-roll, hip-hop, classical music, jazz, and much more for a single blow?out extravaganza of thought-provoking musical, lyrical, and visual art.
and the University of Michigan Health System present Hubbard Street Dance Chicago Glenn Edgerton, Artistic Director Executive Director Jason D. Palmquist Founder Lou Conte Company Christian Broomhall Ana Lopez Jacqueline Burnett Pablo Piantino Alejandro Cerrudo Alejandro Piris-Nino Meredith Dincolo Penny Saunders Brian Enos Kevin Shannon Kellie Epperheimer Jessica Tong Laura Halm Benjamin Wardell Jason Hortin Robyn Mineko Williams
Program Choreography by Jorma Elo Choreography by Jiri Kylian Choreography by Johan Inger Saturday Evening, April 24, 2010 at 8:00 Power Center Ann Arbor Bitter Suite INTERMISSION 27'52" INTERMISSION Walking Mad
63rd Performance of the 131st Annual Season 19th Annual Dance 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 sponsored by the University of Michigan Health System. Funded in part by Arts Midwest's Performing Arts Fund. Media partnership provided by Between the Lines, Metro Times, Michigan Radio 91.7 FM, and Ann Arbor's 107one. Hubbard Street Dance Chicago gratefully acknowledges the generous sup?port of the National Endowment for the Arts; the American Recovery and Reinvestment Act of 2009; the Illinois Arts Council, a state agency; and Kraft Foods, HSDC's Infrastructure Partner. In addition, this performance is partially supported by a CityArts Program 4 grant from the City of Chicago Department of Cultural Affairs. Hubbard Street Dance Chicago appears by arrangement with Rena Shagan Associates. Large print programs are available upon request.

Bitter Suite
Choreography by Music by
Costume Design by Lighting Design by Repetiteur by
Jorma Elo
Felix Mendelssohn and Claudio Monteverdi
Nete Joseph
James F. Ingalls
Christophe Dozzi
Jorma Elo has created a wonderfully tender and spirited work with the special stamp of his Scandinavian sense of humor. The piece is built on imagery, at its base, and blends humanity with fierce ballet technique.
Bitter Suite is sponsored, in part, by Paul and Ellen Gignilliat and Richard and Ann Tomlinson.
Created for and premiered by Hubbard Street Dance Chicago at the Harris Theater for Music and Dance, Chicago, IL, October 1, 2009.
Music by Felix Mendelssohn. From the album Mendelssohn: Violin Concerto, Op. 64Piano Trio, Op. 49Violin Sonata in F Major. "Andante" from Violin Concerto in e minor, Op. 64 and "Allegretto non troppo--Allegro molto vivace" from Violin Concerto in e minor. Op. 64, performed by Anne-Sophie Mutter. Courtesy of Deutsche Grammophon. Music by Claudio Monteverdi. From the album 100 Best Baroque: "Pur Ti Miro" from the opera L'lncoronazione di Poppea. Courtesy of EMI Classics. From album Monteverdi: Orfeo: "Overture (Toccata)" from the opera L'Orfeo by Monteverdi, performed by Emmanuelle Haim, European Voices. Courtesy of EMI: Virgin Classics.
Please refer to page 15 in your program book for program information on 27S2".
Please refer to page 16 in your program book for program information on Walking Mad.
Hubbard Street Dance Chicago (HSDC), under the artistic leadership of Glenn Edgerton, celebrates over 30 years as one of the most renowned dance institutions in the world. Critically acclaimedforitsexuberant, athletic and innovative repertoire, the company features 16 dancers who display unparalleled versatility and virtuosity in performances that inspire, challenge, and engage audiences worldwide. HSDC was founded in 1977 by dancer and choreographer Lou Conte, who served as artistic director until his retirement from HSDC in 2000. Originally the company's sole choreographer, he developed relationships with emerging and world-renowned choreographers, including Lynne Taylor-Corbett, Margo Sappington, Daniel Ezralow, Nacho Duato, Jiri Kylian, and Twyla Tharp, all of whom helped shape HSDC repertoire into what it is today. In 2000, Jim Vincent stepped into the role of Artistic Director and further expanded the company's programming, repertoire, and acclaim, while also building a legacy of new choreographic development. HSDC has performed works unmatched in artistic excellence by Christopher Bruce, William Forsythe, and Susan Marshall. Acclaimed choreographers Jorma Elo, Lar Lubovitch, and Toru Shimazaki have also created works specifically for the company. Continually expanding its diverse repertoire with work by leading national and international choreographers, the company also contributes to the art form's evolution by developing new choreographic talent and collaborating with artists in music, visual art, and theater.
In March 1998, the company relocated to a permanent facility--Hubbard Street Dance Center. This facility is the home of Hubbard Street Dance Chicago's main company, Hubbard Street 2, HSDC's Education and Community Programs and the Lou Conte Dance Studio, serving as one institution dedicated to performance, dance training, and community education. Hubbard Street 2, which cultivates young professional dancers and choreographers and performs nationally and internationally with a diverse and engaging repertoire; extensive Education and Community Programs, which offer cityand state-
accredited professional development for teachers to incorporate movement into curricula and allow young people to experience dance, as well as Youth Dance Classes (ages nine months-13 years) including Creative Movement and various dance technique classes at Hubbard Street Dance Center; and the Lou Conte Dance Studio, which offers a wide variety of classes weekly in jazz, ballet, modern, tap, African, hip-hop, Yoga, Pilates, and ZumbaO at levels from basic to professional, as well as workshops and master classes.
Staff Biographies
Glenn Edgerton (Artistic Director) joined HSDC after an international career as a dancer and director. He began his dancing career at The Joffrey Ballet where, mentored by Robert Joffrey, he performed leading roles in the company's contemporary and classical repertoire for 11 years. In 1989, Edgerton joined the acclaimed Nederlands Dans Theater (NDT1), and after dancing for five years, retired from performing to become Artistic Director of the main company, leading NDT1 for a decade and presenting the works of Jiri KyliSn, Hans van Manen, William Forsythe, Ohad Naharin, Mats Ek, Nacho Duato, Jorma Elo, Johan Inger, Paul Lightfoot, and Sol Leon. From 2006-08, he directed The Colburn Dance Institute at The Colburn School of Performing Arts in Los Angeles. He joined HSDC's artistic leadership team full-time as Associate Artistic Director in 2008 and now, as Artistic Director of HSDC, will build on more than three decades of artistic leadership from both Lou Conte and Jim Vincent, whose extraordinary work has established the company as a leader in dance performance, education, and appreciation.
Jason D. Palmquist (Executive Director) joined HSDC in May 2007, after serving the arts community in Washington DC for nearly 15 years. Mr. Palmquist began his career at the John F. Kennedy Center for the Performing Arts, completing his tenure there as Vice President of Dance Administration. At the Kennedy Center, he oversaw multiple world-premiere engagements of commissioned works in dance, the formation and growth of the Suzanne Farrell Ballet, and the inception in 1997 of the Millennium Stage--an
award-winning, free daily performance series that to date has served more than 3 million patrons. Deeply enriching the Kennedy Center's artistic programming, he successfully presented engagements with many of the world's most important dance companies including the Royal Ballet, Alvin Ailey American Dance Theatre, the Kirov Ballet, Paul Taylor Dance Company, American Ballet Theatre, and New York City Ballet. Mr. Palmquist also managed the Kennedy Center's television initiatives, including the creation of the Mark Twain Prize for American Humor and a prime-time special on NBC memorializing the first anniversary of the September 11 attacks. In 2004, he accepted the position of Executive Director of the Washington Ballet. Under his leadership, the company presented full performance seasons annually at the Kennedy Center and the Warner Theater, and nurtured its world-renowned school and extensive education and outreach programs. Raised in Iowa, Mr. Palmquist is a graduate of the University of Northern Iowa.
Terence Marling (Rehearsal Director and Artistic Associate) began his ballet training in 1982 at the Ruth Page School of Dance under the direction of Larry Long. In 1994, he joined the Pittsburgh Ballet Theater directed by Patricia Wilde, performing works by George Balanchine, Glen Tetley, Paul Taylor, Jiri Kylian, Ohad Naharin, Kevin O'Day, and Dwight Rhoden, as well as many full-length classical ballets. In 2003 Mr. Marling was invited to join the Nationaltheater Mannheim in Germany under the direction of Kevin O'Day, where he participated in the creation of many new works. Mr. Marling joined HSDC in April 2006 and danced with the company until December 2009. At HSDC, Mr. Marling participated in the creation of new works with Jorma Elo, Toru Shimazaki, Jim Vincent, Lucas Crandall, and Alejandro Cerrudo, and danced works by Susan Marshall, Nacho Duato, Ohad Naharin, Margarite Donlon, and Jiri Kylian. Mr. Marling began as Artistic Associate and Rehearsal Director for HSDC in January 2010.
Jiri Kylian {Choreographer, 27'52") was born in Prague, Czechoslovakia, in 1947, and started his dance training at the ballet school of the Prague National Theatre at the age of nine. He later studied at the Prague Conservatory and the Royal Ballet School in London. In 1968 he joined the Stuttgart Ballet under the direction of John Cranko as both a dancer and choreographer. In 1973, he created his first work for the Nederlands Dans Theater, where he became artistic director in 1975, and is currently resident choreographer and artistic advisor. Mr. Kylian has choreographed 66 works for NDT including Sinfonietta, Sechs Tame, Kaguyahime, and Arcimboldo. His works have been staged by more than 40 companies around the world, such as American Ballet Theater, Royal Danish Ballet, Tokyo Ballet, The Australian Ballet, and National Ballet of Canada.
Terence Marling (Choreographer, At 'em (Atem) Adam). See Staff Biographies.
In just a few short years, Finnish-born Jorma Elo {Choreographer, Bitter Suite) has become one of the most sought-after choreographers in the US and Europe. Mr. Elo trained with the Finnish National Ballet School and the Kirov Ballet School in Leningrad. Prior to joining Netherlands Dans Theater in 1990, he danced with Finnish National Ballet from 1978-84, and with Cullberg Ballet from 1984-90. Mr. Elo, who was named resident choreographer of Boston Ballet in 2005, was singled out as a "talent to follow" by Anna Kisselgoff in her 2004 Year in Review for The New York Times; it was an astute observation. He has since created numerous works in the US and internationally, including Slice to Sharp for New York City Ballet, Glow-Stop for American Ballet Theatre, Carmen for Boston Ballet, 10 to Hyper M and Lost on Slow for Royal Danish Ballet, Offcore for Finnish National Ballet, Pointeoff for Aspen Santa Fe Ballet, and From All Sides for Hubbard Street Dance Chicago. The 2005 Helsinki International Ballet Competition awarded Mr. Elo a choreographic prize and he was the recipient of the Prince Charitable Trust Prize and the Choo-San Goh Choreographic Award in 2006.
Ohad Naharin (Choreographer, Tabula Rasa) began his training as a dancer with the Batsheva Dance Company. He came to New York one year later at the invitation of Martha Graham to join her company as well as to make use of a scholarship to the School of American Ballet. After a year with the Martha Graham Dance Company, he continued his studies at The Juilliard School of Music as well as with Maggie Black and David Howard. He then joined the Maurice Bejart Company in Brussels for one season and made his choreographic debut in 1980 in the Kazuko Hirabayashi studio in New York. From 1980-90 he performed and worked in New York, where he lived with his wife, the dancer Mari Kajiwara. In 1990 he was appointed Artistic Director of the Batsheva Dance Company. Mr. Naharin has been the recipient of many awards and honors, including the Chevalier de I'Ordre des Arts et des Lettres by the French government in 1998, two New York Dance and Performance (Bessie) Awards (for Naharin's Virus at the Brooklyn Academy of Music in 2002 and for Anaphaza at the Lincoln Center Festival in 2003), a Doctor of Philosophy honoris causa by the Weizmann Institute of Science in 2004, the prestigious Israel Prize for dance in 2005, and the Dance Magazine award. Mr. Naharin's works are performed by many companies throughout the world, including Nederlands Dans Theater, Frankfurt Ballet, Lyon Opera Ballet, Ballet Nacional d'Espana (Madrid), Cullberg Ballet (Sweden), and the Opera National de Paris.
Johan Inger {Choreographer, Walking Mad) was born in 1967 in Stockholm and educated at the Royal Swedish Ballet School and at the National Ballet School in Canada. In 1985 Mr. Inger joined the Royal Swedish Ballet, where in 1989 he became a soloist. In 1990 he joined Nederlands Dans Theater, where he was a high-profile dancer until 2002. Mr. Inger's official breakthrough as a choreographer came with Mellantid (Swedish for "In Between Time")--his first commissioned work for Nederlands Dans Theater II--as part of the 1995 Holland Dance Festival. This work was awarded the 1996 Philip Morris Finest Selection Award in the category of Contemporary Dance. Mellantid was followed by several creations for Nederlands Dans Theater I, II, and III. In 2001, Mr. Inger was nominated for the Golden Dance Prize by the VSCD (Dutch board of theater directors) as well as for the British Laurence Olivier Award for
"Best New Dance Production." In October 2001 he received the Lucas Hoving Production Award for his works Dream Play and Walking Mad. In 2002, he received the Prize of Achievement from the Stichting Dansersfonds '79 (founded by Dutch dance couple Alexandra Radius and Han Ebbelaar). In 2003, the Edinburgh Festival awarded Mr. Inger with the Herald Angel for Home and Home and the Italian prize Danza Danza was presented to him in 2004 for Walking Mad. In 2006, Mr. Inger received the prestigious Birgit Cullberg Prize. In July 2003, Mr. Inger took over the artistic management of the Cullberg Ballet. In the past five years, he has created numerous works for the company. His latest ballet is 2007's Point of eclipse.
Christian Broomhall (Columbus, OH) received classical training from Ballet Met Columbus under the direction of David Nixon and Yoko Ichino. From 1999-2001 he danced professionally with the Ballet Met Columbus. He then performed with the Northern Ballet Theatre until 2005, when he returned to dance with Ballet Met Columbus until 2008. Mr. Broomhall joined HSDC in August of 2008.
Jacqueline Burnett (Pocatello, ID) received her classical ballet training in Pocatello, Idaho, from Romanian Ballet Master Marius Zirra, with additional summer training at Ballet Idaho, Brindusa-Moore Ballet Academy, Universal (Kirov) Ballet Academy, The Juilliard School, and the San Francisco Conservatory of Dance. She received a BFA in dance performance from The Ailey School Fordham University joint program in New York in May 2009, graduating magna cum laude and with departmental honors. Ms. Burnett joined HSDC as a Center Apprentice in January 2008, while concurrently completing her BFA, and became a member of the main company in August 2009.
Alejandro Cerrudo (Resident Choreographer) is from Madrid, Spain, received his training at the Real Conservatorio Profesional de Danza de Madrid, and in 1998, joined the Victor Ullate Company, where he danced for one year. From 1999-2002, Mr. Cerrudo danced with the Stuttgart Ballet, and in 2002 he joined Nederlands Dans Theater II under the direction of Gerald Tibbs.
Mr. Cerrudo danced with NDT II for three years before becoming an HSDC company member in August 2005. Named an HSDC Choreographic Fellow in 2008, Mr. Cerrudo has created three works for the company: Lickety-Split, Extremely Close (commissioned by the Joyce Theater in New York), and Off Screen (premiered by the main company in the spring of 2009). As the company's first Resident Choreographer, he will present two world premieres this season.
Meredith Dincolo (Indianapolis, IN) began dancing at age seven in Indianapolis and continued her training under lacob Lascu in Michigan. She graduated from the University of Notre Dame in 1993 and moved to Chicago to pursue dance. In 1996, Ms. Dincolo joined HSDC, where she spent four years under the direction of Lou Conte. In 2000, she joined Lyon Opera Ballet and went on to the Nationaltheater Mannheim, under Kevin O'Day and Dominique Dumais. Ms. Dincolo returned to HSDC in November 2004.
Brian Enos (Cotati, CA) began his dance training at 14 and has studied with the Houston Ballet Academy, Maria Vegh, the Santa Rosa Junior College, and Sara Stuber. At 18, he joined the Houston Ballet where he performed works by Trey Mclntyre, David Parsons, Lila York, Ben Stevenson, Dominic Walsh, Priscilla Nathan-Murphy, James Kudelka, and Fredrick Ashton. Mr. Enos performed with the Houston Ballet for two years before joining HSDC in July 2002. He was commissioned to create work for Houston Ballet in fall 2005, departing HSDC in August and rejoining the company in January 2006.
Kellie Epperheimer {Los Osos, CA) began her dance training in 1988 with the Academy of Dance and Civic Ballet of San Luis Obispo. She has participated in summer programs with the Joffrey Ballet and The Juilliard School. In 2002, she had the opportunity to tour Russia with the Deyo Dancers. Ms. Epperheimer joined Hubbard Street 2 in January 2005 before becoming an apprentice with the main company in December 2006. Ms. Epperheimer was made a full company member in January 2008.
Laura Halm {Baltimore, MD) began her dance training at age four and has studied at Central Pennsylvania Youth Ballet, Boston Ballet School,
San Francisco Ballet School, and the Baltimore School for the Arts. She received her BFA in dance from The Juilliard School in May 2002 where she performed works by Jose Limon, Ohad Naharin, and Robert Battle. She also had the privilege of performing with El Ballet Moderno y Folklorico de Guatemala as a guest artist before joining Hubbard Street 2 in January 2004. Ms. Halm became an apprentice with HSDC in August 2006 before joining as a full company member in August 2007.
Jason Hortin {Olympia, WA) graduated from the University of Nevada, Las Vegas with a BFA in dance under the direction of Louis Kavouras and has danced with Moving People Dance Theatre, the Erick Hawkins Dance Company, and River North Dance Chicago. Mr. Hortin joined HSDC as a Hubbard Street Dance Center Apprentice in August 2007 and was promoted into the main company in July 2008.
Ana Lopez (A Coruha, Spain) began her formal training at Conservatorio de Danza Disputacion de A Corufia. Upon graduating Isaac Diaz Pardo High School, she continued her training at Centra Internacional de Danza Carmen Roche. Lopez danced with Joven Ballet Carmen Roche, Compania Nacional de Danza 2, and Ballet Theater Munich before joining HSDC in January 2008.
Pablo Piantino {Mendoza, Argentina) began dancing at the age of 14. His training includes private seminars with Hector Zaraspe and studies at both the Colon Theatre School and The Juilliard School, where he received his BFA. Having danced with both the Colon Theatre Ballet Company and The Juilliard School Dance Ensemble, Mr. Piantino joined the San Francisco Ballet in 1999 and became an HSDC company member in August 2005.
Alejandro Piris-Nino (Madrid, Spain) began his ballet studies at the age of 10 when he joined the Victor Ullate School of Dance on scholarship, later becoming a company member in 1995. While with the Victor Ullate Company, Mr. Piris-Nino performed all over Europe as well as at many major events in Spain. In 1999, Mr. Piris-Nino moved to New York to dance with ABT II and was promoted to American Ballet Theatre's main company in 2000. Mr. Piris-Nino joined Hubbard Street Dance Chicago in August of 2008.
Penny Saunders (West Palm Beach, FL) received her formal dance training at and graduated from the Harid Conservatory in Boca Raton. While furthering her training under Elisabeth Carroll, she joined the American Repertory Ballet in New Jersey. Ms. Saunders has also danced with Ballet Arizona, toured extensively with MOMIX, and was a member of Cedar Lake Ensemble in New York before joining HSDC in November 2004.
Kevin Shannon {Baltimore, MD) began his formal dancing under the guidance of Lester Holmes. He graduated from the Baltimore School for the Arts, receiving additional summer training at the School of American Ballet, Miami City Ballet, Paul Taylor, and David Parsons. He received his BFA in 2007 from The Juilliard School, where he performed works by Susan Marshall, Mark Morris, William Forsythe, and Jiri Kylian. He has toured nationally with The Juilliard School Ensemble and performed in the nationally broadcast special, Live From Lincoln Center, The Juilliard School: Celebrating 100 Years. He is a co-founder of Borderline Dance Circle--a troupe under the choreographic direction of Michelle Mola--for which he danced professionally and developed concepts since 2005. Mr. Shannon joined HSDC in November 2007.
Jessica Tong {Binghamton, NY) received a full scholarship to the Ballet Department at the University of Utah and became a member of Utah Ballet as a junior in high school. She attended summer programs at American Ballet Theatre, San Francisco Ballet, Kaatsbaan, and Lou Conte Dance Studio. Ms. Tong has danced with BalletMet in Columbus, Ohio, Eliot Feld's Ballet Tech in New York, and Hubbard Street 2 before joining the main company as an apprentice in January 2007 and a full company member in January 2008.
Benjamin Wardell (Memphis, TN) began dancing at age 10. After completing his training at Classical Ballet Memphis School, under the tutelage of Pat Gillespie, he danced with Cincinnati Ballet for five seasons, achieving the rank of soloist. In 2006, Mr. Wardell moved to San Francisco to join Alonzo King's LINES Ballet, where he was given the opportunity to explore mind-opening philosophies and physicalities of movement while traveling extensively through
the US and Europe. In addition to being a dancer, Mr. Wardell is a photographer and writer. A large part of his artistic interest is to combine multiple disciplines through methods that allow each art form to augment the capabilities of the others. He joined HSDC in January 2008.
Robyn Mineko Williams (Lombard, IL) began dancing at age five under the direction of Yvonne Brown Collodi. She continued studying dance at the Lou Conte Dance Studio on full scholarship from 1993-95. Ms. Williams danced with River North Chicago Dance Company for four years before becoming an apprentice with HSDC in June 2000. She became a full company member in September 2001.
UMS Archives
This week's performances by Hubbard Street Dance Chicago mark the company's 12th, 13th, and 14th appearances under UMS auspices. The company last appeared under UMS auspices in October 2007 at the Power Center and made their UMS debut in March 1988.
Hubbard Street Dance Chicago
Artistic Staff
Production Staff
Taryn Kaschock Russell, Director, HS2 and Artistic Associate
Kristen Brogdon, Artistic Administrator
Terence Marling, Rehearsal Director and Artistic Associate
Alejandro Cerrudo, Resident Choreographer
Claire Bataille, Director, Lou Conte Dance Studio
Todd Clark, Production ManagerLighting Director
Anne Grove, Company Manager
Matt Miller, Production Coordinator
Kilroy G. Kundalini, Audio Engineer
Aprill C. Clements, Stage ManagerProperties Master
Rebecca M. Shouse, Wardrobe Supervisor
Stephan Panek, Carpenter
Emily Predny, Lighting Supervisor
Tracy Shepherd, Director of Finance and Administration, CFO Karine Provost, Manager of Pre-Professional Programs Laura White, Accounting Manager Michelle Jacobs, Administration, Art Administration Intern Cara Scrementi, Artistic Administration Intern
Education and Community Programs
Wardrobe Staff
Special Services
North American Tour Direction
Founding Dancer Founding Executive Director Executive Director 1984-2007
Erika Nelson, Marketing Manager
Janine Mellang, Manager of Ticketing and Patron Services
Farrah Malik, Manager of Communications
Julie Carrico, Marketing Intern
Sharon Barry, Associate Director of Development Blair Brown, Individual Giving Coordinator Meg Cockrell, Manager of Individual Giving Kalena Dickerson, Manager of Institutional Grants Paula Petrini Lynch, Manager of Special Events Jamie Wasielewki, Development Intern
Kathryn Humphreys, Director of Education and Community Programs
Sinead Kimbrell, Manager of School Programs
Sarah McCarty, Program and Research Coordinator
Cheryl Olendzki, Lead FSI Teaching Artist
Kristen Gurbach Jacobson, Community Programs Coordinator
Branimira Ivanova, Draper Carol Miller, Draper Nathan Rohrer, First Hand
Chapman and Cutler, LLP, Bond Counsel Donald I. Resnick, Jenner & Block, Legal Counsel
Rena Shagan Associates, Inc. Rena Shagan, President
Lou Conte
Claire Bataille Barbara G. Cohen Gail Kalver
Miller, Canfield,
Paddock and Stone,
The Rest Is Noise in Performance Alex Ross Ethan Iverson piano
Sunday Afternoon, April 25, 2010 at 4:00 Rackham Auditorium Ann Arbor
This afternoon's program will be announced by the artists from the stage and will include music from the following artists:
Milton Babbitt Bela Bart6k George Gershwin Gyorgy Ligeti Jelly Roll Morton Charlie Parker Arnold Schoenberg Dmitri Shostakovich Jean Sibelius Igor Stravinsky Anton Webern
64th Performance of the 131st Annual Season
47th Annual Chamber Arts Series
The photographing or sound and video recording of this performance or possession of any device for such recording is prohibited.
This afternoon's performance is sponsored by Miller, Canfield, Paddock and Stone, P.L.C.
Funded in part by the National Endowment for the Arts as part of American Masterpieces: Three Centuries of Artistic Genius.
Media partnership provided by WGTE 91.3 FM and WEMU 89.1 FM.
Special thanks to Ken Raynor and Tim Grimes of the Ann Arbor District Library for their support of and participation in events surrounding this afternoon's performance.
Special thanks to Steven Ball for coordinating the pre-concert music on the Charles Baird Carillon.
Ethan Iverson records with Heads UpUniversalDo the Math. A full discography is available at
Alex Ross's The Rest Is Noise is published in the US by Farrar, Straus, and Giroux. Further information is available at
Mr. Ross and Mr. Iverson appear by arrangement with IMG Artists, New York, NY.
Large print programs are available upon request.
Alex Ross has been the music critic of The New Yorker since 1996. From 1992-96 he wrote for The New York Times. His first book, The Rest Is Noise: Listening to the Twentieth Century, won a National Book Critics Circle Award and was a finalist for the Pulitzer Prize. His second book, a collection of essays entitled Listen To This, will be published by Farrar, Straus and Giroux in October 2010. In 2008, Mr. Ross was named a MacArthur Fellow.
Ethan Iverson (Piano) is best known as the pianist in the postmodern jazz trio The Bad Plus. Since the group's formation in 2001, Mr. Iverson, Reid Anderson, and David King have released six studio records, been featured on the cover of most major jazz magazines, and have performed in venues as diverse as Carnegie Hall, Bonnaroo, and the Village Vanguard. The New York Times hails The Bad Plus as "better than anyone at mixing the sensibilities of post-60s jazz and indie rock." Mr. Iverson is also currently a member of the Billy Hart Quartet with Mark Turner and Ben Street, and the collective Buffalo Collision with Tim Berne, Hank Roberts, and David King. He has performed with Charlie Haden, Paul Motian, Lee Konitz, Dewey Redman, and Albert "Tootie" Heath. In addition to jazz, Mr. Iverson has some experience with classical music. For five years Mr. Iverson was the Music Director of the Mark Morris Dance Group and has accompanied Mark Padmore in Schubert's Winterreise. Indeed, the most recent Bad Plus release, For All I Care, includes "covers" of Milton Babbitt, Gyorgy Ligeti, and Igor Stravinsky.
UMS Archives
This afternoon's performance marks Alex Ross's second public appearance under UMS auspices. Mr. Ross gave the keynote address at the U-MUMS Shostakovich Centennial Symposium in March 2006 at Rackham Amphitheatre. The Symposium was held in conjunction with a five-concert series by the Kirov Orchestra of St. Petersburg under Maestro Valery Gergiev in which the Orchestra offered 11 of Shostakovich's 15 symphonies over the course of two seasons at Hill Auditorium.
This afternoon's performance marks pianist Ethan Iverson's fifth appearance under UMS auspices. He most recently appeared as a member of The Bad Plus this past February at Lydia Mendelssohn Theatre and made his UMS debut as pianist and music director of the Mark Morris Dance Group in April 2001 at the Power Center.
Alex Ross
Ethan Iverson
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, or call the numbers listed on the following pages.
Please call 734.615.4077 or e-mail for more information.
Public Events: Extending the Experience
UMS hosts a wide variety of educational and community events to inform the public about arts and culture and to provide forums for dis?cussion and celebration of the performing arts. These events include:
Artist Interactions: Public interviews, inter?active workshops with artists, master classes, and meet-and-greet opportunities for visiting and local artists to share their craft and process while getting to know the Ann Arbor community.
LecturesRound-Table DiscussionsBook Clubs: In-depth adult education related to specific artists, art forms, cultures, films, books, or ideas connected to the UMS season.
Audience as Artist: Opportunities for the public to participate in the performing arts: dance parties, jam sessions, staged readings.
Community Receptions: Relaxed events for audiences to network and socialize with each other and with artists.
Building Community Around the Arts
UMS works with 57 academic units and 175 faculty members at U-M, along with many part?ners at other regional colleges, bringing together visiting artists, faculty, students, and the broader southeastern Michigan community. UMS appre?ciates the generosity of the many faculty members who share time and talent to enrich the per?formance-going experience for UMS audiences. With the aim of educating and inspiring stu?dents to participate more fully in the performing arts, UMS student programs range from pre-con?cert pizza to post-concert dance parties; in-class visits with artists to internships and jobs at UMS. UMS also provides various opportunities for stu-
dents to attend UMS performances at significant?ly discounted rates (see ticket discount informa?tion on page P20). Each year, 18,000 students attend UMS events and collectively save $375,000 on tickets through our discount programs.
Arts & Eats
Arts & Eats combines two things you can't live without--great music and free pizza--all in one night. For just $15, you get great seats to a UMS event (at least a 50 savings) and a free pizza dinner before the concert, along with a brief talk about the performance. Tickets go on sale approximately two weeks before the concert.
Winter 2010 Arts & Eats Events:
Bill T. JonesArnie Zane Dance Company, Fri 122
Bela Fleck: The Africa Project, Wed 217
Takacs Quartet, Mon 315
Schleswig-Holstein Festival Orchestra with Lang Lang, Wed 47
Danilo Perez & Friends, Thu 48
Sponsored by UMM5
With support from the U-M Alumni Association
Internships and College Work-Study
Internships and College Work-Study with UMS provide experience in performing arts adminis?tration, marketing, ticket sales, programming, production, fundraising, and arts education. Semesterand year-long unpaid internships are available in many of UMS's departments. If you are a U-M student interested in working at UMS, please e-mail or visit
Student Committee
As an independent council drawing on the diverse membership of the U-M community, the UMS Student Committee works to increase stu?dent interest and involvement in various UMS programs by fostering increased communication between UMS and the student community, promoting awareness and accessibility of stu-
dent programs, and promoting the value of live performance. For more information or to join, please call 734.615.6590 or email
Please call 734.615.0122 or e-mail for more information.
UMS Youth: Arts for the Next Generation
UMS has one of the largest K-12 education ini?tiatives in Michigan. Designated as a "Best Practice" program by ArtServe Michigan and the Dana Foundation, UMS is dedicated to mak?ing world-class performance opportunities and professional development activities available to K-12 students and educators.
0910 Youth Performance Series
These daytime performances give pre-K through high school students the opportunity to see the same internationally renowned performances as the general public. The Fall 2009 season fea?tured special youth presentations of Shakespeare's Globe Theatre and Keith Terry and the SLAMMIN All-Body Band. In WinterSpring 2010, UMS will present Bill I JonesArnie Zane Dance Company, Ladysmith Black Mambazo, the Sphinx Jr. Division Finals Concert, The Bad Plus, and Hubbard Street Dance Chicago. All youth performances have accompanying curricular materials, available for free at, to connect the perform?ance to state curricular standards via the Michigan Grade Level Content Expectations.
Teacher Workshop Series
UMS is part of the Kennedy Center Partners in Education Program, offering educators mean?ingful professional development opportunities. Workshops, cultural immersions, and book clubs bring the best in local and national arts education to our community, through presenta-
tions by Kennedy Center teaching artists, UMS performing artists, and local arts and culture experts. This series focuses on arts integration, giving teachers techniques for incorporating the arts into everyday classroom instruction.
Student-Artist Interactions
Whenever possible, UMS brings its artists into schools to conduct workshops and interactive performances directly with students, creating an intimate and special experience in students' own environment.
Teacher Advisory Committee
This group of regional educators, school admin?istrators, and K--12 arts education advocates advises and assists UMS in determining K-12 programming, policy, and professional develop?ment. If you would like to participate, please contact
Teacher Appreciation Month! March 2010 is Teacher Appreciation Month. Visit www.ums.orgeducation for special ticket discount information.
UMS is in partnership with the Ann Arbor Public Schools and the Washtenaw Immediate School District as part of the Kennedy Center: Partners in Education Program. UMS also participates in the Ann Arbor Public Schools' "Partners in Excellence" program.
UMS Teen
UMS nurtures the development of young artists and audiences with a yearlong collabo?rative performance, ticket discounts (see page P20), and occasional internship opportunities for outstanding high school students.
Breakin' Curfew
In a special collaboration with the Neutral Zone, Ann Arbor's teen center, UMS presents this annual performance on Saturday, May 15, 2010 at the Power Center, highlighting the area's best teen performers. This show is curated, designed, marketed, and produced by teens under the mentorship of UMS staff.
UMS Family Series
The UMS Family Series was created to allow families to experience the magic of the per?forming arts together, irrespective of age. Most family performances feature shorter program lengths, a more relaxed performance-going environment, and special interactive opportuni?ties for kids with the artist or art form. Fall 2009 family performances included The Suzanne Farrell Ballet, Keith Terry's SLAMMIN All-Body Band, and the Vienna Boys Choir. Please join us for Cyro Baptista's Beat the Donkey, the final family presentation of the 0910 season, on March 13, 2010 at 1pm and 4pm.
Education Program Supporters
Reflects gifts received between July 1, 2008 and November 1, 2009.
University of Michigan
Michigan Council for Arts and Cultural Affairs
Arts at Michigan
Arts Midwest's Performing
Arts Fund Bank of Ann Arbor The Dan Cameron Family
FoundationAlan and
Swanna Saltiel Community Foundation for
Southeast Michigan Doris Duke Charitable
Foundation Doris Duke Foundation for
Islamic Art
DTE Energy Foundation The Esperance Family Foundation David and Phyllis Herzig
Endowment Fund Honigman Miller Schwartz
and Conn LLP JazzNet Endowment WK Kellogg Foundation Masco Corporation
Miller, Canfield, Paddock and
(of R. & P. Heydon) The Mosaic Foundation,
Washington DC National Dance Project of the
New England Foundation
for the Arts
National Endowment for the Arts Prudence and Amnon
Rosenthal K-12 Education
Endowment Fund Rick and Sue Snyder TCF Bank
UMS Advisory Committee University of Michigan Credit Union University of Michigan
Health System U-M Office of the Senior Vice
Provost for Academic Affairs U-M Office of the Vice
President for Research Wallace Endowment Fund
There are many ways to support the efforts of UMS, all of which are critical to the success of our season. We would like to welcome you to the UMS family and involve you more closely in our exciting programming and activities. This can happen through corporate sponsorships, business advertising, individual donations, or through volunteering. Your financial investment andor gift of time to UMS allows us to continue connecting artists and audiences, now and into the future.
When you advertise in the UMS program book you gain season-long visibility among ticket buyers while enabling an important tradition of providing audiences with the detailed program notes, artist biographies, and program descrip?tions that are so important to the performance experience. Call 734.764.6833 to learn how your business can benefit from advertising in the UMS program book.
As a UMS corporate sponsor, your organization comes to the attention of an educated, diverse, and growing segment not only of Ann Arbor, but all of southeastern Michigan. You make possible one of our community's cultural treas?ures and also receive numerous benefits from your investment. For example, UMS offers you a range of programs that, depending on your level of support, provide a unique venue for:
Cultivating clients
Developing business-to-business relationships
Targeting messages to specific demographic groups
Enhancing corporate image
Making highly visible links with arts and education programs
Recognizing employees
Showing appreciation for loyal customers
For more information, please call 734.647.1176.
We could not present our season without the invaluable financial support of individual donors. Ticket revenue only covers half of the cost of our performances and educational events. UMS donors help make up the differ?ence. If you would like to make a gift, please fill out and mail the form on page P36 or call 734.647.1175.
The UMS Advisory Committee is an organization of over 80 volunteers who contribute approxi?mately 7,000 hours of service to UMS each year. The Advisory Committee champions the mission and advances UMS's goals through community engagement, financial support, and other volun?teer service.
Advisory Committee members work to increase awareness of and participation in UMS programs through the Education Ambassador Committee, a new Community Ambassador proj?ect, ushering at UMS youth performances, and a partnership with the U-M Museum of Art (UMMA) Friends Board.
Meetings are held every other month and membership tenure is three years. Please call 734.647.8009 to request more information.
Raising money to support UMS Education Programs is another major goal of the Advisory Committee. The major fundraising events are:
Ford Honors Program and Gala: San Francisco Symphony Saturday, March 20, 2010
This year's program will honor the San Francisco Symphony (SFS) and Michael Tilson Thomas (MTT), Music Director. Founded in 1911, the SFS is widely considered to be among the country's most artistically adventurous arts institutions. Michael Tilson Thomas assumed his post as the Symphony's 11th Music Director in 1995. MTT's 13 seasons with SFS have been praised by crit?ics for innovative programming, for bringing the works of American composers to the fore, developing new audiences, and for an innova?tive and comprehensive education and commu?nity program.
The evening will begin with a Gala Dinner at the Michigan League, followed by the SFS's performance of Mahler's Symphony No. 2. After the performance, guests can meet SFS musicians and MTT at a Champagne Afterglow. Please call 734.764.8489 to make a reservation for the Gala Dinner and Champagne Afterglow.
Delicious Experiences
These special events are hosted by friends of UMS. The hosts determine the theme for the evening, the menu, and the number of guests they would like to entertain. All proceeds sup?port UMS Education programs.
Our winter Delicious Experience will be Fish & Chips at Monahan's Seafood Market on Friday, February 12, 2010. Please join us! For more information, call 734.647.8009.
Fifth Annual On the Road with UMS
On September 11, 2009 at Barton Hills Country Club, approximately 280 people enjoyed an evening of food, music, and silent and live auc?tions, netting more than $55,000 to support UMS Education programs.
UMS is proud to be a member of the following organizations:
Ann Arbor Area Convention & Visitors Bureau
Ann Arbor Chamber of Commerce
Arts Alliance of the Ann Arbor Area
ArtServe Michigan
Association of Performing Arts Presenters
Chamber Music America
Cultural Alliance of Southeastern Michigan
International Society for the Performing Arts
Main Street Area Association
Michigan Association of
Community Arts Agencies National Center for Nonprofit Boards State Street Association Think Local First
The exciting presentations described in this pro?gram book are made possible by the generous support of UMS donors--dedicated friends who value the arts in our community and step forward each year to provide financial support. Ticket rev?enue covers only 47 of the costs associated with presenting our season of vibrant performances and educational programs. UMS donors--through their generous annual contributions--help make up the difference. In return, they receive a wide variety of benefits, including the opportunity to purchase tickets prior to public sale.
For more information, please call the Development Office at 734.647.1175 or visit
Contact us for details on the specific benefits of each level
Presenters Circle
3 $100,000 or more Director
J $50,000 Soloist
_) $20,000 Maestro
? $10,000 Virtuoso
J $7,500 Concertmaster _J $5,000 Producer
? $3,500 Leader
? $2,500 Principal
? $1,000 Patron
_] $500 Benefactor
J $250 Associate
? $100 Advocate
Please check your desired giving level above and complete the form below or visit us online at
(Print names exactly as you wish them to appear in UMS listings.) Address
Day Phone Eve Phone E-m,nl
Comments or Questions
Please make checks payable to University Musical Society
Gifts of $50 or more may be charged to: ? VISA ? MasterCard ? Discover ? American Express
Account_____________________________________________________________________________Expiration Date____________________________
? 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
July 1, 2008-November 1, 2009
Thank you to those who make UMS programs and presentations possible. The cost of presenting world-class performances and education programs exceeds the revenue UMS receives from ticket sales. The difference is made up through the generous sup?port of individuals, corporations, foundations, and government agencies. We are grateful to those who have chosen to make a difference for UMS! This list includes donors who made an annual gift to UMS between July 1, 2008 and November 1, 2009. Due to space constraints, we can only list those who donated $250 or more. Every effort has been made to ensure the accuracy of this list. Please call 734.647.1175 with any errors or omissions. Listing of donors to endowment funds. Listing of donors to endowment funds begins on page P44.
$100,000 or more
Doris Duke Charitable Foundation
Ford Motor Company Fund and
Community Services Forest Health Services Michigan Council for Arts and
Cultural Affairs
National Endowment for the Arts Randall and Mary Pittman University of Michigan Health System
Emily W. Bandera MD
Brian and Mary Campbell
Community Foundation for Southeast
Doris Duke Foundation for Islamic Art The Esperance Family Foundation W.K. Kellogg Foundation TAQA New World, Inc. University of Michigan Office of the Provost
Linda and Maurice Binkow
Philanthropic Fund Cairn Foundation DTE Energy Foundation EmcArts Innovation Lab for the
Performing Arts
Maxine and Stuart Frankel Foundation David and Phyllis Herzig KeyBank
Robert and Pearson Macek Masco Corporation Foundation Mrs. Robert E. Meredith THE MOSAIC FOUNDATION (of R. & P.
Mosaic Foundation, Washington, DC National Dance Project of the New
England Foundation for the Arts Gilbert Omenn and Martha Darling Laurence and Beverly Price Jane and Edward Schulak Dennis and Ellie Serras Toyota University of Michigan Office of the
Vice President for Research
$10,000-$ 19,999 Jerry and Gloria Abrams Michael Allemang and
Janis Bobrin Herb and Carol Amster Anonymous Arts at Michigan Arts Midwest's Performing Arts
Bank of Ann Arbor Carl and Isabelle Brauer Fund Marilou and Tom Capo Alice B. Dobson Paul and Anne Glendon Eugene and Emily Grant
Frank Legacki and Alicia Torres Natalie Matovinovic Miller, Canfield, Paddock and
Stone, P.L.C. Donald L. Morelock Pfizer Foundation Prue and Ami Rosenthal Rick and Sue Snyder James and Nancy Stanley University of Michigan Credit
Marina and Robert Whitman Ann and Clayton Wilhite
Bernard and Raquel Agranoff
Rachel Bendit and Mark Bernstein
Comerica Bank
Ken and Penny Fischer
Susan and Richard Gutow
Debbie and Norman Herbert
Carl and Charlene Herstein
Honigman Miller Schwartz and
Cohn LLP
Leo and Kathy Legatski Doug and Sharon Rothwell Herbert and Ernestine Ruben Linda Samuelson and Joel Howell
Sesi Motors Loretta Skewes Barbara Furin Sloat
American Syrian Arab Cultural
Ann Arbor Automotive Anonymous
Essel and Menakka Bailey Beverly Franzblau Baker Kathy Benton and Robert Brown Charlevoix County Community
Mary Sue and Kenneth Coleman Creative Campus Innovations
Grant Program Dennis Dahlmann and
Patricia Garcia
Sophie and Marylene Delphis The Herbert and Junia Doan
Jim and Patsy Donahey Dallas C. Dort
John Dryden and Diana Raimi Fidelity Investments llene H. Forsyth
Howard & Howard Attorneys, PC Mohamad and Hayat Issalssa
Foundation Judy and Verne Istock David and Sally Kennedy Wally and Robert Klein John S. and James L. Knight
Foundation Ms. Rani Kotha and
Dr. Howard Hu Gay and Doug Lane Jill Latta and David Bach Richard and Carolyn Lineback Martin Family Foundation Susan McClanahan and
Bill Zimmerman Michigan Critical Care
Consultants, Inc. National City M. Haskell and Jan Barney
Pepper Hamilton LLP
Phil and Kathy Power
Don and Judy Dow Rumelhart
Alan and Swanna Saltiel
Frances U. and Scott K. Simonds
Lois A. Theis
Thomas B. McMullen Company
Dody Viola
Robert 0. and
Darragh H. Weisman Max Wicha and Sheila Crowley Marion I 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
Wadad Abed
Roger Albin and Nili Tannenbaum Robert and Katherine Aldrich Michael and Suzan Alexander David G. and Joan M. Anderson Anonymous
Dr. and Mrs. Rudi Ansbacher Charles and Tina Avsharian Jonathan Ayers and Teresa Gallagher
Eric and Becky Bakker
Dr. Lesli and Mr. Christopher
John and Ginny Bareham Norman E. Barnett Anne Beaubien and Philip Berry Ralph P. Beebe Linda and Ronald Benson Stuart and Ruth Ann Bergstein Joan A. Binkow
John Blankley and Maureen Foley Dr. DJ and Dieter Boehm Ron and Mimi Bogdasarian Margaret and Howard Bond Laurence and Grace Boxer Dale E. and Nancy M. Briggs Edalene and Ed Brown Family
Foundation Beth Bruce
Robert and Victoria Buckler Lawrence and Valerie Bullen Joan and Charley Burleigh Letitia J. Byrd Amy and Jim Byrne Betty Byrne Barbara and Al Cain H.D. Cameron Jean W. Campbell John Carver
Janet and Bill Cassebaum Tsun and Siu Ying Chang Pat and George Chatas Hubert and Ellen Cohen Cynthia and Jeffrey Colton Consulate General of The
Netherlands in New York Jane Wilson Coon and
A. Rees Midgley, Jr. Paul N. Courant and
Marta A. Manildi Connie D'Amato Susan Tuttle Darrow Charles and Kathleen Davenport Hal and Ann Davis Leslie Desmond and Phil Stoffregen Sally and Larry DiCarlo Andrzej and Cynthia Dlugosz Molly Dobson Steve and Judy Dobson Robert J. and Kathleen Dolan
Stuart and Heather Dombey
Domino's Pizza
Ivo Drury and Sun Hwa Kim
John R. Edman and Betty B. Edman
Emil and Joan Engel
Stefan and Ruth Fajans
Eric Fearon and Kathy Cho
David and Jo-Anna Featherman
Dede and Oscar Feldman
John E. Fetzer Institute, Inc.
Yi-Tsi M. and Albert Feuerwerker
Clare M. Fingerle
Susan Fisher and John Waidley
Robben Fleming
Food Art
James W. and Phyllis Ford
Jill and Dan Francis
Leon and Marcia Friedman
Otto and Lourdes Gago
Enid H. Galler
Lois Kennedy Gamble
Tom Gasloli
Prof. David M. Gates
Thomas and Barbara Gelehrter
Beverley and Gerson Geltner
William and Ruth Gilkey
Karl and Karen Gotting
Cozette T. Grabb
Elizabeth Needham Graham
Robert A. Green MD
Leslie and Mary Ellen Guinn
Helen C. Hall
Steven and Sheila Hamp
Alice and Clifford Hart
Martin and Connie Harris
David W. Heleniak
Sivana Heller
Carolyn B. Houston
Robert M. and Joan F. Howe
Eileen and Saul Hymans
Jean Jacobson
Wallie and Janet Jeffries
Timothy and Jo Wiese Johnson
David and Gretchen Kennard
Connie and Tom Kinnear
Diane Kirkpatrick
Rhea Kish
Philip and Kathryn Klintworth
Carolyn and Jim Knake
Regan Knapp and John Scudder
Charles and Linda Koopmann David Lampe and Susan Rosegrant Ted and Wendy Lawrence Carolyn and Paul Lichter Jean E. Long
John and Cheryl MacKrell Cathy and Edwin Marcus Ann W. Martin and Russ Larson Marilyn Mason and
William Steinhoff Mary and Chandler Matthews Carole J. Mayer W. Joseph McCune and
Georgiana Sanders Griff and Pat McDonald Bernice and Herman Merte James M. Miller and
Rebecca H. Lehto Bert and Kathy Moberg Lester and Jeanne Monts Paul Morel and Linda Woodworth Alan and Sheila Morgan Cyril Moscow Terence Murphy Randolph and Margaret Nesse Susan and Mark Orringer William Nolting and
Donna Parmelee Marylen S. Oberman Judith Ann Pavitt Elaine and Bertram Pitt Stephen and Tina Pollock Thomas Porter and
Kathleen Crispell Richard and Mary Price Mrs. Gardner C. Quarton Anthony L. Reffells Donald Regan and
Elizabeth Axelson Ginny and Ray Reilly Constance Rinehart Rosalie 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
Bonnie Ackley
Alan and Susan Aldworth
Richard and Mona Alonzo Family Fund
Fahd Al-Saghir and Family
Helen and David Aminoff
Harlene and Henry Appelman
Frank J. Ascione
Penny and Arthur Ashe
AT&T Foundation
Susan and Michael Babinec
J. Albert and Mary P. Bailey
Laurence R. and Barbara K. Baker
Lisa and Jim Baker
Reg and Pat Baker
Paulett M. Banks
Nancy Barbas and Jonathan Sugar
David and Monika Barera
Frank and Lindsay Tyas Bateman
Dr. Astrid B. Beck
Erling and Merete Blondal Bengtsson
James K. and Lynda W. Berg
Richard Berger
Ramon and Peggyann Nowak Berguer
L.S. Berlin
Sara Billmann and Jeffrey Kuras
William and llene Birge
Jerry and Dody Blackstone
Beverly Bole
Rebecca S. Bonnell
Bob and Sharon Bordeau
Jane Bridges
Sharon and David Brooks
Donald and June Brown
Morton B. and Raya Brown
Trudy and Jonathan Bulkley
Frances Bull
Lou and Janet Callaway
Margot Campos
Brent and Valerie Carey
Dennis J. Carter
A. Craig Cattell
Samuel and Roberta Chappell
Anne Chase
John and Camilla Chiapuris
Dr. Kyung and Young Cho
Janice A. Clark
Brian and Cheryl Clarkson
Jonathan Cohn
George Collins and Paula Hencken
Wayne and Melinda Colquitt
Mary Pat and Joe Conen
Phelps and Jean Connell
Jean and Philip Converse
Connie and Jim Cook
Arnold and Susan Coran
Malcolm and Juanita Cox
Mary C. Crichton
Roderick and Mary Ann Daane
Alice and Ken Davis
Michele Derr
Linda Dintenfass and Ken Wisinski
Basim Dubaybo
Eva and Wolf Duvernoy
Dr. and Mrs. Kim A. Eagle
Ernst & Young Foundation
Mary Ann Faeth
Harvey and Elly Falit
Irene Fast
Margaret and John Faulkner
Phil and Phyllis Fellin
Carol Finerman
C. Peter and Beverly A. Fischer
John and Karen Fischer
Dr. Lydia Fischer
Susan A. Fisher
Ray and Patricia Fitzgerald
Esther M. Floyd
Scott and Janet Fogler
Howard and Margaret Fox
Betsy Foxman and Michael Boehnke
Jerrold A. and Nancy M. Frost
Sandra Galea and Margaret Kruk
James M. and Barbara H. Garavaglia
Richard L. Garner
Beverly Gershowitz
Dr. Paul W. Gikas and Suzanne Gikas
Zita and Wayne Gillis
William and Jean Gosling
Amy and Glenn Gottfried
James and Maria Gousseff
Christopher and Elaine Graham
Martha and Larry Gray
Dr. John and Renee M. Greden
Robin and Stephen Gruber
Don Haefner and Cynthia Stewart
Robert and Elizabeth Hamel
Walt and Charlene Hancock
Susan R. Harris
Dan and Jane Hayes
Dr. and Mrs. Michael Hertz
Herb and Dee Hildebrandt
Ruth and Harry Huff
Ralph M. Hulett
Ann D. Hungerman
John Huntington
Maha Hussain and Sal Jafar
Stuart and Maureen Isaac
Jerome Jelinek
Mark and Madolyn Kaminski
Alfred and Susan Kellam
Christopher Kendall and
Susan Schilperoort Nouman and Iman Khagani Elie R. and Farideh Khoury James and Jane Kister Hermine Roby Klingler Dr. and Mrs. Jerry Kolins Melvyn and Linda Korobkin Rebecca and Adam Kozma Barbara and Ronald Kramer Barbara and Michael Kratchman Bert and Geraldine Kruse Bud and Justine Kulka Donald J. and Jeanne L. Kunz
Jane Laird
LaVonne L. Lang
Dale and Marilyn Larson
David Lebenbom
Ruth L. Leder
Paula and Paul Lee
Richard LeSueur
Mark Lindley and Sandy Talbott
Don and Erica Lindow
Daniel Little and Bernadette Lintz
Rod and Robin Little
Lawrence and Rebecca Lohr
E. Daniel and Kay Long
Frances Lyman
Brigitte and Paul Maassen
Pam MacKintosh
Jane and Martin Maehr
Scott and Kris Maly
Prof. Milan Marich
W. Harry Marsden
Irwin and Fran Martin
Susan E. Martin
Judythe and Roger Maugh
Margaret E. McCarthy
Barbara Meadows
Warren and Hilda Merchant
Merrill Lynch
Robert C. Metcalf
Don and Lee Meyer
Joetta Mial
Mrs. J. Jefferson Miller
Myrna and Newell Miller
Andrew and Candice Mitchell
Olga Moir
Lewis and Kara Morgenstern
Thomas and Hedi Mulford
Gayl and Kay Ness
Susan and Richard Nisbett
Kathleen I. Operhall
Constance L. and David W. Osier
Steve and Betty Palms
Shirley and Ara Paul
Zoe and Joe Pearson
Jean and Jack Peirce
Margaret and Jack Petersen
Evelyn Pickard
Wallace and Barbara Prince
Elisabeth and Michael Psarouthakis
Peter Railton and Rebecca Scott
Patricia L. Randle and James R. Eng
Timothy and Teresa Rhoades
Stephen J. Rogers
Doug and Nancy Roosa
Richard and Edie Rosenfeld
Margaret and Haskell Rothstein
Craig and Jan Ruff
Miriam Sandweiss
David Sarns and Agnes Moy-Sarns
Betina Schlossberg
Ann and Thomas J. Schriber
Julie and Mike Shea
Howard and Aliza Shevrin
Hollis and Martha A. Showalter
Edward and Kathy Silver
Elaine and Robert Sims
Don and Sue Sinta
Irma J. Sklenar
Andrea and William Smith
Gretchen Y. Sopcak
Becki Spangler and Peyton Bland
Doris and Larry Sperling
Mr. and Mrs. Gary R. Stahle
Naomi and James Starr
Lia and Rick Stevens
James Christen Steward
Eric and Ines Storhok
Cynthia Straub
Kate and Don Sullivan
Timothy W. Sweeney
Manuel Tancer
Louise Taylor
Elizabeth C. Teeter
Claire and Jerry Turcotte
Marianne Udow-Phillips and Bill
Phillips Fawwaz Ulaby and Jean
Members of the UMS Choral Union Doug and Andrea Van Houweling Shirley Verrett Harue and Tsuguyasu Wada Elizabeth A. and David C. Walker Liina and Bob Wallin Jo Ann Ward Gary Wasserman Zachary B. Wasserman Angela and Lyndon Welch Katherine E. White Iris and Fred Whitehouse Father Francis E. Williams Robert J. and Anne Marie Willis Margaret W. Winkelman and Robert
A. Krause
I.W. and Beth Winsten Lawrence and Mary Wise Drs. Douglas and Margo Woll James H. and Gail Woods Stan and Pris Woollams Frances A. Wright Bryant Wu and Theresa Chang
Judith Abrams Dorit Adler Martha Agnew and
Webster Smith Dr. Diane M. Agresta Mr. and Mrs.
W. Dean Alseth Catherine M. Andrea Anonymous Dan and Vicki Arbour Rosemary and John Austgen Drs. John and Lillian Back Robert L Baird Bruce Baker and
Genie Wolfson Barbara and Daniel Balbach Barnes & Noble Booksellers Frank and Gail Beaver Gary M. Beckman and
Karla Taylor
Ken and Eileen Behmer Harry and Kathryn Benford Dr. Rosemary R. Berardi Andrew H. Berry Naren and Nishta Bhatia Jack 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
Reginald and
Beverly Ciokajlo Mark Clague and
Laura Jackson Coffee Express Co. Anne and Edward Comeau Gordon and
Marjorie Comfort Kevin and Judy Compton Nancy Connell Jud Coon
Dr. Hugh and Elly Cooper Katharine Cosovich Kathy and Clifford Cox Lois Crabtree Clifford and Laura Craig Susie Bozell Craig Merle and
Mary Ann Crawford Mr. Michael and
Dr. Joan Crawford George and
Constance Cress John and Mary Curtis Timothy and Robin
Damschroder Sunil and Merial Das Ed and Ellie Davidson Linda Davis and
Robert Richter Mr. and Mrs.
William J. Davis Dawda, Mann, Mulcahy &
Sadler, PLC Michelle Deatrick and
Steven Przybylski Jean and John Debbink Elena and Nicholas Delbanco Elizabeth Dexter Michael DiPietro Michael and Elizabeth Drake Elizabeth Duell Bill and Marg Dunifon Peter and Grace Duren Theodore and Susan Dushane Swati Dutta
J. Dutton and L. Sandelands Gavin Eadie and
Barbara Murphy Morgan and Sally Edwards Dr. Alan S. Eiser Charles and Julie Ellis Johanna Epstein and
Steven Katz The Equisport Agency Karen and Mark Ealahee Afaf Vicky Farah Dr. and Mrs. S.M. Farhat
James and Flora Ferrara
Jean Fine
Thomas Finholt
Herschel and Adrienne Fink
Sara and Bill Fink
David Fox and
Paula Bockenstedt Shari and Ben Fox Willard G. Fraumann Susan L. Froelich and
Richard E. Ingram Philip and Renee Frost Carol Gagliardi and
David Flesher Martin Garber and
Beth German Sandra Gast and
Gregory Kolecki Michael Gatti and
Lisa Murray
Deborah and Henry Gerst Elmer G. Gilbert and Lois
M. Verbrugge J. Martin Gillespie and
Tara M. Gillespie Maureen and David
Ginsburg Edie Goldenberg Irwin Goldstein and
Marty Mayo
Mitch and Barb Goodkin Enid Gosling Mr. and Mrs. Charles and
Janet Goss Michael L. Gowing Phyllis Gracie Jeffrey B. Green Nancy Green and
William Robinson Raymond and Daphne Grew Susan and Mark Griffin Nicki Griffith Werner H. Grilk Milton and Susan Gross Bob and Jane Graver Anna Grzymala-Busse and
Joshua Berke Susan Guszynski and
Gregory Mazure Jan and Talbot Hack George and Mary Haddad M. Peter and Anne Hagiwara Tom Hammond Jeff Hannah and Nur Akcasu Abdelkader and
Huda Hawasli Rose and John Henderson
J. Lawrence Henkel and
Jacqueline Stearns Paul and Erin Hickman James C. Hitchcock John Hogikyan and
Barbara Kaye Richard and Cathy
Hollingsworth Ronald and Ann Holz Cyrus C. Hopkins James and
Wendy Fisher House Sun-Chien and Betty Hsiao Mabelle Hsueh Robert B. Ingling Mr. and Mrs.
Eugene O. Ingram Richard Isackson John H. and Joan L. Jackson Elizabeth Jahn Rebecca Jahn Harold R. Johnson Mark and Linda Johnson Mary and Kent Johnson Paul and Olga Johnson John and Linda Jonides The Jonna Companies Profs. Monica and
Fritz Kaenzig
Jack and Sharon Kalbfleisch Helen and Irving Kao Carol and H. Peter Kappus Arthur Kaselemas MD Morris and Evelyn Katz John B. Kennard, Jr. Nancy Keppelman and
Michael Smerza Drs. Nabil and
Mouna Khoury Roland and Jeanette Kibler Don and Mary Kiel Paul and Leah Kileny Kirkland & Ellis Foundation Dana and Paul Kissner Jean and Arnold Kluge Aric Knuth and Jim Leija Michael Koen Rosalie and Ron Koenig Joseph and
Marilynn Kokoszka Michael J. Kondziolka and
Florent Badin
Alan and Sandra Kortesoja Charles and Mary Krieger Vejayan Krishnan Ken and Maria Laberteaux Donald John Lachowicz
Lucy and Kenneth Langa Neal and Anne Laurance Jean Lawton and James Ellis Doug Laycock and
Teresa A. Sullivan Bob and Laurie Lazebnik Leslie Meyer Lazzerin John and Theresa Lee Sue Leong
Joan and Melvyn Levitsky David Baker Lewis Jacqueline H. Lewis Ken and Jane Lieberthal Michael and Debra Lisull Michael Litt Dr. and Mrs.
Lennart Lofstrom Julie M. Loftin Bruce W. Loughry William and Lois Lovejoy Joan Lowenstein and
Jonathan Trobe Charles and Judy Lucas Marjory S. Luther Ormond and
Annie MacDougald Claire and Richard Malvin Melvin and Jean Manis Manpower, Inc. of
Southeastern Michigan Michael and
Pamela Marcovitz Nancy and Philip Margolis Betsy Yvonne Mark Stacy and David Markel Howard L. Mason Laurie McCauley and
Jessy Grizzle Margaret and
Harris McClamroch Peggy McCracken and
Doug Anderson James H. Mclntosh and
Elaine K. Gazda Bill and Ginny McKeachie Joanna McNamara and
Mel Guyer Frances McSparran Russ and Brigitte Merz Gabrielle Meyer Shirley and Bill Meyers Eugene and Lois Miller George Miller and
Deborah Webster Jack and Carmen Miller Patricia Mooradian Arnold and Gail Morawa Michael and Patricia Morgan Melinda Morris
Sean Morrison and
Theodora Ross Ronald S. Mucha Drs. Louis and
Julie Jaffee Nagel Sabine Nakouzi and
Scott Phillips
Gerry and Joanne Navarre Sharon and Chuck Newman Dan and Sarah Nicoli Eugene W. Nissen Laura Nitzberg Carolyn and Edward Norton Arthur S. Nusbaum Norm and Charlotte Otto David and Andrea Page Hedda and William Panzer Donna D. Park ?Catherine Partridge Julianne Pinsak David and Renee Pinsky Don and Evonne Plantinga Susan Pollans and Alan Levy Pomeroy Financial Services,
Inc. Garrod S. Post and
Robert A. Hill Helen S. Post Bill and Diana Pratt Ann Preuss
Karen and Berislav Primorac The Produce Station Marci Raver and Robert Lash Maxwell and Marjorie Reade Mr. and Mrs. Stanislav Rehak Marnie Reid Alice Rhodes Claire Conley Rice Todd Roberts and
Arleen Song
Jonathan and Anala Rodgers Jean P. Rowan Rosemarie Haag Rowney Lisa and William Rozek Carol D. Rugg and Richard
K. Montmorency Omari Rush Arnold Sameroff and
Susan McDonough Ina and Terry Sandalow Michael and Kimm Sarosi Rosalyn Sarver and
Stephen Rosenblum Nabil Sater Joseph Saul and
Lisa Leutheuser Albert and Jane Sayed David and Marcia Schmidt Harriet Selin
David and Elvera Shappirio Patrick and Carol Sherry James and Teri Shields George and Gladys Shirley Jean and Thomas Shope George and Nancy Shorney Mary A. Shulman Drs. Andrew and
Emily Shuman Bruce M. Siegan Dr. Terry M. Silver Scott and Joan Singer Jiirgen Skoppek Ken and Marcia Slotkowski Tim and Marie Slottow Carl and Jari Smith David and Renate Smith Robert W. Smith Ren and Susan Snyder Yoram and Eliana Sorokin Joseph H. Spiegel Gretta Spier and
Jonathan Rubin Jeff Spindler David and Ann Staiger James L. Stoddard John W. and
Gail Ferguson Stout Mary and Ken Stover Bashar and Hoda Succar Nancy Bielby Sudia Barbara and
Donald Sugerman Brian and Lee Talbot Sam and Eva Taylor Steve and Diane Telian Mark and Pat Tessler Textron Denise Thai and
David Scobey Mary H. Thieme Janet E. and
Randall C. Torno Alvan and Katharine Uhle Susan B. Ullrich Michael Updike Drs. Alison and
Matthew Uzieblo Hugo and Karla Vandersypen Chris and Steven Vantrease Virginia Wait Jack and Carolyn Wallace Charles R. and
Barbara H. Wallgren Tim Wang and Molly Herndon Arthur and
Renata Wasserman Enid Wasserman Jack and Jerry Weidenbach
Leslie Whitfield Nancy Wiernik Ralph G. Williams Charlotte A. Wolfe Amanda and Ira Wollner Ellen Woodman Mary Jean and John Yablonky Richard and Kathryn Yarmain Zakhour and
Androulla Youssef Gail and David Zuk
UM5 also expresses its deepest appreciation to its many donors who give less than $250 each year, enabling the ongoing success of UMS programs.
July 1, 2008-November 1, 2009
The University Musical Society is grateful to those have supported UMS endowment funds, which will generate income for UMS in perpetuity and benefit UMS audiences in the future.
$100,000 or more
Doris Duke Charitable Foundation
Lenore M. Delanghe Trust Estate of Lillian G. Ostrand
James and Nancy Stanley
Estate of Betty Ann Peck
AMGEN Foundation
Herb and Carol Amster
John R. Edman and Betty B. Edman
Susan and Richard Gutow
Gilbert Omenn and Martha Darling
Stephen and Agnes Reading
Susan B. Ullrich
Marina and Robert Whitman
Bernard and Raquel Agranoff Jean and Ken Casey Charles and Julia Eisendrath Sid Gilman and Carol Barbour Paul and Anne Glendon Debbie and Norman Herbert Diane S. Hoff Natalie Matovinovic Prue and Ami Rosenthal Jay and Mary Kate Zelenock
Jerry and Gloria Abrams
Dr. Jo Ann Aebersold
Hiroko and Michael Akiyama
Bob and Martha Ause
Emily W. Bandera
Ramon and Peggyann Nowak Berguer
Inderpal and Martha Bhatia
Anne Chase
Malcolm and Juanita Cox
Linda Davis and Robert Richter
Stefan and Ruth Fajans
David Fink and Marina Mata
Neal R. Foster and Meredith Lois Spencer Foster
Robert and Frances Gamble Trust
Thomas and Barbara Gelehrter
Lewis and Mary Green
John and Joyce Henderson
Dr. and Mrs. Robert Hensinger
Marilyn G. Jeffs
Robert and Jeri Kelch
Dorothea Kroll and Michael Jonietz
John Lawrence and Jeanine DeLay
Richard LeSueur
Joan and Melvyn Levitsky
Barbara and Michael Lott
Joan Lowenstein and Jonathan Trobe
Regent Olivia Maynard and Olof Karlstrom
Frieda H. Morgenstern
Nebraska Book Company
Robert and Elizabeth Oneal
Valerie and Tony Opipari
Zoe and Joe Pearson
Michelle Peet and Rex Robinson
Stephen R. and Ellen J. Ramsburgh
Larry and Bev Seiford
Becki Spangler and Peyton Bland
Karen and David Stutz
Carrie and Peter Throm
Jacqueline Tonks
Richard and Madelon Weber
Mary Ann Whipple
Frances Wright
Ruth Carey
Mary C. Crichton
Edith and Richard Croake
Sheila Feld
Enid and Richard Grauer
Jonathan and Jennifer Haft
Nancy Houk
Ginny Maturen
G. Elizabeth Ong
Richard L. and Lauren G. Prager
Charles W. Ross
Endowed Funds
The future success of the University Musical Society is secured in part by income from UMS's endowment. UMS extends its deepest appreciation to the many donors who have established andor contributed to the following funds:
H. Gardner and Bonnie Ackley Endowment Fund
Herbert S. and Carol Amster Fund
Catherine S. Arcure Endowment Fund
Carl and Isabelle Brauer Endowment Fund
Frances Mauney Lohr Choral Union Endowment Fund
Hal and Ann Davis Endowment Fund
Doris Duke Charitable Foundation Endowment Fund
Ottmar Eberbach Funds
Epstein Endowment Fund
David and Phyllis Herzig Endowment Fund
JazzNet Endowment Fund
William R. Kinney Endowment Fund
Natalie Matovinovic: Endowment Fund
NEA Matching Fund
Palmer Endowment Fund
Mary R. Romig-deYoung Music Appreciation Fund
Prudence and Amnon Rosenthal K--12 Education
Endowment Fund Charles A. Sink Endowment Fund Catherine S. ArcureHerbert E. Sloan Endowment Fund University Musical Society Endowment Fund The Wallace Endowment Fund
Burton Tower Society
77ie Burton Tower Society recognizes and honors those very special friends who have included UMS in their estate plans. UMS is grate?ful for this important support, which will continue the great tradi?tions of artistic excellence, educational opportunities, and community partnerships in future years.
Bernard and Raquel Agranoff
Mike Allemang
Carol and Herb Amster
Mr. Neil P. Anderson
Dr. and Mrs. David G. Anderson
Catherine S. Arcure
Barbara K. and Laurence R. Baker
Kathy Benton and Robert Brown
Linda and Maurice Binkow
Elizabeth S. Bishop
Mr. and Mrs. W. Howard Bond
Mr. and Mrs. Pal E. Borondy
Carl and Isabelle Brauer
Barbara Everitt Bryant
Pat and George Chatas
Mr. and Mrs. John Alden Clark
Mary C. Crichton
H. Michael and Judith L. Endres
Dr. James F. Filgas
Ken and Penny Fischer
Ms. Susan Ruth Fischer
Meredith L. and Neal Foster
Beverley and Gerson Geltner
Paul and Anne Glendon
Debbie and Norman Herbert
John and Martha Hicks
Mr. and Mrs. Richard Ives
Marilyn G. Jeffs
Thomas C. and Constance M. Kinnear
Diane Kirkpatrick
Richard LeSueur
Robert and Pearson Macek
Susan McClanahan
Charlotte McGeoch
Michael G. McGuire
M. Haskell and Jan Barney Newman
Len Niehoff
Dr. and Mrs. Frederick C. O'Dell
Mr. and Mrs. Dennis M. Powers
Mr. and Mrs. Michael Radock
Mr. and Mrs. Jack Ricketts
Mr. and Mrs. Willard L. Rodgers
Prue and Ami Rosenthal
Margaret and Haskell Rothstein
Irma J. Sklenar
Herbert Sloan
Art and Elizabeth Solomon
Roy and JoAn Wetzel
Ann and Clayton Wilhite
Mr. and Mrs. Ronald G. Zollars
Tribute Gifts
Contributions have been made in honor andor memory of the following people:
H. Gardner Ackley
John Andrews
Nancy L. Ascione
Milli Baranowski
David Bay
Linda and Maurice Binkow
Jean W. Campbell
Marie Mountain Clark
Ellwood Derr
Benning Dexter
John S. Dobson
Mrs. Jane D. Douglass
John Edwards
Sidney Fine
Alexander Everett Fischer
Ken and Penny Fischer
Betty Fisher
Mr. Leslie Froelich
E. James Gamble
Susan and Richard Gutow
Lloyd W. Herrold
Carl W. Herstein
Dr. Julian T. Hoff
Ben Johnson
Robert Lazzerin
Kathleen McCree Lewis
Ellen Livesay
Charles Lovelace
Zelma K. Marich
Josip Matovinovii MD
Sharon Anne McAllister
Bettie Metcalf
Valerie D. Meyer
Amir Masud Mostaghim
Betty Overberger
Brian Patchen
James Partridge
Gwen and Emerson Powrie
Gail W. Rector
Steffi Reiss
Sally Rogers
Edith Rose
Margaret E. Rothstein
Eric H. Rothstein
Nona Ruth Schneider
J. Barry Sloat
George E. Smith
Edith Marie Snow
James Stanley
Jennifer Steiner and Patrick Tonks
Robert Strozier
Ann R. Taylor
Dr. and Mrs. E. Thurston Thieme
Charles R. Tieman
Mr. and Mrs. Leon B. Verrett
Francis V. Viola III
C. Robert Wartell
Janet F. White
Ralph Williams
Carl H. Wilmot, Class of 1919
Nancy Joan Wykes
Anne Yagle
Gifts In-Kind
Alumni Association of the University
of Michigan
Ann Arbor Cooks, Natalie Marble Ann Arbor District Library Ann Arbor Fire Department Station 1 Anonymous
Dale and MariAnn Apley Phil and Lorie Arbour Barbara Bach Kathie Barbour Barton Hills Country Club Berry Goldsmiths Bistro Renaissance Black Star Farms Francine Bomar Barbara Everitt Bryant Cafe Zola Camp Michigania Craig Capelli, The Chippewa Club Pat Chapman Cheryl Clarkson Jill Collman Wendy Comstock Flip and Jean Connell Paul Cousins Heather Dombey Downtown Home and Garden Mary Ann Faeth Sara Fink Susan A. Fisher Susan R. Fisher The Friars
James M. and Barbara H. Garavaglia Paul and Anne Glendon Kathy Goldberg Joe Grimley Susan Gutow Idelle Hammond-Sass Charlene Hancock Alice and Clifford Hart Heavenly Metal
Hotel Iroquois, Mackinac Island Chantel Jackson John Schulz Photography Christopher Kendall
Meg Kennedy Shaw
Steve and Shira Klein
Mary LeDuc
Joan Levitsky
Liberty Athletic Club
Martin and Jane Maehr
Melanie Mandell
Ann Martin
Kathy McKee Casting Studio
Joanna McNamara
Robin Meisel
Liz Messiter
Michigan Theater
Middle Earth
Virginia Morgan
Leonard Navarro
Kay and Gayl Ness
Steve and Betty Palms
Performance Network Theatre
Pictures Plus
Plum Market
Elisabeth and Michael Psarouthakis
Purple Rose Theatre
Renaissance Bistro
Julie Ritter
Jamie Saville
Dick Scheer, Village Corner
Penny Schreiber
SeloShevel Gallery
Ingrid Sheldon
John Shultz
Alida Silverman
Andrea Smith
Becki Spangler
Karen Stutz
Sweet Gem Confections
Ted and Eileen Thacker
Lisa Townley
Louise Townley
Amanda and Frank Uhle
University of Michigan Exhibit
Museum of Natural History University of Michigan
Men's Soccer Team Renee Vettorello Enid Waserman Wawashkamo Golf Club,
Mackinac Island Whole Foods Debbie Williams-Hoak Ellen Woodman Jay and Mary Kate Zelenock Zingerman's Bakehouse

Download PDF