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UMS Concert Program, Saturday Sep. 17 To Oct. 01: Ums 11 12 - Fall 2011 - Saturday Sep. 17 To Oct. 01 --

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Fall 2011 - Saturday Sep. 17 To Oct. 01 --  image UMS Concert Program, Saturday Sep. 17 To Oct. 01: Ums 11 12 - Fall 2011 - Saturday Sep. 17 To Oct. 01 --  image UMS Concert Program, Saturday Sep. 17 To Oct. 01: Ums 11 12 - Fall 2011 - Saturday Sep. 17 To Oct. 01 --  image UMS Concert Program, Saturday Sep. 17 To Oct. 01: Ums 11 12 - Fall 2011 - Saturday Sep. 17 To Oct. 01 --  image UMS Concert Program, Saturday Sep. 17 To Oct. 01: Ums 11 12 - Fall 2011 - Saturday Sep. 17 To Oct. 01 --  image UMS Concert Program, Saturday Sep. 17 To Oct. 01: Ums 11 12 - Fall 2011 - Saturday Sep. 17 To Oct. 01 --  image UMS Concert Program, Saturday Sep. 17 To Oct. 01: Ums 11 12 - Fall 2011 - Saturday Sep. 17 To Oct. 01 --  image
Day
17
Month
September
Year
2011
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Rights Held By
University Musical Society
OCR Text

Season: FALL 2011
University Of Michigan, Ann Arbor

UNIVERSITY MUSICAL SOCIETY OF THE UNIVERSITY OF MICHIGAN, ANN ARBOR
ums University Musical Society
ms
university musical society
Fall 11
University of Michigan Ann Arbor
2 Letters from the Presidents 5 Letter from the Board Chair
UMSLeadership 7 UMS Corporate and Foundation Leaders
14 UMS Board of DirectorsNational Council
SenateAdvisory Committee
15 UMS StaffCorporate Council
Teacher Advisory Committee
UMSlnfo 17 General Information
19 UMS Tickets
UMSAnnals 21 UMS History
22 UMS Venues and Burton Memorial Tower
Event Program 24 Your event program follows page 24
UMSExperience 27 UMS Education & Community Engagement Programs
28 Adult, University, & Community Programs
29 Youth & Teens
UMSSupport 33 Corporate Sponsorship and Advertising
33 individual Donations
35 UMS Advisory Committee
37 Lifetime Giving to UMS
38 Annual Fund Support
47 Member Organizations
48 UMS Advertisers

Cover: Front: Mark Morris Dance Group (photo: Nathaniel Brooks); Audra McDonald (photo: Eddie Malluk); A Night in Treme: The Musical Majesty of New Orleans (photo: courtesy of HBO). Back: Goran Bregovic and His Wedding and Funeral Orchestra (photo: Nebojsa Babic)
FROM THE U-M PRESIDENT
W
elcome to this University Musical Society (UMS) performance. This fall marks UMS's 133rd season enriching the lives of the people of southeast Michigan, including our students, faculty, and staff, through presentations of the world's finest performers of music, theater, and dance.
The fall season exemplifies UMS's commitment to bringing quality, diversity, and uncommon and
engaging experiences to audi?ences. September marks return visits by well-known US artists and ensembles--jazz pianist Ahmad Jamal, Emerson String Quartet, Mark Morris Dance Group, and family favorite Dan Zanes--while other art?ists from throughout the world will make their UMS
debuts later this fall. These include American actor John Malkovich, Goran Bregovic and his orchestra from the Balkans, Cloud Gate Dance Theatre of Taiwan, Schola Cantorum of Venezuela, flamenco artist Diego El Cigala of Spain, traditional musicians AnDa Union of Inner Mongolia, and the Beijing Guitar Duo.
One of UMS's most significant undertakings in its history will occur in January 2012. For more than two years, UMS has worked with the producers to secure the remounting of Einstein on the Beach. For nearly a month, the creators of this game-changing 1976 opera--composer Philip Glass, director Robert Wilson, and choreographer Lucinda Childs--will be
on campus, along with singers, instrumentalists, dancers, and crew, preparing the work for an inter?national tour. This provides a tremendous opportu?nity for our students, faculty, and community. The residency will conclude with three performances at the Power Center January 20-22 that represent the first North American presentations of the opera outside of New York City.
The Einstein residency launches a 10-week jour?ney that UMS is calling Renegade. Here UMS will showcase innovation and experimentation in dance, theater, and music. The Renegade series concludes with American Mavericks, a four-day orchestral music festival and residency led by Michael Tilson Thomas with the San Francisco Symphony and a roster of musical stars, including U-M alumna Jessye Norman, Emanuel Ax, Jeremy Denk, and Meredith Monk. Beyond Ann Arbor, the American Mavericks festival takes place only in San Francisco and at New York's Carnegie Hall.
I encourage you to attend more UMS events and those offered by the many outstanding arts and cultural organizations of the University. To learn more, visit the University's arts portal, Montage, at www.montage.umich.edu.
Sincerely,
Mary Sue Coleman
President, University of Michigan
FROM THE UMS PRESIDENT
A
s I begin my 25th season as president of UMS, I find myself deeply grateful for the experiences I've been privileged to have in this position.
Especially memorable performances are Leonard Bernstein's 70th birthday concert with the Vienna Philharmonic in October 1988 that also celebrat?ed the 75th anniversary of Hill Auditorium; the Martha Graham Centenary Festival in October 1994, which included a historic performance of Appalachian Spring featuring former Graham prin?cipal and U-M faculty member Peter Sparling; and the first of three performance residencies by the Royal Shakespeare Company in 2001, which fea?tured four of Shakespeare's History Plays directed by Olivier Award-winning Michael Boyd.
None of these experiences would have been pos?sible without you, the audience, known throughout the performing arts world as one of the most intel?ligent, welcoming, respectful, and engaged audi?ences anywhere. Not only do you buy tickets and attend in large numbers, but you also support us with your advocacy and gifts. Thank you very much.
Another critical group I want to thank is our Board of Directors. I've been fortunate to work with nearly 150 talented and dedicated Board members since 1987. This fall we welcome four new officers: Chair David J. Herzig, Vice Chair Stephen G. Palms, Secretary Anne Glendon, and Treasurer David N. Parsigian. (See David Herzig's message on page 5.) We also welcome five new Board members: Rich?ard F. Gutow, Daniel Herwitz, Frank Legacki, Agnes
Moy-Sarns, and Rick Sperling. Advisory Committee Chair Susan R. Fisher and new Ann Arbor Public Schools Superintendent Patricia Green will serve as ex-officio members. We thank retiring Board mem?bers Wadad Abed, Carol Amster, Robert Buckler, Joetta Mial, Roger Newton, and Edward R. Schulak for their six years of distinguished service. Special appreciation goes to outgoing Chair James C.
Stanley who served eight years on the Board with great distinction and who will serve as Past Chair this coming year. Finally, I want to thank my staff colleagues for their part in creating the "uncommon and engaging experiences" that have enriched my life and that of so many others. They
are simply the best in the business.
I hope you'll get in touch with me if you have any questions, comments, or problems related to UMS. If you don't see me in the lobby, send me an e-mail message at kenfisch@umich.edu or call me at 734.647.1174. Thanks for coming to this performance.
Very best wishes,
@@@@Kenneth C. Fischer UMS President
FROM THE UMS BOARD CHAIR
I
'm delighted to welcome you to this UMS per?formance in my new role as Chair of the UMS Board of Directors. I am honored to serve UMS, one of the oldest arts presenting organizations, in its 133rd season. I serve along with the 34 elected and ex-officio members of the Board whose names appear on page 14 of this program book. Indeed, UMS has more than 750 volunteers, each provid?ing critical services that contribute to UMS's excel?lence, including members of the Board, Senate, Advisory Committee, UMS Choral Union, Usher Corps, Teacher Advisory Committee, and our National and Corporate Councils.
The mission of UMS is "to inspire and enrich communities by connecting audiences and artists in uncommon and engaging experiences" for which UMS has developed a reputation far beyond south?eastern Michigan both nationally and internation?ally. The scope of our presentations includes and extends beyond music into theater and dance. I am excited about the many performance experiences we're able to bring to you this season. Whether it's the Chicago Symphony Orchestra or Audra McDon?ald, Einstein on the Beach or American Mavericks, Random Dance or Ballet Preljocaj, or Zakir Hussain or A Night in Treme, we seek to bring to you and your neighbors throughout southeastern Michigan the very best of the performing arts from around the world. UMS is also very proud of the opportu?nity it provides to U-M students who attend per?formances at a reduced cost and to K-12 students
from throughout the region, many of whom are attending a performing arts event for the first time. The Board works to support UMS President Ken Fischer and his remarkable team of 30 arts profes?sionals, three of whom have served UMS for 20 years or more: Director of Programming Michael Kondziolka (24 years), Director of Finance and
Administration John Kennard (22 years), and Director of Marketing and Communica?tions Sara Billmann (20 years). UMS is in the "experience" business. I thank you for at?tending this performance and hope your experience has been a good one. I invite you
to attend more UMS performances this season and to support UMS by making a gift. Your support will help UMS continue not only its outstanding presen?tations but also its award-winning educational pro?grams for people of all ages. There are many ways to contribute to UMS. You'll find more information throughout this program book and on our website at www.ums.org.
Sincerely,
@@@@David J. Herzig
Chair, UMS Board of Directors
Leadership
CORPORATE AND FOUNDATION LEADERS
James G. Vella
President, Ford Motor Company Fund and Community Services
"Through music and the arts, we are inspired to broaden our horizons, bridge differences among cultures, and set our spirits free. We are proud to support the University Musical Society and acknowledge the important role it plays in our community."
Dr. Ora Hirsch Pescovitz
Executive Vice President for Medical Affairs, University of Michigan, and CEO, University of Michigan Health System "When I was young, I contemplated becoming a concert pianist. Though I didn't pursue that career path, the arts have remained a prominent fixture in my life, both personally and professionally. Music and the arts feed our imaginations, heal our spirits, and inspire us to evolve and grow. We are very fortunate to have the University Musical Society as part of our community, and the University of Michigan Health System is privileged to sponsor such a creative, vibrant part of our culture. Here's to a great year!"
Douglass R. Fox
President, Ann Arbor Automotive "We at Ann Arbor Automotive are pleased to support the artistic variety and program excellence given to us 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 tra?dition 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 1112 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."
Bruce Duncan
Ann Arbor Regional Bank President, Comerica Bank "Comerica is proud to support the University Musical Society. UMS continues to enrich the local community by bringing the finest performing arts to Ann Arbor, and we're pleased to continue to support this long?standing tradition."
Fred Shell
Wee President, Corporate and Government Affairs, DTE Energy
"The DTE Energy Foundation is pleased to support exemplary organizations like UMS that inspire the soul, instruct the mind, and enrich the community."
Edward Surovell
President, Edward Surovell Realtors "Edward Surovell Realtors and its 200 employees and sales associates are proud of our nearly 30-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."
Nancy and Randall Faber
Faber Piano Institute
"We are proud to support the University Musical Society in its tradition of program excellence and outreach that enriches our thoughts, our families, and our community."
David N. Parsigian
Ann Arbor Office Managing Partner, Honigman Miller Schwartz and Cohn LLP
"In our firm's tradition of supporting major cultural institutions, Honigman has been a long-time supporter of the University Musical Society. Our Ann Arbor office is proud to carry on that tradition on behalf of all of our attorneys, especially those who work and live in the Ann Arbor area. We all view the exceptional cultural experiences that UMS provides as key to the success of our community and our firm."
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
Michigan 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."
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 public 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 music and talent of performers."
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."
Stephen G. Palms
Principal, Miller, Canfield, Paddock and Stone, P.L.C. "Miller Canfield proudly supports the University Musical Society for enhancing our quality of life by bringing the unfiltered immediacy of live performing arts to our community."
Richard L. DeVore
Regional PresidentDetroit and Southeast Michigan, PNC Bank
"PNC Bank is proud to support the efforts of the University Musical Society and the Ann Arbor community."
Larry Hastie and Griff McDonald
Managing Directors, Retirement Income Solutions, Inc.
"With strong roots in the community for more than 30 years, our team of investment advisors is proud to support UMS. We recognize and
appreciate UMS's successful history and applaud the organization's ongoing commitment to presenting authentic, world-renowned artists to the Ann Arbor community."
Joe Sesi
President, Sesi Lincoln Volvo Mazda "The University Musical Society is an important cultural asset for our community. The Sesi Lincoln Volvo Mazda team is delighted to sponsor such a fine organization."
John W. Stout
President, Stout Systems
"Music and the arts are key elements in civilizing a
culture and raising its standards to the highest levels. Stout Systems is a proud sponsor of the University Musical Society, a premiere organization serving that cultural need."
Thomas B. McMullen
President, McMullen Properties
"In the fifth grade, I began taking cornet lessons from
Roger Jacobi, a young man right out of the U-M School
of Music who years later would become President of the Interlochen Arts Academy. Roger gave me not only love of music, but also deep appreciation for what UMS does for school kids and adults alike."
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 Motor Engineering & Manufacturing North America, Inc. and Toyota Technical Center "Toyota Technical Center is proud to support UMS, an organization with a long and rich history of serving diverse audiences through a wide variety of arts programming."
Jeff Trapp
President, University of Michigan Credit Union "Thank you to the University Musical Society for enriching our lives. The University of Michigan Credit Union is proud to be a part of another great season of performing arts."
FOUNDATION AND GOVERNMENT SUPPORT
UMS gratefully acknowledges the support of the following foundations and government agencies:
5100,000 or more
Association of Performing Arts Presenters Community Foundation for
Southeast Michigan Doris Duke Charitable Foundation The Andrew W. Mellon Foundation National Endowment for the Arts
S50,000-$99,999
Anonymous DTE Energy Foundation Esperance Family Foundation W.K. Kellogg Foundation
S20,000-S49,999
Cairn Foundation
Maxine and Stuart Frankel Foundation
Charles H. Gershenson Trust
$10,000-519,999
Arts Midwest's Performing Arts Fund Eugene and Emily Grant Family
Foundation Japan Foundation
John S. and James L Knight Foundation Masco Corporation Foundation Michigan Council for Arts and Cultural
Affairs
THE MOSAIC FOUNDATION
(of R. & P. Heydon) NEA Jazz Masters Live
$1,000-59,999
Martin Family Foundation Sarns Ann Arbor Fund Target
UNIVERSITY MUSICAL SOCIETY of the University of Michigan UMS BOARD OF DIRECTORS
David J. Herzig, Chair Stephen G. Palms,
Wee Chair
Anne Glendon, Secretary David N. Parsigian,
Treasurer Lynda W. Berg DJ Boehm Janet Callaway David Canter Mary Sue Coleman Martha Darling
Julia Donovan Darlow Junia Doan Stephen R. Forrest Chris Genteel Richard F. Gutow Shelia M. Harden Daniel Herwitz Joel D. Howell Christopher Kendall S. Rani Kotha Frank Legacki Melvin A. Lester
Robert C. Macek Lester P. Monts Donald Morelock Agnes Moy-Sarns Sharon Rothwell Ellie Serras Joseph A. Sesi Anthony L. Smith Cheryl L. Soper Rick Sperling
James C. Stanley, Past
Board Chair Patricia Green, Ann
Arbor Public Schools
Superintendent Clayton E. Wilhite,
Chair, National Council A. Douglas Rothwell,
Chair, Corporate
Council Susan R. Fisher, Chair,
Advisory Committee
UMS NATIONAL COUNCIL
Clayton E. Wilhite,
Chair
Kathleen Charia Jacqueline Davis
Marylene Delbourg-
Delphis John Edman Janet Eilber Barbara G. Fleischman
Maxine Frankel Eugene Grant Charles Hamlen Katherine Hein David Heleniak
Toni Hoover Judy Istock Patti Kenner Wallis Klein Jerry Kolins
Zarin Merita James Read Herbert Ruben Russell Willis Taylor Bruce Tuchman
UMS SENATE (former members of the UMS Board of Directors)
Wadad Abed Robert G. Aldrich Michael C. Allemang Carol L. Amster Gail Davis Barnes Kathleen Benton Richard S. Berger Maurice S. Binkow LeeC. Bollinger Charles W. Borgsdorf Janice Stevens Botsford Paul C. Boylan Carl A. Brauer, Jr. William M. Broucek Barbara Eventt Bryant Robert Buckler 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 Al Dodds
James J. Duderstadt Aaron P. Dworkin David Featherman David J. Flowers George V. Fornero Maxine J. Frankel Patricia M. Garcia 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 Cynthia MacDonald Judythe H. Maugh Paul W. McCracken Rebecca McGowan Barbara Meadows Joetta Mial Alberto Nacif Shirley C. Neuman
Jan Barney Newman Roger Newton Len Niehoff Gilbert S. Omenn Joe E. O'Neal John D. Paul Randall Pittman Philip H. Power John Psarouthakis Rossi Ray-Taylor John W. Reed Todd Roberts Richard H. Rogel Prudence L. Rosenthal A. Douglas Rothwell Judy Dow Rumelhart Maya Savarmo Ann Schriber Edward R. Schulak John J.H. Schwarz 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 James C. Stanley Lois U. Stegeman Edward D. Surovell James L. Teller Susan B. Ullrich Michael D. VanHemert Eileen Lappin Weiser B. Joseph White Marina v.N. Whitman Clayton E. Wilhite Iva M. Wilson Karen Wolff
UMS ADVISORY COMMITTEE
Susan R. Fisher, Chair Eileen Thacker, Wee
Chair Michaelene Farrell,
Secretary
Ren Snyder, Treasurer Elizabeth A. Palms,
Past Chair Zakiyyah Ali Sandy Aquino Lorie Arbour Barbara Bach Pat Bantle Linda Bennett
Francine Bomar Janet Callaway Dennis J. Carter Cheryl Clarkson Judy Cohen Wendy Comstock Linda Creps Sheila Crowley Doug Czinder Mary Dempsey Jon Desenberg Leslie Desmond Julie Dunifon Sara Fink
Laurel Fisher Rosamund Forrest Kathy Goldberg Ken Gray Linda Grekin Nan Griffith Nicki Griffith Joe Grimley Susan Gutow Shelia Harden Jane Holland Sue Johnson Nancy Karp Russell Larson
Marci Raver Lash Mary LeDuc Joan Levitsky Jean Long Melame Mandell Ann Martin Fran Martin Deborah Meadows Liz Messiter Robin Mieset Natalie Mobley Christina Mooney Agnes Moy-Sarns Chaity Nath
Bonita Davis Neighbors Sarah Nicoli Kathleen Nolan Liz Othman Sharon A. Peterson Ruth Petit Susan Pollans Anne Preston Nan Richter Audrey Schwimmer William Shell Barb Shoffner Becki Spangler
Linda Speclor Nancy Stanley Gail Ferguson Stout Karen Stutz Louise Taylor Janet Torno Louise Townley Ebru Uras Barbara Wagner Kirsten Williams Sarajane Winketman
UMS STAFF
AdministrationFinance
Kenneth C. Fischer, President Kathy M. Brown, Executive Assistant John B. Kennard, Jr., Director of
Administration 8 Finance Beth Gilliland,
Gift ProcessorIT Assistant Patricia Hayes, Financial Manager John Peckham,
Information Systems Manager
Choral Union
Jerry Blackstone,
Conductor & Music Director Jason Harris, Assistant Conductor Kathleen Operhall, Chorus Manager Nancy K. Paul, Librarian Jean Schneider, Accompanist Scott VanOrnum, Accompanist Donald Bryant, Conductor Emeritus Development Susan Bozell Craig, Manager of
Corporate Partnerships Rachelle Lesko, Development
Administrative Assistant Lisa Michiko Murray, Manager of
Foundation & Government Grants M. Joanne Navarre, Manager of
Annual Giving Marnie Reid, Manager of
Individual Support Cynthia Straub, Advisory
Committee & Events Coordinator
Education & Community Engagement
James P. Leija, Director Mary Roeder, Residency
Coordinator Omari Rush, Education Manager
MarketingPublic Relations
Sara Billmann, Director Stephanie Normann, Marketing
Manager Anna Prushinskaya, Manager of
New Media & Online Initiatives Truly Render, Press & Marketing
Coordinator
ProgrammingProduction
Michael J. Kondziolka, Director Jeffrey Beyersdorf, Technical
Director Anne Grove, Artist Services
Manager Mark Jacobson, Programming
Manager Michael Michelon, Program
Administrator Liz Stover, Programming
Coordinator
Ticket Services
Jennifer Graf, Ticket Services
Manager Suzanne Davidson, Assistant Vcket
Services Manager Adrienne Escamilla,
Ticket Office Associate Katie Nix, Front-of-HouseTicket
Office Assistant Sara Sanders, Front-of-House
Coordinator Sarah Wilber, Group Sales
Coordinator Dennis Carter, Bruce Oshaben,
Brian Roddy, Head Ushers
Students
Emily Barkakati Adam Bichir Sarah Bichsel Caroline Buse Hailey Clark Kelsy Durkin Brian Giebler Tim Hausler Sigal Hemy Jasmine Hentschel Mary Martin Matthew Meija Dereck Seay Rheme Sloan Britta Wilhelmsen
UMS CORPORATE COUNCIL
A. Douglas Rothwell,
Chair
Albert Berriz Bruce Brownlee Robert Buckler
Robert Casalou Richard DeVore Nolan Finley Stephen R. Forrest James Garavaglia
Timothy Gretkierewicz Steven K. Hamp Michele Hodges Mary Kramer Maud Lyon
David N. Parsigian Ora Pescovitz Vivian Pickard Sharon Rothwell Frederick E. Shell
Michael B. Staebler James G. Vella James C. Stanley, Ex-officio
UMS TEACHER ADVISORY COMMITTEE
Abby Alwin Fran Ampey Robin Bailey Greta Bar field Joey Barker Alana Barter Judy Barthwell Rob Bauman Suzanne Bayer Eli Bleiler
Ann Marie Borders David Borgsdorf Signd Bower Marie Brooks Susan Buchan Carl Clark Ben Cohen Julie Cohen Leslie Criscenti Orelia Dann
Saundra Dunn Johanna Epstein Susan Filipiak Kaly Fillion Delores Flagg Joey Parins Jeff Gaynor Joyce Gerber Barb Grabbe Joan Grissing
Linda Jones Jeff Kass Rosalie Koenig Sue Kohfeldt Laura Machida Jose Mejia Kim Mobley Michelle Peet Rebeca Pietrzak Cathy Reischl
Vicki Shields Gretchen Suhre Julie Taylor Cayla Tchalo Dan Tolly Alex Wagner Barbara Wallgren Kimberley Wright Kathryn Young
UMSInfo
GENERAL INFORMATION
Barrier-Free Entrances
For persons with disabilities, all venues have barrier-free entrances. Wheelchair locations vary by venue; visit www.ums.orgtickets or call 734.764.2538 for details. Ushers are available for assistance.
Listening Systems
For hearing-impaired persons, Hill Audito?rium, 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 Rack-ham Auditorium, please call University Produc?tions at 734.763.5213. For the Michigan The?ater, call 734.668.8397. For St. Francis of Assisi, call 734.821.2111. For St. Andrew's Episcopal Church, call 734.663.0518.
Parking
Please allow plenty of time for parking as the campus area may be congested.
Parking is available in the Church Street, Maynard Street, Thayer Street, Fletcher Street, and Fourth Avenue structures for a minimal fee. Please allow enough time to park before the performance begins. UMS donors at the Patron level and above ($1,000) receive 10 complimentary parking passes for use at the Thayer Street or Fletcher Street structures in Ann Arbor.
UMS offers valet parking service for Hill Au? ditorium performances in the 1112 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 Concert-master 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 4:00 pm weeknights and all day Saturday. Maynard Street structure, entrances off Maynard and Thompson between Willliam and Liberty, $.55half-hour. All city parking is free on Sunday.
For up-to-date parking information, please visit www.ums.orgparking.
Refreshments
Refreshments are available in the lobby during intermissions at events in the Power Center, in the lower lobby of Hill Auditorium (beginning 75 minutes prior to concerts--enter through the west lobby doors), and in the Michigan The?ater. Refreshments are not allowed in the seat?ing areas.
Smoke-Free University
As of July 1, 2011, the smoking of tobacco will no longer be permitted on the grounds of the University, including the exteriors of U-M the?aters and concert halls. Smoking is allowed on sidewalks adjacent to public roadss.
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 may have several events occurring simultaneously in dif?ferent theaters. Please allow plenty of extra time to park and find your seats.
Latecomers
Latecomers will be asked to wait in the lobby until seated by ushers. Most lobbies have been outfitted with monitors andor speakers so that latecomers will not miss the performance.
The late-seating break is determined by the artist and will generally occur during a suit?able repertory break in the program (e.g., after the first entire piece, not after individual move?ments of classical works). There may be occa?sions 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 seat?ing. Please be sure the Ticket Office has your e-mail address on file.
UMS works with artists to allow a flexible late-seating policy for family performances.
UMS TICKETS
Group Tickets
Treat 10 or more friends, co-workers, or family members to an unforgettable performance of live music, dance, or theater. Whether you have a group of students, a business gathering, a col?lege 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 ca?sual, 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
Reservations are almost entirely refundable up to 14 days before the performance
1-3 complimentary tickets for the group organizer (depending on size of group). Complimentary tickets are not offered for performances without a group discount.
For more information, please contact 734.763.3100 or umsgroupsales@umich.edu.
UMS Kids Club
Parents can introduce their children to world-renowned artists through the UMS Kids Club. Open to students in grades 3-12, the UMS Kids Club allows families to purchase up to two tick?ets for $10 each with the purchase of a $20 adult ticket beginning two weeks before the concert. Seating is subject to availability. For more information, please call 734.764.2538 or sign-up for UMS E-News and check the box for UMS Kids Club.
Ticket DonationsUnused Tickets
Unused tickets may be donated to UMS until the published start time of the concert. A receipt will be issued for tax purposes. Please consult your tax advisor. Unused tickets that are returned after the performance are not eligible for a UMS Credit or as a contributiondonation.
Ticket Exchanges
Subscribers may exchange tickets free of charge up until 48 hours prior to the performance. 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 per?son) at least 48 hours prior to the performance. The value of the tickets may be applied to an?other 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 April 22, 2012.
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 start time. Tickets received less than one hour before the performance will be returned as a doration.
STUDENT TICKETS
A variety of discounted ticket programs are available for University students and teenagers.
Half-Price Student Ticket Sales
At the beginning of each semester, UMS offers half-price tickets to college students. A limited number of tickets are available for each event in select seating areas. Simply visit www.ums. orgstudents, log-in using your U-M uniqname and Kerberos password, and fill out your form. Orders will be processed in the order they are received.
Winter Semester Sale: Sunday, January 8 at 8pm through Tuesday, January 10, 2012 at 12 noon.
Rush Tickets
Sometimes it pays to procrastinate! UMS Rush Tickets are sold to college students for $10 the day of the performance (or on the Friday before weekend events) and $15 beginning 90 minutes before the event. Rush Ticket availability and seating are subject to Ticket Office discretion. Tickets must be purchased in person at the Mich?igan League Ticket Office or at the performance venue ticket office. Just bring your valid college ID. Limit two tickets per student.
Teen Tickets
Teens can attend UMS performances at signifi?cant discounts. Tickets are available to teens for $15 beginning 90 minutes before the perfor?mance at the venue. One ticket per student ID, subject to availability.
Gift Certificates
Available in any amount and redeemable for any events throughout our season, delivered with your personal message, the UMS Gift Certificate is ideal for weddings, birthdays, Christmas, Hanukkah, Mother's and Father's Days, or even as a housewarming present when new friends move to town.
UMS Gift Certificates are valid for five years from the date of purchase. For more information, please visit www.ums.org.
UMSAnnals
UMS HISTORY
@@@@T
hrough a commitment to presenta?tion, education, and the creation of new work, the University Musical So?ciety (UMS) serves Michigan audienc?es by bringing to our community an ongoing series of world-class artists, who rep?resent the diverse spectrum of today's vigorous and exciting live performing arts world. Over the past 133 years, strong leadership coupled with a devoted community has placed UMS in a league of internationally recognized perform?ing arts presenters. Today, the UMS seasonal program is a reflection of a thoughtful respect for this rich and varied history, balanced by a commitment to dynamic and creative visions of where the performing arts will take us in this new millennium. Every day UMS seeks to culti?vate, nurture, 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 Profes?sor 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 performed by the UMS Choral Union annually.
Many Choral Union members also be?longed to the University, and the University Mu?sical 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 sea?son. 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 ex?panded its charge over its 133-year history. Re?cent 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 Mariinsky Orchestra (2006), Orff's Carmina Burana for Maestro Leonard Slatkin's inaugural weekend as Music Director of the Detroit Symphony Orchestra (2008), and Mahler's Symphony No. 2 ("Resurrection") with the San Francisco Symphony and Michael Tilson Thomas (2010).
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, cor?porate and individual contributions, foundation and government grants, special project support from U-M, and endowment income.
UMS VENUES AND
BURTON MEMORIAL TOWER
Hill Auditorium
Originally built in 1913, Hill Auditorium re-opened to the public in January 2004 fol?lowing a $38.6-million dollar renovation over?seen by Albert Kahn Associates, Inc. and historic preservation architects Quinn EvansArchitects. The renovation updated Hill's infrastructure and re?stored 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 im?provements to landscaping.
Interior renovations included the demolition of lower-level spaces to ready the area for future im?provements, the creation of additional restrooms, the improvement of barrier-free circulation by pro?viding elevators and an addition with ramps, the re?placement of seating to increase patron comfort, in?troduction of barrier-free seating and stage access, the replacement of theatrical performance and au?dio-visual systems, and the complete replacement of mechanical and electrical infrastructure systems for heating, ventilation, and air conditioning.
Hill Auditorium seats 3,575.
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 The?ater Foundation. With broad community support, the Foundation has raised over $8 million to re?store and improve the Michigan Theater. The beau?tiful 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 financial 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 contradic?tory combination of providing 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 strongly in the importance of the study of human history 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 en?dowment 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 at?tended the University of Michigan.
Designed by architect William Kapp and archi?tectural sculptor Corrado Parducci, Rackham Audi?torium 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 performing 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. Andrew's Episcopal Church
St. Andrew's is the second oldest parish in Michi?gan. Its organization dates from a series of meet?ings held between Fall 1827 and Spring 1828. The building, in which members of the parish have worshipped since 1869, is the oldest church build?ing still in use in Ann Arbor.
In 1838 a wooden church, later painted white with green shutters, was completed on the site of the present parish hall. The 1838 building, described by the bishop as "one of the most beautiful edifices in the West," served the parish for the next three decades. But by the early 1850s the construction of a new church was being discussed. Following the example of the Presbyterians and Methodists, who had gone ahead with construction of larger facili?ties, Ann Arbor's Episcopalians moved. On Novem?ber 10, 1869 the present St. Andrew's Church, cost?ing about $30,000, was opened. Its architect was the English-born Detroiter Gordon W. Lloyd. The recessed chancel at the east end of the nave was not added until 1890, and the bell tower was added in 1903. In the early 1880s a chapel, now Page Hall, was added to the east.
In 1975 the City of Ann Arbor recognized the historic significance of St. Andrew's by including it in the Division Street Historic District.
In 2010 the church completed a $2.7 million res?toration with Quinn Evans Architects. As a result the building was given the Ann Arbor Historic Commis?sion's 2010 Preservation Project of the Year Award, the Michigan Historic Preservation Network's 2010 Building Award, and the 2010 American Institute of Architects 2010 Honor Award.
St. Francis of Assisi Catholic Church
Dedicated in 1969, St. Francis of Assisi Catho?lic 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 a commitment to superb liturgical music and a vision to the future, the parish improved the acous?tics of the church building, and the reverberant sanctuary has made the church a gathering place for the enjoyment and contemplation of sacred a cappella choral music and early music ensembles.
Burton Memorial Tower
Seen from miles away. Burton Memorial Tower is one of the most well-known University of Michigan and Ann Arbor landmarks. Designed by Albert Kahn in 1935 as a memorial to U-M President Marion Leroy Burton, the 10-story tower is built of Indiana limestone with a height of 212 feet. The carillon, one of only 23 in the world, is the fourth heaviest containing 55 bells and weighing a total of 43 tons. UMS has occupied administra?tive offices in this building since its opening.

m m m m
Fall 2011 Season 133rd 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 wilt 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 auditorium. 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, September 17 through Saturday, October 1, 2011
An Evening with Ahmad Jamal 5
Saturday, September 17, 8:00 pm Hill Auditorium
Emerson String Quartet 9
Sunday, September 18, 4:00 pm Rackham Auditorium
Mark Morris Dance Group 15
Friday, September 23, 8:00 pm Saturday, September 24, 8:00 pm Power Center
Dan Zanes & Friends 25
Sunday, September 25, 1:00 pm (Family Performance) Sunday, September 25, 4:00 pm (Family Performance) Power Center
The Infernal Comedy: Confessions of a Serial Killer 29
Saturday, October 1, 8:00 pm Hill Auditorium
ums University Musical Society
Fall 2011
@@@@ September
17 An Evening with Ahmad Jamal
18 Emerson String Quartet
23-24 Mark Morris Dance Group
25 Dan Zanes & Friends
October
1 John Malkovich and Musica Angelica
Baroque Orchestra: The Infernal Comedy:
Confessions of a Serial Killer
9 Yuja Wang, piano
9 National Theatre Live: One Man, Two
Guvnors
13 State Symphony Capella of Russia
15 Goran Bregovic and His Wedding and
Funeral Orchestra
21-22 Cloud Gate Dance Theatre of Taiwan:
Water Stains on the Wall
27 Schola Cantorum de Venezuela
27-29 Gate Theatre of Dublin: Beckett's
Endgame and Watt
30 National Theatre Live: The Kitchen
November
Apollo's Fire with Philippe Jaroussky, i countertenor
: Audra McDonald
5 : Diego El Cigala 9 ! AnDa Union
A Night in Treme: The Musical Majesty of New Orleans
i St. Lawrence String Quartet
20
n
Beijing Guitar Duo with Manuel Barrueco Canadian Brass
December
3-4 Handel's Messiah
London Philharmonic Orchestra with Janine Jansen, violin
Stile Antico
Winter 2012
8
20-22 23
28
29
January
National Theatre Live: The Collaborators
Einstein on the Beach
Denis Matsuev, piano
Les Violons du Roy with Maurice Steger,
recorder
Hamburg Symphony Orchestra with
Francesco Tristano, piano: Messiaen's
From the Canyons to the Stars
February
4 Sabine Meyer and the Trio di Clarone
10 i Chamber Ensemble of the Shanghai i Chinese Orchestra
12 i Michigan Chamber Players
: The Tallis Scholars
i Sweet Honey In The Rock
j Wayne McGregor I Random Dance: FAR
FELA! (at Music Hall, Detroit) 19 ! National Theatre Live: Title TBA
22 I Jazz at Lincoln Center Orchestra with
Wynton Marsalis
23 i Hagen Quartet
March
9 i Chicago Symphony Orchestra with I Pinchas Zukerman, violin Max Raabe & Palast Orchester Ex Machina: The Andersen Project National Theatre Live: The Comedy of Errors San Francisco Symphony with Michael Tilson Thomas, conductor: American Mavericks
April
; Zakir Hussain and Masters of Percussion
I CheikhLo
I Charles Lloyd New Quartet 18 Pavel Haas Quartet
19-21 Ballet Preljocaj: Snow White 22 j Ford Honors Program: Academy of St. Martin in the Fields with Joshua Bell, violin
May
11 : Breakin' Curfew
Through Tuesday, October 11, 2011
UMS Educational and Community Events
All UMS educational activities are free, open to the public, and take place in Ann Arbor unless otherwise noted. For complete details and updates, please visit www.ums.org or contact the UMS Education Department at 734.615.4077 or umsed@umich.edu.
Mark Morris Dance Group
So we think YOU can DANCE! Beginning Dance Class with Dancers from the Mark Morris Dance Group
Tuesday, September 20, 7:30 pm
Ann Arbor Y, 400 W. Washington Street
Join dancers from the Mark Morris Dance Group for an exploration of the company's movement style. No dance training or experience necessary, and all levels and ages are welcome. Free, but first-come, first-served until studio reaches capac?ity. Open to the public for participants ages 12 and up.
Artist Q&A with Mark Morris
Friday, September 23, post-performance Power Center
Choreographer and Artistic Director Mark Morris will take audience questions in a post-performance Q&A. Must have a ticket to the performance to attend.
Asia Series
New Millennium Kite Festival
Sunday, September 25, activities begin at 10:00 am Nichols Arboretum, 1610 Washington Heights
Inspired by the traditional Asian craft of kite flying, the U-M Center for Chinese Studies (CCS) presents a one-day jubilee with a community competition, master kite fly-offs, lion dancing, and wind-borne activities, including a DIY kite workshop. Free and open to the public. Please visit www.ii.umich.educcs for more information.
UMSon Film
Film Screening: Faubourg Treme: The Untold Story of Black New Orleans
Tuesday, October 7 7, 7:00 pm
Helmut Stern Auditorium, U-M Museum of Art,
525 S. State Street
During slavery, Faubourg Treme was home to the largest community of free Black people in the Deep South and a hotbed of political ferment. The film follows New Orleans' Times-Picayune colum?nist Lolis Eric Elie as he begins to renovate an his?toric house in Treme and in the process becomes obsessed with the area's mysterious and neglected past. Presented in conjunction with the presenta?tion of A Night in Treme: the Musical Majesty of New Orleans featuring the Rebirth Brass Band on November 11, 2011. Executive producer Wynton Marsalis. (2008, Dawn Logsdon, 69 min.)
isit www.ums.org for more information 0
urns
presents
An Evening with Ahmad Jamal
Ahmad Jamal, Piano James Cammack, Bass Herlin Riley, Drums Manolo Badrena, Percussion
Program
Saturday Evening, September 17, 2011 at 8:00 Hill Auditorium Ann Arbor
Tonight's program will be announced from the stage by the artists and will be performed without intermission.
Opening Performance of the 133rd Annual Season
18th Annual Jazz Series
The photographing or sound and video recording of this concert or possession of any device for such recording is prohibited.
Funded in part by NEA Jazz Masters Live, a program of the National Endowment for the Arts in partnership with Arts Midwest that celebrates the living legends who have made exceptional contributions to the advancement of jazz.
Media partnership is provided by WEMU 89.1 FM, Metro Times, and Michigan Chronicle.
The Steinway piano used in this evening's performance is made possible by William and Mary Palmer and by the Steinway Piano Gallery of Detroit.
Ahmad Jamal appears by arrangement with Maurice Montoya Music Agency.
Large print programs are available upon request.
C
elebrated pianist-composer Ahmad Jamal continues his performance schedule around the world as he has for well over the last four decades. Noted for his outstanding technical command and identifiable sound as a piano styl?ist, Mr. Jamal was born on July 2, 1930, in Pitts?burgh, Pennsylvania. A child prodigy who began to play the piano at the age of three, he began for?mal studies at age seven. While in high school, he completed the equivalent of college master classes under the noted African-American concert singer and teacher Mary Cardwell Dawson and pianist James Miller. He joined the musicians' union at the age of 14, and he began touring upon graduation from Westinghouse High School at the age of 17, drawing critical acclaim for his solos. In 1951 he formed his first trio, The Three Strings. Performing at New York's The Embers club, record producer John Hammond "discovered" The Three Strings and signed them to Okeh Records (a division of Columbia, now Sony, Records).
In 1956, Mr. Jamal, who had already been joined by bassist Israel Crosby in 1955, replaced guitarist Ray Crawford with a drummer. Work?ing as the house trio at Chicago's Pershing Hotel in 1958, drummer Vernell Fournier joined this trio and Mr. Jamal made an on-location recording for Argo (Chess) Records entitled But Not For Me. The resulting hit single and album, which also included "Poinciana"--his rendition, now Mr. Jamal's trade?mark, remained on the top-10 bestselling charts-amazingly for a jazz album--for an unprecedented 108 weeks. This financial success enabled Mr. Ja?mal to realize a dream, and he opened a restau?rantclub called The Alhambra in Chicago. Here the trio was able to perform while limiting their touring schedule.
Considering his trio an orchestra, Mr. Jamal not only achieves a unified sound, but subtly inserts in?dependent roles for the bass and drums. The hall?marks of Mr. Jamal's style are rhythmic innovations, colorful harmonic perceptions, especially left-hand harmonic and melodic figures, plus parallel and contrary motion lines in and out of chordal sub?stitutions and alterations and pedal point ostinato interludes in tasteful dynamics. He also incorpo?rates a unique sense of space in his music, and his musical concepts are exciting without being loud in volume. Augmented by a selection of unusual standards and his own compositions, Mr. Jamal notably impressed and influenced, among others, trumpeter Miles Davis.
In 1951, Mr. Jamal first recorded Ahmad's Blues on Okeh Records. His arrangements of the folk tunes "Billy Boy" and "Poinciana" (not his original composition), also stem from this period. In 1955, he recorded his first Argo (Chess) Records album that included "New Rhumba," "Excerpts From The Blues," "Medley (Actually I Don't Want To Be Kissed)," and "It Ain't Necessarily So"--all later utilized by Miles Davis and Gil Evans on the albums Miles Ahead and Porgy and Bess.
In his autobiography, Mr. Davis praises Mr. Ja-mal's special artistic qualities and cites his influ?ence. In fact, the mid-to-late 1950's Miles Davis Quintet recordings notably feature material previ?ously recorded by Mr. Jamal: "Squeeze Me," "It Could Happen To You," "But Not For Me," "Surrey With the Fringe On Top," "Ahmad's Blues," "On Green Dolphin Street," and "Billy Boy."
In 1994, Mr. Jamal received the American Jazz Masters fellowship award from the National Endowment for the Arts. The same year he was named a Duke Ellington Fellow at Yale University, where he performed commissioned works with the Assai String Quartet.
In 1970, Mr. Jamal performed the title com?position by Johnny Mandel for the soundtrack of the film MASH!, and in 1995, two tracks from his smash album But Not For Me: "Music, Music, Mu?sic" and "Poinciana" were featured in the Clint Eastwood film The Bridges of Madison County. Hal Leonard Publications issued The Ahmad Jamal Col?lection Piano Transcriptions in 1998.
Mr. Jamal's 1996 release The Essence features a first--a recording made with a horn, tenor saxophonist George Coleman. When released in Europe, the album received critical comments as "Historique!" as well as the resulting outstanding sales and the CHOC Award in France. The album has also received the Django Award, and a concert at the Salle Pleyel in Paris was sold out. In June 2007 the French Government inducted Mr. Jamal into the prestigious Ordre des Arts et des Lettres by French Culture Minister Renaud Donnedieu de Vabres, naming him Officier de I'Ordre des Arts et des Lettres.
It's Magic, released in June 2008, hit the charts at number 13 immediately after its release in the US, being touted as one of his finest works yet to date. It's Magic is hailed by critics as a career high?light: it graced the Billboard Top Jazz Albums chart, the iTunes Jazz Top 10, and it recently peaked at number two on the Jazz Week Radio Chart in
France. Mr. Jamal was awarded "Best International Album" ("Album International de Production Fran-caise") by Les Victoires du Jazz, the French version of the Grammy Awards. The album also garnered "Record of the Year" by Jazzman magazine.
In July 2010 77ie Complete Ahmad Jamal Trio Argo Sessions 7956-7962 was released by Mosaic. This compilation was recognized as the best reis?sue of the year by the French Jazz Academy. Mr. Jamal's latest recording A Quiet Time is the much anticipated follow-up to It's Magic. A Quiet Time, released in January 2010, was the number one jazz album on Jazz Radio for the year 2010. Mr. Jamal's music remains youthful, fresh, imaginative, and always influential.
Mr. Jamal is an exclusive Steinway Artist.
UMS Archives
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onight's performance marks the second UMS appearances by Ahmad Jamal and James Cammack. Mr. Jamal and Mr. Cammack made their UMS debuts together at Hill Auditorium in February 2008 with drummer Idris Muhammad.
Herlin Riley makes his eighth UMS appearance this evening. Mr. Riley appeared with the Jazz at Lincoln Center Orchestra six times between 1995 and 2004. Mr. Riley last appeared at UMS in December 2005 with Dianne Reeves at Hill Auditorium.
UMS welcomes Manolo Badrena, who makes his UMS debut tonight.
Photo Frdnk Capri
ums University Musical Society
presents
Emerson String Quartet
Eugene Drucker, Violin (First Violin on K. 589, 546, and 590) Philip Setzer, Violin (First Violin on K. 575) Lawrence Dutton, Viola David Finckel, Cello
Sunday Afternoon, September 18, 2011 at 4:00 Rackham Auditorium Ann Arbor
Wolfgang Amadeus Mozart
Mozart's Late Quartets: "King of Prussia"
String Quartet No. 21 in D Major, K. 575
Allegretto Andante
Menuetto: Allegretto Allegretto
String Quartet No. 22 in B-flat Major, K. 589
Allegro Larghetto
Menuetto: Moderato Allegro assai
INTERMISSION
Adagio and Fugue in c minor, K. 546
Adagio Fugue
String Quartet No. 23 in F Major, K. 590
Allegro moderato Allegretto
Menuetto: Allegretto Allegro
Second Performance of the 133rd Annual Season
49th Annual Chamber Arts Series
The photographing or sound and video recording of this concert or possession of any device for such recording is prohibited.
This afternoon's performance is sponsored by Retirement Income Solutions and the Linda and Maurice Binkow Philanthropic Trust.
Media partnership is provided by WGTE 91.3 FM.
Emerson String Quartet appears by arrangement with IMG Artists, New York, NY.
Large print programs are available upon request.
Now that you're in your seat...
I
t may seem absurd to speak of "late Mozart": after all, this great genius was only 35 when he passed away. Yet the music he wrote during the last few years of his life differs markedly from his earlier compositions. In his late works, he achieved an increased harmonic complexity, and displayed more textural variety and a greater emotional depth than ever before. A newfound emphasis on counterpoint appears in the Adagio and Fugue in c minor, a densely wrought, dramatic work, which will share the program with Mozart's last three string quartets. This entire concert shows the composer at the height of his powers. Despite his 25 years of experience, Mozart never did anything out of routine. Every work and every movement presented a new challenge, and each time, Mozart employed new artistic means to meet it.
Snapshot of History... In 1788-1790:
1788: Johann Wolfgang Goethe, 39, returns to Germany after a two-year sojourn in Italy
1789: Antoine Lavoisier's Elementary Treatise of Chemistry formulates the law of conservation of mass
April 30, 1789: George Washington becomes the first President of the United States
July 14, 1789: The storm of the Bastille; the beginning of the French Revolution
February 20, 1790: Emperor Joseph II, who admired Mozart, dies at the age of 48
String Quartet No. 21 in D Major, K. 575
(1789)
Wolfgang Amadeus Mozart Born January 27, 1756 in Salzburg, Austria Died December 5, 1791 in Vienna
Nowhere is it more clear that Mozart was able to separate his troubled physical and emotional con?dition from the spiritual and musical side of his life than in the melodic, optimistic D-Major Quar?tet. Even though Mozart was suffering from the greatest adversity at the time, the work achieves a rare buoyancy of spirit. In one regard, though, the Quartet bears the imprint of the immediate circum?stances. Since it was written at the urging of King Frederick of Prussia, who was an excellent cellist, the cello plays an important role throughout. Then, to balance the prominent cello, Mozart wrote parts of greater consequence for the two inner voices, the second violin and the viola.
The principal theme of the first movement is es?sentially a rising arpeggio and a descending scale.
Stated by the first violin, it is repeated by the viola, and its extension features both the first violin and cello. The second theme, a rising arpeggio followed by a long held note, is introduced by the cello, but with turns for all four players. Either by calculation, or because the rising arpeggio is so common a fig?ure, both first-movement themes--and the main theme of the finale, too--share the same melody, although in completely different rhythms. The de?velopment and recapitulation are conventional, and continue the movement's buoyant good spirits through to the very end.
The second movement is in ternary form, A-B-A. The contrast between the two sections comes from the melodic contour of A, an earthbound line, and B, a soaring phrase that passes from instrument to instrument. It is also heard in the difference between the thick texture of A, with the violins doubled, and B, which is a single melodic line, well-distanced from the repeated-note accompaniment. In the very short coda, the first violin has a rapid, rising run that the second violin answers with a long note and a four-note turn; the cello and first violin echo this ex?change to conclude the movement.
The sprightly "Menuetto" starts with the four-note turn that came at the finish of the "Andan?te." Perking along in one-beat-to-a-bar pulse, the music glitters with sharp contrast--soft and loud, staccato and legato. The trio is a showcase for the cello, which sings out the cantabile melodies (with that same four-note turn), very high in its range The "Menuetto" is repeated after the trio.
The cello introduces the main theme of the serenely happy last movement; it starts with the same rising arpeggio as the themes of the first movement. The contrasting interludes of the movement's rondo form spring from the ascending arpeggios as well, but in different keys, settings,
and scorings, so that they truly sound like new ma?terial. Tightly organized and highly contrapuntal, this movement is probably the most interesting one of the entire quartet.
The premiere of K. 575 was given at Mozart's lodging in Vienna on May 22, 1790, very likely with the composer playing viola.
Program note by Melvin Berger from Guide to Chamber Music, published by AnchorDoubleday.
String Quartet No. 22 in B-flat Major,
K. 589(1790) Mozart
This quartet was written when Mozart was just 34 years old, but it sounds like the work of someone at a much later stage of life. Not only does Mozart display all the consummate mastery of technique and profundity that is commonly associated with maturity; he also conveys some sense of the accep?tance and resignation that so often accompanies old age.
There are several distinctive motifs in the first, mostly quiet, contemplative subject group; the initial one heard at the very outset, rhythmically a long note (half note) followed by four rapid notes (sixteenth notes), is most prominent. The cello, which plays a leading role in presenting this theme, also introduces the second theme, a wide-ranging melody enlivened with several chromatic touches. Linking the two themes and accompanying the first theme at the end of the exposition are slightly awkward running triplet passages that add a touch of rhythmic spice to the cantabile brew. The triplets play an important part in the development section and lead to the recapitulation that ends the move?ment.
The cello and first violin divide the melodic lead in the "Larghetto." The former states the song-like first theme, which is echoed by the latter, and the violin introduces the lovely, passive subsidiary melody to be followed by a cello repeat. After de?livering the two themes, Mozart brings them both back in an almost literal repeat for the second half of the movement.
Most listeners agree with musicologist Reginald Barret-Ayres, who calls the "Menuetto" "one of the most interesting movements in the quartets of Mozart." In several ways it transcends all the oth-
ers in terms of originality, imaginativeness, and bril?liance of writing. Deliberate in tempo, the opening section gives the first violin a concertante part and the others subservient roles. The mood becomes mellower for the short middle part, although it contains quicksilver runs in the cello and then the viola. Mozart ends the "Menuetto" with an elabo?ration of the opening section. One of the outstand?ing features of the dark trio brings in a new, highly chromatic melody with unexpected second beat accents and a long silence right in the middle. It is followed by an expansion of the first part of the trio and a shortened return of the "Menuetto."
The opening of the "Allegro assai" sounds at first like a bit of fluff that will lead to a light, happy ending. Instead, while never losing its elfin en?chantment, the movement proceeds quite serious?ly, full of contrapuntal wonders and unexpected harmonic twists and turns, to reach a surprisingly quiet conclusion. Formally it is a rather free rondo.
Mozart completed K. 589 in May 1790 and gave the premiere in his apartment in Vienna later that month on May 22.
Program note by Melvin Berger from Guide to Chamber Music, published by AnchorDoubleday.
Adagio and Fugue in c minor, K. 546
(1788) Mozart
In the later part of his life, Mozart became more and more interested in the intellectual and inten?sifying nature of counterpoint, and especially in its most formal manifestation: the fugue. Fugal procedures are found in traditionally conservative genres such as Mass settings and in Mozart's fi?nal work, the Requiem; but they are also found in more unexpected places, in some of the late string quartets, for example, or in the last movement of the "Jupiter" symphony, where the effect is more striking since it is far less usual in classical music.
The c-minor "Fugue" was originally written in 1783 for two pianos. Mozart later arranged the piece for string quartet, adding the slow introduc?tion at the same time. This version is entered in Mozart's own catalogue of his works {Verzeichnis alter meiner Werke) under the date June 26, 1788. The composition is powerful and dark, with a reso?nant introspection and an intensity that has come
to be associated with many of Mozart's works in this key. The significant c-minor works of his mature period are the Divertimento for Winds, K. 388, the Piano Fantasia and Sonata, K. 457 and 475, and the Piano Concerto, K. 491. With its "free" opening section and strictly organized fugue, K. 546 carries associations of the preludes and fugues of Johann Sebastian Bach.
The stately rhythms and dynamic contrasts of the "Adagio" suggest the formalized French over?ture of the 18th century, while the chromatic col?oring and wide intervals make for a special kind of tension. Indeed, in its overall affect, the "Adagio" is reminiscent of nothing so much as the string quartet version (made by Haydn himself) of Haydn's Seven Last Words of Our Savior on the Cross.
The atmosphere of the "Adagio" is carried over into the "Fugue," where the technical strictness of the contrapuntal procedures in no way mitigates the emotional power of the music. The fugue sub?ject itself is made up of three quite distinct rhyth?mic elements, all of which are exploited in the un?folding of the fugue. The ending is brusque and suggests that much has been left unsaid.
Program note by Jeremy Yudkin.
String Quartet No. 23 in F Major, K. 590
(1790) Mozart
The F-Major Quartet is Mozart's last quartet, writ?ten in June 1790, a year and a half before his death. The 10th of his mature quartets, it is actu?ally the 23rd that he wrote.
The opening theme of the quartet can be sim?ply described as an ascending arpeggio followed by a descending scale. Yet Mozart immediately transforms this basic material, changing the dy?namics, the individual notes, and the scoring, thereby affecting a metamorphosis of the char?acter it originally presented. To start the second theme, the cello moves up in a broken chord from its very lowest note over two octaves to the new lyrical melody. The first theme returns to end the exposition. A concise development section leads to the recapitulation, which is little changed from the exposition. The coda starts just like the develop?ment but quickly winds down to a delightfully at?tractive, witty ending.
Alfred Einstein, the noted Mozart scholar, says of the "Allegretto": "One of the most sensitive movements in the whole literature of chamber mu?sic, it seems to mingle the bliss and sorrow of a farewell to life. How beautiful life has been! How sad! How brief!" The basis of this movement is not so much a melody as a rhythm; a plain, rhythmic figure played at the outset by the entire quartet. Mozart then reflects and mediates on this basic cell, plumbing its emotional depths and setting it forth in any number of different guises and postures, al?lowing it to permeate the entire movement.
The opening of the "Menuetto"--and, even more, the central trio--is rich in the use of appog?giaturas, quick ornamental notes that are played just before main notes. While there are those who dispute whether appoggiaturas should be played before the beat (so the main note is on the beat) or on the beat (delaying the main note), most experts now agree that Mozart's appoggiaturas should be played squarely on the beat. In the "Menuettto" the appoggiaturas precede long notes; in the trio they come before short notes. In addition to the ex?tensive use of appoggiaturas, the irregular phrase lengths, seven measures in the "Menuetto" and five measures in the trio (instead of the custom?ary four measures), contribute to the movement's overall eccentric quality.
The finale, a high-speed, vivacious frolic, un-stintingly gives all four players flashy passages that test even the most secure techniques. Cast in a combined rondo and sonata form, this irresistible, appealing movement has intricate fugal and con?trapuntal sections, unexpected pauses and silenc?es, harmonic surprises, and even a brief imitation of a bagpipe, making it a brilliant cap to Mozart's tragically short string quartet-writing career.
Program note by Melvin Berger from Guide to Chamber Music, published by AnchorDoubleday.
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he Emerson String Quartet stands alone in the history of string quartets with an un?paralleled list of achievements over three decades: more than 30 acclaimed recordings since 1987, nine Grammy Awards (including two for "Best Classical Album," an unprecedented honor for a chamber music group), three Gramophone Awards, the coveted Avery Fisher Prize and cycles of the complete Beethoven, Bartok, Mendelssohn,
and Shostakovich string quartets in the world's musical capitals, from New York to London and Vienna. The Quartet has collaborated in concerts and on recordings with some of the greatest artists of our time. After 35 years of extensive touring and recording, the Emerson Quartet continues to perform with the same benchmark integrity, en?ergy, and commitment that it has demonstrated since it was formed in 1976.
In March 2011, Sony Classical announced an exclusive agreement
with the Emerson String Quartet. The Quartet's debut album for the label, Mozart's Prussian Quar?tets K. 575, K. 589, and K. 590, will be released in October 2011 to coincide with a series of concerts at Wigmore Hall in London and Alice Tully Hall in New York City. In the 1112 season, its 35th sea?son as an ensemble, the Quartet will perform ex?tensively throughout North America and Europe, with concerts in Boston, Vancouver, Denver, Phila?delphia, Washington DC, San Diego, Houston, and Ann Arbor and on tours taking them to Germany, Denmark, Slovenia, Austria, England, Spain, Swit?zerland, Italy, and South Korea. The Quartet con?tinues its residency at the Smithsonian Institution in Washington DC, now in its 32nd season.
Since 2002, the Quartet has been Quartet-in-Residence at Stony Brook University, coaching chamber music, giving master classes, and provid?ing instrumental instruction. The ensemble con?ducted its first three International Chamber Music Workshops at Stony Brook in June 2004, 2006,
and 2008. In addition to teaching duties, the group performs several concerts during the year at Stony Brook's Staller Center for the Arts, and continues its educational affiliation with Carnegie Hall. The Quartet has conducted three Professional Training Workshops at Carnegie's Weill Music In?stitute, focusing on the Bartbk quartets, quintets of Brahms and Dvorak, and most recently the Beethoven quartets, in conjunction with the Per?spective Series. In 2000, the Quartet was named "Ensemble of the Year" by Musical America, and in March 2004, became the 18th recipient of the Avery Fisher Prize--another first for a chamber en?semble.
In 2000, the Quartet performed the complete Shostakovich quartets at New York's Lincoln Cen?ter and in London, with a cycle divided between the Wigmore Hall and the Barbican. Each series culminated with The Noise of Time, a theatrical presentation directed by Simon McBurney featur?ing the Quartet and Complicite, Mr. McBurney's Continued on next page...
UMS Archives
T
his afternoon's performance marks the Emerson String Quartet's 14th appearance under UMS auspices. The Quartet made its UMS debut in March 1989, and most recently appeared together as a quartet in January 2008 at Rackham Auditorium. Members of the Emerson String Quartet have appeared under UMS auspices in other cham?ber ensemble configurations. Mr. Finckel and Mr. Setzer make their 16th UMS appearances this afternoon, having last appeared together with pianist Wu Han in February 2010 for a perfor?mance of the Schubert Piano Trios at Rackham Auditorium.
Mr. Drucker makes his 15th UMS appearance this afternoon, which includes his September 2006 UMS appearance with Wu Han, Mr. Setzer, and Mr. Finckel at Rackham Auditorium. This afternoon marks Mr. Dutton's 14th UMS appearance with the Emerson String Quartet.
Emerson String Quartet
ums University Musical Society
Emerson String Quartet, continued
theater company. Blending film, choreography, taped readings, and live music, the multimedia work explored the haunted life of Dmitri Shosta?kovich through his String Quartet No. 15 in e-flat minor. Op. 144. Since 2001, The Noise of Time has been repeated to great acclaim in Los Angeles, Berlin, Vienna, Paris, and Moscow. In 2008, New York Magazine named The Noise of Time one of the most important contributions to the arts in New York since the inception of the magazine.
The theatrical nature of Shostakovich's music and its powerful effect on audiences led the Quar?tet to record the Shostakovich Quartets live dur?ing three summers of performances at the Aspen Music Festival. Meticulous editing eliminated virtu?ally all background noise, and the recording on the Deutsche Grammophon label has been praised for its intensity and energy. The five-disc set won the 2000 Grammy Awards for "Best Classical Album" and "Best Chamber Music Performance," as well
as Gramophone Magazine's "Best Chamber Music Performance" Award for 2000. Dedicated to the performance of classical repertoire, the Emerson String Quartet also has demonstrated a strong commitment to the commissioning and perfor?mance of 20thand 21st-century music.
Formed in the bicentennial year of the US, the Emerson String Quartet took its name from the great American poet and philosopher Ralph Wal?do Emerson. Violinists Eugene Drucker and Philip Setzer alternate in the first chair position and are joined by violist Lawrence Dutton and cellist David Finckel. The Quartet has performed numerous ben?efit concerts for campaigns against AIDS, hunger, and juvenile diabetes.
To commemorate its 25th anniversary season, the Quartet compiled a book entitled Converging Lines. Written in the members' own words, the book contains never-before-published text, graph?ics, and photos from the Quartet's private archives. The Quartet is based in New York City.
urns
and the University of Michigan Health System
present
Mark Morris Dance Group
Dancers
Chelsea Lynn Acree, Samuel Black, Rita Donahue, Domingo Estrada, Jr.,
Lauren Grant, Lesley Garrison, John Heginbotham, Brian Lawson,
Aaron Loux, Laurel Lynch, Dallas McMurray, Amber Star Merkens, Maile
Okamura, Spencer Ramirez, William Smith III, Noah Vinson, Jenn Weddel,
Michelle Yard
Apprentice
MMDO Music Ensemble
Colin Fowler, Michael Kelly, Wolfram Koessel, Michi Wiancko
Artistic Director Mark Morris
Executive Director Nancy Umanoff
Program
Friday Evening, September 23, 2011 at 8:00 Saturday Evening, September 24, 2011 at 8:00 Power Center Ann Arbor
Excursions (2008)
PAUSE
Festival Dance (2011)
INTERMISSION
Socrates (2010)
Third and Fourth Performances of the 133rd Annual Season
21st Annual Dance Series
The photographing or sound and video recording of this performance or possession of any device for such recording is prohibited.
The Saturday evening performance is sponsored by the University of Michigan Health System, Linda and Richard Greene, and Ken and Penny Fischer.
Media partnership is provided by Metro Times. Between the Lines, and Ann Arbor's 107one.
Special thanks to Grace Lehman and the Ann Arbor Y, Elaine Sims, Laura Zeitlin, and the U-M Health System Gifts of Art and Movement Disorders Programs for their support of and participation in the Mark Morris Dance Group residency.
MetLife Foundation is the Mark Morris Dance Group's Official 30th Anniversa-y Sponsor.
Major support for the Mark Morris Dance Group is provided by Bloomberg Philanthropies, Brooklyn Community Foundation, JP Morgan Chase Foundation, Fund for the City of New York, The Andrew W. Mellon Foundation, The Billy Rose Foundation, Inc., The Fan Fox and Leslie R. Samuels Foundation, The Shubert Foundation, and Jane Stine and R.L. Stine.
Large print programs are available upon request.
Excursions (2008)
Choreography by Music by
Costume Design by Lighting Design by Musicians Dancers
Mark Morris
Samuel Barber, Excursions for the Piano (Op. 20, IV, III, II, I)
Katherine M. Patterson
Nicole Pearce
Colin Fowler, Piano
Rita Donahue, Laurel Lynch, Dallas McMurray, William Smith 111, Noah Vinson, Michelle Yard
@@@@Excursions
Premiere: June 26, 2008 at Seiji Ozawa Hall, Tanglewood Music Center, Lenox, Massachusetts
Commissioned in part by the Tanglewood Music Center of the Boston Symphony Orchestra.
Music by arrangement with G. Schirmer, Inc., publisher and copyright owner.
ums University Musical Society
Festival Dance (2011)
Waltz (Allegro) March (Andante) Polka (Rondo)
Choreography by Music by
Costume Design by Lighting Design by Musicians
Dancers
Mark Morris
Johann Nepomuk Hummel, Piano Trio No. 5 in E Major, Op. 83
Martin Pakledinaz
Michael Chybowski
Michi Wiancko, Violin Wolfram Koessel, Cello Colin Fowler, Piano
Samuel Black, Rita Donahue, Domingo Estrada Jr., Lauren Grant, Aaron Loux, Laurel Lynch, Dallas McMurray, Maile Okamura, Spencer Ramirez, William Smith III, Jenn Weddel, Michelle Yard
Premiere: March 17, 2011 at James and Martha Duffy Performance Space, Mark Morris Dance Center, Brooklyn, New York
Festival Dance was made possible by The New Works Fund with leadership gifts from Poss Family Foundation, Suzy Kellems Dominik, Shelby and Frederick Gans, Helen and John Meyer, and Abigail Turin and Jonathan Gans.
Festival Dance
ums University Musical Society
Socrates (2010)
Portrait of Socrates
On the Banks of the Ilissus
Death of Socrates
Choreography by Music by
Mark Morris
Erik Satie, Socrate: "Portrait de Socrate," "Bords de L'llissus, "Mort de Socrate"
Costume Design by Martin Pakledinaz
Lighting Design and Decor by Michael Chybowski Musicians
Michael Kelly, Vocalist Colin Fowler, Piano
Dancers
Chelsea Lynn Acree, Samuel Black, Rita Donahue, Domingo Estrada Jr., Lesley Garrison, Lauren Grant, John Heginbotham, Laurel Lynch, Dallas McMurray, Amber Star Merkens, Maile Okamura, William Smith II Noah Vinson, Jenn Weddel, Michelle Yard
Socrates
Premiere: February 23, 2010 at Brooklyn Academy of Music, Brooklyn, New York Surtitles by Roger Nichols O 1985
ums University Musical Society
M
ark Morris was born on August 29, 1956, in Seattle, Washington, where he studied with Verla Flowers and Perry Brunson. In the earlyyearsof his career, he performed with the Koleda Balkan Dance Ensemble, and later the dance companies of Lar Lubovitch, Hannah Kahn, Laura Dean, and Eliot Feld. He formed the Mark Morris Dance Group in 1980, and has since created more than 130 works for the company. From 1988-1991, he was Director of Dance at the Theatre Royal de la Monnaie in Brussels, the national opera house of Belgium. Among the works created during his time there were three evening-length dances: L'Allegro, il Pense-roso ed il Moderate; Dido and Aeneas; and The Hard Nut. In 1990, he founded the White Oak Dance Project with Mikhail Baryshnikov. Mr. Morris is also a ballet choreographer and has created seven works for the San Francisco Ballet since 1994 and received commissions from many others. His work is also in the repertory of the Pacific Northwest Ballet, Boston Ballet, Dutch Na?tional Ballet, New Zealand Ballet, Houston Ballet, English National Ballet, and The Royal Ballet. Mr. Morris is noted for his musicality and has been de?scribed as "undeviating in his devotion to music." He has worked extensively in opera, directing and choreographing productions for The Metropolitan Opera, New York City Opera, Gotham Chamber Opera, English National Opera, and The Royal Op?era, Covent Garden. In 1991, he was named a Fel?low of the MacArthur Foundation. He has received 11 honorary doctorates to date. In 2006, Mr. Morris received the New York City Department of Cultural Affairs Mayor's Award for Arts and Culture and a WQXR Gramophone Special Rec?ognition Award "for being an American ambas?sador for classical music at home and abroad." He is the subject of a biography, Mark Mor?ris, by Joan Acocella (Farrar, Straus and Giroux) and Marlowe & Company published a volume of photographs and critical essays entitled Mark Mor?ris' L'Allegro, il Penseroso ed il Moderato: A Cel?ebration. Mr. Morris is a member of the American Academy of Arts and Sciences and the American Philosophical Society. In 2007, he received the Samuel H. ScrippsAmerican Dance Festival life?time achievement award. In 2010, he received the prestigious Leonard Bernstein Lifetime Achieve?ment Award for the Elevation of Music in Society.
T
he Mark Morris Dance Group (MMDG) was formed in 1980 and gave its first con?cert that year in New York City. The compa?ny's touring schedule steadily expanded to include cities both in the US and in Europe, and in 1986 it made its first national television program for the PBS series Dance in America. In 1988, MMDG was invited to become the national dance company of Belgium, and spent three years in residence at the Theatre Royal de la Monnaie in Brussels.
The company returned to the US in 1991 as one of the world's leading dance companies, perform?ing across the country and at major international festivals. Based in Brooklyn, New York, the com?pany has maintained and strengthened its ties to several cities around the world, most notably its West Coast home, Cal Performances in Berkeley, California, and its Midwest home, the Krannert Center for the Performing Arts at the University of Illinois in Urbana-Champaign. MMDG also appears regularly in New York, Boston, Fairfax, and Seattle.
MMDG made its debut at the Mostly Mozart Fes?tival in 2002 and at the Tanglewood Music Festival in 2003 and has since been invited to both festivals annually. From the company's many London sea?sons, it has garnered two Laurence Olivier Awards.
MMDG is noted for its commitment to live music, a feature of every performance on its in?ternational touring schedule since 1996. MMDG collaborates with leading orchestras, opera com?panies, and musicians including cellist Yo-Yo Ma in the Emmy Award-winning film Falling Down Stairs (1997); percussionist and composer Zakir Hussain, Mr. Ma, and jazz pianist Ethan Iverson in Kolam (2002); The Bad Plus in Violet Cavern (2004); pia?nists Emanuel Ax, Garrick Ohlsson, and Yoko Noza-ki for Mozart Dances (2006); and with the English National Opera in Four Saints in Three Acts (2000) and King Arthur (2006). MMDG's film and televi?sion projects also include Dido and Aeneas, The Hard Nut, two documentaries for the UK's South Bank Show, and PBS' Live From Lincoln Center. In September 2001, the Mark Morris Dance Center opened in Brooklyn, New York, to provide a home for the company, rehearsal space for the dance community, outreach programs for local children, and a school offering dance classes to students of all ages. For more information, please visit www.mmdg.org.
T
he MMDG Music Ensemble, formed in 1996, performs with MMDG throughout the season at home and on tour and has become integral to the company's creative life. The core group of accomplished musicians is supplemented by a large roster of regular guests, including cellist Yo-Yo Ma and pianist Emanuel Ax. Most recently, the ensemble, consisting of 14 musicians, traveled with the company to Moscow, Russia to perform Mark Morris' evening-length Dido and Aeneas. While in Brooklyn, members of the ensemble continue to participate in the Mark Morris Dance, Music, and Literacy Project in the New York City public school system.
Chelsea Lynn Acree (Dancer) grew up in Baltimore, Maryland, where she began her dance training with Sharon Lerner, then continued at Carver Center for the Arts and Technology. Since receiving her BFA in dance from SUNY Purchase in 2005 she has had the opportunity to work with a variety of artists including SYREN Modern Dance, Laura Peterson, Hilary Easton + Company, and Michael and the Go-Getters. Ms. Acree is on faculty at The School at the Mark Morris Dance Center teaching kids and adults how to move through space. She began working with Mark Morris Dance Group in 2007 and joined the company in 2011.
Samuel Black (Dancer) is from Berkeley, California, where he began studying tap at the age of nine with Katie Maltsberger. He received his BFA in Dance from SUNY Purchase, and also studied at the Rotterdamse Dansacademie in Holland. He has performed with David Parker, Takehiro Ueyama, and Nelly van Bommel, and currently teaches MMDG master classes and Dance for PD". He first appeared with MMDG in 2005, and became a company member in 2007.
Rita Donahue (Dancer) was born and raised in Fairfax, Virginia and attended George Mason University. She graduated with high distinction in 2002, receiving a BA in English and a BFA in Dance. She danced with bopi's black sheepdances by kraig patterson and joined MMDG in 2003.
Domingo Estrada, Jr. (Dancer), a native of Victoria, Texas, studied martial arts and earned his black belt in 1994. He danced Ballet Folklorico through his church for 11 years. Mr. Estrada earned his BFA in Ballet and Modern Dance from Texas Christian University and had the honor of working with the late Fernando
Bujones. During his undergraduate studies he attended the American Dance Festival where he had the privilege of performing Skylight, a classic work by choreographer Laura Dean. He debuted with MMDG in 2007 and became a company member in 2009. Mr. Estrada would like to thank God, his family, and all who support his passion.
Colin Fowler (Piano) hails from Kansas City, Kansas and began studying piano at the age of five. After attending Interlochen Arts Academy, he received his BM and MM at The Juilliard School, where he stud?ied organ with Gerre Hancock and piano with Ab?bey Simon. He has played and directed music across the country, at venues including Carnegie Hall, Alice Tully Hall, Jazz at Lincoln Center, and The Library of Congress. Mr. Fowler has also performed with the American Brass Quintet, Deborah Voigt, James Gal-way, and at many churches and synagogues in New York. Broadway credits include the recent revival of 42nd Street and the current production of the Tony Award-winning musical Jersey Boys. Mr. Fowler is the Chair of the Theory and Ear Training department at Nyack College, where he is a full-time professor and conductor of the Nyack College Chorale. He has played with the MMDG Music Ensemble since 2006.
Lesley Garrison (Dancer) grew up in Swansea, Illinois and received her early dance training at the Center of Creative Arts in St. Louis, Missouri and Interlochen Arts Academy in Interlochen, Michigan. She studied at the Rotterdamse Dansacademie in The Netherlands and holds a BFA from SUNY Purchase, receiving the Modern Dance Faculty Award. She has performed with the Erica Essner Performance Co?op, John Heginbotham, the Kevin Wynn Collection, Neel Verdoorn, Nelly Van Bommel's N0A Dance, Rocha Dance Theater, and Sidra Bell Dance New York. She first performed with MMDG in L'Allegro, il Penseroso ed il Moderato in 2007 and joined the company as an apprentice in 2011. She has also performed in Morris' production of Orfeo ed Euridice with the Metropolitan Opera. Ms. Garrison has taught creative movement and modern dance at The School at The Mark Morris Dance Center and assists in the Dance for PD" program.
Lauren Grant (Dancer), born and raised in Highland Park, Illinois, has danced with MMDG since 1996. Appearing in over 40 of Mark Morris' works, she performs leading roles in The Hard Nut and Mozart Dances. Ms. Grant has been featured in Time Out New York, Dance Magazine, the book Meef the
Dancers, and is the subject of a photograph by Annie Leibovitz. She graduated with a BFA from New York University's Tisch School of the Arts. Ms. Grant is on faculty at MMDG's school and also teaches dance internationally.
John Heginbotham (Dancer) has danced with MMDG since 1993. Raised in Anchorage, Alaska, he is a graduate of The Juilliard School (BFA '93) and has performed in the companies of Susan Marshall, John Jasperse, Ben Munisteri, and Pilobolus Dance Theater (as a guest artist). Mr. Heginbotham recently completed a choreographic residency at the Baryshnikov Arts Center, where he was the recipient of a 2010 Jerome Robbins Foundation New Essential Works (NEW) Fellowship Grant. Mr. Heginbotham is a founding teacher of Dance for PDO, a program initiated by MMDG and the Brooklyn Parkinson Group. For more information, please visit www.johnheginbotham.com.
Michael Kelly (Baritone) has been captivating audiences with exquisite musicality and a voice of arresting beauty, establishing himself as one of his generation's finest artists. This year's winner of the Joy In Singing Competition and recipient of the "Debut Artist" recital at Merkin Hall in Fall 2011, Mr. Kelly was recently heard in Acis and Galatea with Boston Early Music Festival, as Aeneas in Purcell's Dido and Aeneas in San Miguel de Allende, Mexico, and in recitals at New York's Trinity Church and with his group SongFusion. This season, Mr. Kelly was heard in John Corigliano's The Ghosts of Versailles in Aspen, Schubert's Winterreise in Houston, and is a winner in the Liederkranz Foundation's Song Competition. Previous engagements have included Purcell's Ode on St. Cecilia's Day with Sacred Music in a Sacred Space in New York, Messiah with Monmouth Civic Chorus, and The Secret Agent by Michael Dellaira with the Center for Contemporary Music. Mr. Kelly has performed with Opernhaus Zurich, Chicago Opera Theatre, Gotham Chamber Opera, Festival d'Aix-en-Provence, Tanglewood, and has been presented in recitals in New York, Houston, Chicago, Switzerland, Germany, France, and Corsica. He holds a Master's degree from The Juilliard School.
Wolfram Koessel (Cello), since moving to New York in 1991, has established himself as a much sought after chamber musician, soloist, recording artist, and contractor in the New York music scene. He has performed with MMDG since 1999 and was
music director from 2004-2008. In 2006, Mr. Koessel joined the world-renowned American String Quartet, with whom he performs in the foremost concert halls throughout the world, collaborating frequently with today's leading artists. Mr. Koesse appears with a wide range of ensembles and groups, most notably and frequently with the Orpheus Chamber Orchestra. He has supervised and performed music for Warner Brothers, American Express, and many independent film companies besides organizing hundreds of classical orchestra and chamber music concerts during the last decade in New York. He is on the faculty of the Manhattan School of Music and the Aspen Music Festival. Mr. Koessel resides with his wife, pianist and writer J. Mae Barizo, in Manhattan.
Brian Lawson (Dancer) began his dance training in Toronto at Canadian Children's Dance Theatre, where he worked with choreographers such as David Earle, Carol Anderson, and Michael Trent. Mr. Lawson spent a year studying at the Rotterdamse Dansacademie in The Netherlands and graduated summa cum laude in 2010 from Purchase College, where he was also granted the President's Award for his contributions to the dance program. Mr. Lawson has had the pleasure of performing with Pam Tanowitz Dance, John Heginbotham, and Nelly van Bommel's NOA Dance. He joined MMDG as an apprentice in 2011.
Aaron Loux (Dancer) grew up in Seattle, Washing?ton and began dancing at the Creative Dance Cen?ter as a member of Kaleidoscope, a youth modern dance company. He began his classical training at the Cornish College Preparatory Dance Program and received his BFA from The Juilliard School in 2009. He danced at The Metropolitan Opera ano with Arc Dance Company before joining MMDG in 2010.
Laurel Lynch (Dancer) began her dance faining at Petaluma School of Ballet in California. She moved to New York to attend The Juilliard School where she performed works by Robert Battle, Margie Gil-lis, Jose Limon, and Ohad Naharin. After graduation Ms. Lynch danced for DuSan Tynek Dance Theatre, Sue Bernhard Danceworks, and Pat Catterson. Ms. Lynch joined MMDG as an apprentice in 2006 and became a company member in 2007. Many thanks to Gene and Becky.
Dallas McMurray (Dancer), from El Cerrito, Califor?nia, began dancing at age four, studying jazz, tap, and acrobatics with Katie Maltsberger and ballet
with Yukiko Sakakura. He received a BFA in dance from the California Institute of the Arts. Mr. McMur-ray performed with the Limon Dance Company in addition to works by Jiri Kylian, Alonzo King, Robert Moses, and Colin Connor. Mr. McMurray performed with MMDG as an apprentice in 2006 and became a company member in 2007.
Amber Star Merkens (Dancer), originally from Newport, Oregon, began her dance training with Nancy Mittleman. She received her BFA from The Juilliard School and went on to dance with the Limon Dance Company. In 2001 she received the Princess Grace Award and joined MMDG. She has presented her own choreography both in New York and abroad, taught at the Mark Morris Dance Cen?ter, and worked as a freelance photographer for MMDG, the Silk Road Project, and Brooklyn Rider String Quartet. Ms. Merkens would like to thank her family for their continuous support.
Maile Okamura (Dancer) studied primarily with Lynda Yourth at the American Ballet School in San Diego, California. She was a member of Boston Ballet II and Ballet Arizona before moving to New York to study modern dance. Ms. Okamura has been dancing with MMDG since 1998. She has also had the pleasure of working with choreographers Neta Pulvermacher, Zvi Gotheiner, Gerald Casel, and John Heginbotham, with whom she frequently collaborates as dancer and costume designer.
Spencer Ramirez (Dancer) began his training in Springfield, Virginia, studying under Melissa Dobbs, Nancy Gross, Kellie Payne, and Marilyn York. From there, he continued training at the Maryland Youth Ballet with faculty such as Michelle Lees, Christopher Doyle, and Harriet Williams. In 2008, he entered The Juilliard School under the direction of Lawrence Rhodes and had the opportunity to perform works by Jose Limon, Jerome Robbins, Sidra Bell, and Fabien Prioville. Mr. Ramirez joined MMDG as an apprentice in 2010 and became a company member in 2011.
William Smith IH(Dancer)grewupinFredericksburg, Virginia, and attended George Mason University under a full academic and dance talent scholarship. Mr. Smith graduated magna cum laude in 2007 and received achievement awards in performance, choreography, and academic endeavors. While at George Mason he performed works by Mark Morris, Paul Taylor, Lar Lubovitch, Doug Varone, Daniel
Ezralow, Larry Keigwin, Susan Marshall, and Susan Shields. Mr. Smith's own piece, 3-Way Stop, was selected to open the 2006 American College Dance Festival Gala at Ohio State University and his original choreography for a production of Bye Bye Birdie garnered much critical praise. An actor as well, Mr. Smith's regional theater credits include Tulsa in Gypsy, Mistoffelees in CAT'S, and Dream Curly in Oklahoma!. He previously danced with Parsons Dance from 2007-2010. He became an MMDG company member in 2010.
Noah Vinson (Dancer) received his BA in dance from Columbia College Chicago, where he worked with Shirley Mordine, Jan Erkert, and Brian Jeffrey. In New York, he has danced with Teri and Oliver Steele and the Kevin Wynn Collection. He began working with MMDG in 2002 and became a company member in 2004.
Jenn Weddel (Dancer) received her early training from Boulder Ballet Company near where she grew up in Longmont, Colorado. She holds a BFA from Southern Methodist University and also studied at Boston Conservatory, Colorado University, and The Laban Center, London. Since moving to New York in 2001, Ms. Weddel has created and performed with RedWall Dance Theater, Sue Bernhard Danceworks, Vend Dance Trio, Rocha Dance Theater, TEA Dance Company, and with various choreographers including Alan Danielson and Ella Ben-Aharon. Ms. Weddel performed with MMDG as an apprentice in 2006 and became a company member in 2007.
UMS Archives
T
his weekend's performances mark the Mark Morris Dance Group's 13th and 14th appearances under UMS auspices. The company made its UMS debut in March 1993 with two repertory programs at the Power Center, followed three seasons later with performances of Mr. Morris's staging of Purcell's opera Dido and Aeneas in the Michigan Theater. The company most recently appeared in September 2008 at the Power Center.
Michi Wiancko (Violin) has performed with orchestras including the New York Philharmonic and Los Angeles Philharmonic, and in recital and chamber appearances across the nation. Ms. Wiancko made her New York solo recital debut at Carnegie Hall's Weill Recital Hall after winning the 2002 Concert Artists Guild International Competition. She was featured as an "Artist to Watch" on the cover of the January 2007 issue of Symphony magazine. In March 2007 she gave the world premiere of a concerto written for her by Margaret Brouwer, which she performed with Cleveland's CityMusic Orchestra. Ms. Wiancko is also the singer and songwriter for her project called Kono Michi, comprised of string quartet, upright bass, and drums. Kono Michi has performed in Merkin Hall, Symphony Space's Thalia Theater, Brooklyn's BAMcafe and Barbes, and the World Cafe Live in Philadelphia. Her self-produced
debut album of original music called 9 Death Haiku has recently been released. A native of southern California, Ms. Wiancko began her violin studies at the age of 3. She studied with Donald Weilerstein at the Cleveland Institute of Music, and completed her MM at The Juilliard School, working with Robert Mann.
Michelle Yard (Dancer) was born in Brooklyn, New York and began her professional dance training at the New York City High School of the Performing Arts. Upon graduation she received the Helen Tamiris and B'nai Brith awards. For three years she was a scholarship student at the Alvin Ailey Dance Center, and attended New York University's Tisch School of the Arts, where she graduated with a BFA. Ms. Yard joined MMDG in 1997. Mom, thank you.
Mark Morris Dance Group Staff
Mark Morris, Artistic Director Nancy Umanoff, Executive Director
Production
Johan Henckens, Technical Director
Matthew Rose, Rehearsal Director
Nick Kolin, Lighting Supervisor
Ken Hypes, Sound Supervisor
Matthew Eggleton, Assistant Technical Director
Stephanie Sleeper, Costume Coordinator
Jennifer Perry, Wardrobe Supervisor
Administration
Elizabeth Fox, Chief Financial Officer Marea Chaveco, Finance Associate Diana Acevedo, Finance Assistant Huong Hoang, General Manager Sarah Robinson, Company Manager
MarketingDevelopment
Lauren Cherubini, Director of Development and
External Relations
Alexandra Pacheco, Special Projects Manager Kelly Sheldon, Development Associate Moss Allen, Development Assistant Ashley Matthews, Marketing Assistant
Education
Eva Nichols, Outreach Director
Sarah Marcus, School Director
David Leventhal, Dance for PD" Program Manager
Elise Marafioti, School Administrator
Dance Center Operations
Karyn Treadwell, Studio Manager
Matthew Eggleton, Production and Facilities Manager
Chris Sperry, Assistant Facilities Manager
Jackie Busch, Front Desk Manager
Elise Gaugert, Assistant Front Desk Manager
Bruce Lazarus, Music Coordinator
Gregory Collazo, Jose Fuentes, Orlando Rivera, Maintenance
Michael Mushalla (Double M Arts & Events),
Booking Representation William Murray (Better Attitude, Inc), Media and
General Consultation Services
Mark Selinger (McDermott, Will & Emery), Legal Counsel O'Connor Davies Munns & Dobbins, LLP, Accountant David 5. Weiss, M.D. (NYU-HJD Department of
Orthopedic Surgery), Orthopedist Marshall Hagins, PT, PhD, Physical Therapist
Thanks to Maxine Morris.
Sincerest thanks to all the dancers for their dedication, commitment, and incalculable contribution to the work.
The Mark Morris Dance Group New Works Fund is supported by The Gladys Krieble Delmas Foundation, Meyer Sound Helen and John Meyer, The PARC Foundation, and Poss Family Foundation.
The Mark Morris Dance Group's performances are made possible with public funds from New York City Department of Cultural Affairs; New York State Council on the Arts, a State Agency; and National Endowment for the Arts Dance Program.
For more information, please visit www.mmdg.org.

presents
Dan Zanes & Friends
Dan Zanes, Vocals, Guitar, Mandolin, Banjo
Sonia De Los Santos, Vocals, Guitar, Mandolin, Jarana
Elena Park, Vocals, Violin
Saskia Lane, Vocals, Bass
Colin Brooks, Vocals, Drums
Program
Sunday Afternoon, September 25, 2011 at 1:00 Sunday Afternoon, September 25, 2011 at 4:00 Power Center Ann Arbor
This afternoon's program will be announced by the artists from The stage and will be performed without intermission.
Fifth and Sixth Performances of the 133rd Annual Season
The photographing or sound and video recording of this concert or possession of any device for such recording is prohibited.
This afternoon's performances are sponsored by Rachel Bendit and Mark Bernstein.
UMS Family Programs are made possible by Toyota.
Dan Zanes & Friends appear by arrangement with Concerted Efforts, LLC, Somerville, MA.
Large print programs are available upon request.
T
his year marks the 10th anniversary of Festival Five Records, the home of Dan Zanes & Friends and their 21st-century handmade all-ages family music. Dan Zanes began exploring family music after the birth of his daughter in 1994 and soon after decided to abandon a pop music career, which had included four albums with Boston's Del Fuegos, to form Festival Five Records, his decidedly independent label, and pursue family music full time. His first release Rocket Ship Beach was an immediate hit with families around America and 10 years later the Grammy Award-winning artist is known widely as the leading man of the family music genre. Among the several Parents Choice Award-winning, bestselling albums for kids and kid sympathizers are the acclaimed House Party, Night Time!, Nueva York, and Catch That Train!, which won the 2007 Grammy Award for "Best Musical Album for Children." Music videos for Dan Zanes' songs have aired on the Noggin Network, Sesame Street, and the Disney Channel's
Playhouse Disney. This fall, Dan Zanes & Friends will release Little Nut Tree, their first family album in five years. As the official follow up album to the 2007 Grammy Award-winner Catch That Train!, the new album is a return to the age-desegregated mixed musical bag approach that has earned Dan Zanes his place at the forefront of the family music genre.
UMS Archives
T
his afternoon's performances mark the sixth and seventh UMS appearances by Dan Zanes & Friends. The group made their UMS debut in March 2005 and last appeared in March 2009 at Rackham Auditorium.
urns
and the
University of Michigan
Health System
present
The Infernal Comedy: Confessions of a Serial Killer
with
John Malkovich as Jack Unterweger
Sophie Klussmann Soprano Claire Meghnagi Soprano
Musica Angelica Baroque Orchestra Martin Haselbock Conductor
Directed by Michael Sturminger
Program
Christoph Willibald Cluck 1761
Saturday Evening, October 1, 2011 at 8:00 Hill Auditorium Ann Arbor
Chapter 1: Introduction
Chaconne, "L'Enfer" from Don Juan
@@@@Luigi Bocchehni 1771
Gluck 1762
Antonio Vivaldi 1713
Wolfgang Amadeus Mozart 1783
Ludwig van Beethoven 1795-6
Franz Joseph Haydn 1795
Chapter 2: Where to begin
Chaconne, "La Casa del Diavolo" from Symphony in d minor, C 506
Chapter 3: Mother
"Ballo grazioso" from Orfeo ed Euridice
Chapter 4: Womanizer
"Sposa son disprezzata" from Ottone in Villa
Chapter 5: Writer
"Vorrei spiegarvi oh Dio!," K. 418
"Ah! Perfido," Op. 65
Chapter 6: Liar
"Berenice, che fai," Hob. XXIVa:10
@@@@Carl Maria von Weber 1815
Mozart 1777
Chapter 7: Killer
"Ah, se Edmundo fosse I'uccisor!" (Insertion aria for Mehul's Helena)
Chapter 8: Exit
"Ah, loprevidi!," K. 272
Seventh Performance of the 133rd Annual Season
133rd Annual Choral Union Series
The photographing or sound and video recording of this concert or possession of any device for such recording is prohibited.
This evening's performance is sponsored by the University of Michigan Health System and Jane and Edward Schulak.
Media partnership is provided by Between the Lines, Metro Times, and Ann Arbor's 107one.
Special thanks to Frank Beaver, U-M Professor Emeritus of Communication Studies, Screen Arts & Cultures for speaking at this evening's Prelude Dinner.
Special thanks to Tom Thompson of Tom Thompson Flowers, Ann Arbor, for his generous contribution of lobby floral art for this evening's performance.
This production appears by arrangement with FAS Arts Management Agency.
Large print programs are available upon request.
O
pera or music drama--call it what you will--has always revelled in transgres?sions of the most shocking kind. Regicide, patricide, matricide, fratricide, sororicide, the pre?meditated murder of partners, children and best friends, whole cities and tribes put to the sword: these have been raw meat and rough drink to librettists and composers since the Florentine Camerata first began to experiment with monodic music drama. Audiences have thrilled to the palpa?ble presence of evil on stage for over four centu?ries. Indeed, there's an argument worth pursuing that, as the tide of Christian faith receded in the 19th century, it was in the opera house that men and women who had lost or jettisoned their faith now encountered the absolutes of good and evil, lago's credo in Verdi's Ofeo, for example, with that chilling word "nulla" at the end; or Hagen in Gotterdammerung inciting Gunter and Brunnhilde to acquiesce to the murder of Siegfried.
Why be surprised then that Michael Sturminger chose to make a piece of music theater for John Mal-kovich out of the life and--as will soon be clear--the death of the Austrian serial killer Jack Unterweger Unterweger was convicted of murdering Margaret Schafer in 1974. He had strangled her with her own underwear and he was given a life sentence, which under Austrian law meant 25 years--15 in prison and then 10 years on parole. While in jail, Unterweger began to write poetry, short stories, plays, and an autobiography. Impressed by his literary gifts, a num?ber of Austrian intellectuals took up the prisoner's case, including the 2004 Nobel laureate for literature Elfriede Jelinek. They petitioned for a pardon, argu?ing that the murderer was reformed and properly rehabilitated. Eventually Unterweger was released in May 1990, having served his 15 years in jail. Within no time at all he became a national celebrity, with frequent appearances on Austrian television where, among other matters, he would argue the case for the rehabilitation of criminals based upon his own experiences.
What no one knew was that Unterweger was anything but a reformed character. In the year after his release he killed a total of six prostitutes in Austria. And when a magazine commissioned him to write about crime in Los Angeles, and in particular to explore the different attitudes on either side of the Atlantic to the issue of prosti?tution, Unterweger grasped the opportunity to murder three Californian prostitutes. Sherri Ann Long, Shannon Exley, and Irene Rodriguez were all beaten, sexually assaulted, and then strangled with their own brassieres--Unterweger's signa?ture way of killing his victims.
In time the Austrian police made four from two plus two. (To be fair, Jack Unterweger was a prominent celebrity who was rarely of the public eye and we are most of us credulous in the face of fame.) But when the police called to arrest him, Unterweger had fled. It was the FBI who tracked him down in Florida, and when he was returned to Austria the murderer-turned-literatus was charged with the 11 murders. He was found guilty of nine crimes by a majority jury and was again sentenced to life imprisonment but this time without parole. On his return to prison, Jack Unterweger took his own life. On June 29, 1994 he hanged himself with a rope he had made from his shoelaces and the cord from his tracksuit trousers. It is reported that the knot was the same knot that he had used to strangle his victims.
How did Unterweger avoid detection Charm, says John Malkovich, who takes the part of the serial killer in The Infernal Comedy. "I saw him more than once on television. He became quite a celebrity here and hung out a cafe that is just about a five-minute walk from where I am now in Vienna. He was quite 'the man about town' at the time. He was someone who had a lot of charm. If you go over to that cafe where he used to go, you can talk to people who will tell you that he was nice and funny and always had a smile on his face. In retrospect, and given the events of his life.
"It's a cynical story about a man who is tricking the whole world. At the same time it's a story of a person who believes that he can do anything because no one understands who he really is."
we should remember one of the things that he wrote--that the first thing he had learnt was to smile and that smile was already a lie."
Michael Sturminger, author and stage director of The Infernal Comedy, argues that the lies go far beyond a killer's smile; that Austria itself has never owned up to the truth about Jack Unterweger. "The Austrian media had been reporting about him all the time but had never been particularly interested in finding out the truth about him. The press had overlooked [much] because they had relied on the things that Unterweger himself had said in his interviews or had written about himself, at least half of which were not true. So the topic of what could be the truth, and what should be the truth about this person was very interesting for me."
At one point in his libretto, Sturminger, speak?ing through the "character" of Unterweger, tells us that even Jack's Wikipedia entry peddles fiction rather than truth about his history. For John Mal-kovich these lies or half-truths began at the very beginning. "The women in Unterweger's life were victims in some way or other...indeed his mother was also a victim of [her son). He made it up that she was a Viennese prostitute when in fact noth?ing could have been further from the truth. She was just a very young girl, really a kind of country bumpkin, who got pregnant by an American Gl who went back home a few weeks later without ever knowing about his unborn son."
As Michael Sturminger says, Jack Unterweger made people believe in him. "It's fascinating to see that a lot of the women that he was involved with didn't even believe that he was guilty even after the trial and [having heard] all the evidence against him. They could not believe that the per?son they knew had been the person who killed all these women. He must have been a very charm?ing and interesting and lovely man. His young girl?friend who followed him for years still couldn't be?lieve that he was the murderer even after his trial. It was a little bit of a Jekyll and Hyde situation."
What then is the truth that Sturminger puts on stage about the serial killer "It's a cynical story about a man who is tricking the whole world. At the same time it's a story of a person who believes that he can do anything because no one under?stands who he really is." To which Malkovich adds, "I think that in Judeo-Christian society the notion of redemption is so powerful and necessary that we'd all like to believe that we could be redeemed,
even for things that don't measure at all on the same scale as Unterweger's crimes. So it's under?standable that someone should present them?selves as a model prisoner, one who has learnt to write and has been rehabilitated, and so on. On that level I think that The Infernal Comedy is about the notion that because we believe in something, it must be true. And that what we believe is borne out by the facts. It's something that you have to be careful of: philosophies and ideologies scare me." Put another way, The Infernal Comedy would seem to circle that current cultural conceit, par?ticularly in respect of celebrities, that what we see or are shown is the truth, that the outer self must surely be the same as the inner self. "Sure," says Malkovich, adding that we confuse even our?selves. "That's Unterweger. I think it is a tragic and haunting piece and story. But that's not at all to excuse anything he did."
Malkovich had originally intended to direct what was about to become The Infernal Comedy rather than appearing in it. But before that deci?sion was made, in the spring of 2008, Sturminger and conductor Martin Haselbock--the third mem?ber of the creative triumvirate--had to agree on how they would turn Unterweger's history into music theater. Their solution was to look to the past as well as the present. So Sturminger wrote a sequence of monologues for Malkovich that be?gan with the notion that he comes back from the dead. Unterweger steps out before the audience to promote a new book. "The piece starts out as if it's stand-up comedy," Sturminger explains. "Jack comes in saying 'hello' and being charming and funny. After he died, he tells us, he wrote his true-life story. Now he's going to present it to the pub?lic for the first time. But his publisher has forced him to have this strange kind of old-fashioned mu?sic around it because they were concerned about the [need for] dramatic impact."
Music underpinning speech looks back to an almost entirely forgotten 18thand early-19th-century tradition, the melodrama. There are melo?dramas in Mozart's opera Zaide, and Beethoven acknowledges the form when Rocco and Leonora are digging Florestan's grave in Fidelio. Weber uses the same device in the "Wolf's Glen" scene in Der Freischutz. Music raises the emotional temperature of the drama, hinting at things that cannot be said.
Then there are two sopranos on stage, perform?ing arias by Vivaldi, Mozart, Beethoven, Haydn, and Weber. They depict heroines from the Baroque
and early classical periods singing of their grief and torment, their fury and their resignation-the emotional red meat of opera and the concert aria. "The two sopranos begin as concert singers," Sturminger explains, "artists who are going to pro?vide a bit of classical music between Unterweger's monologues, but gradually they become characters in his life. Not always as definite characters with names but their stories and Jack's life story some?how merge together." Malkovich takes up the idea. "Their arias are chosen to...represent the women in Unterweger's life, all of whom were victims in some way or another. He victimized...just about every woman he met and so they kind of call him out from the grave in the piece."
What is so modern about this dramatic idea is the blending of the elaborate and often highly artificial musical worlds of Baroque and early clas?sical arias with the low-life history of a serial killer who was also a modern celebrity. It's as if Handel had turned Truman Capote's In Cold Blood into an opera. John Malkovich believes "that's why it works. There's a kind of pure God-given talent such as Mozart's, that affirms all of mankind's potential for creating beauty, set against Unter-weger, who encapsulates mankind's potential for mayhem and cruelty. I think that this mix, which was Martin Haselbock's idea, is unusually po?tent." The potency of powerful music combined with dangerous emotions: the very stuff of music theater.
Program note by Christopher Cook.
@@@@J
ohn Malkovich is one of the most important actors in cinema today. He has acted in more than 65 films in addition to his roles as direc?tor and producer. In 1976, Mr. Malkovich joined Chicago's Steppenwolf Theatre, newly founded by his friend Gary Sinise.
Seven years later, Mr. Malkovich arrived in New York and won an Obie Award in Sam Shepard's play True West. In 1984, Mr. Malkovich appeared with Dustin Hoffman in the Broadway revival of Death of a Salesman, which earned him an Emmy Award when it was made into a television movie the next
-.'(Ml
His big-screen debut was his role as the blind lodger in Places in the Heart (1984), which earned him an Academy Award nomination for "Best
Supporting Actor." Other films followed, including The Killing Fields (1984) and The Glass Menagerie (1987), and he is well-remembered as Vicomte de Valmont in Dangerous Liaisons (1988). Acting with Michelle Pfeiffer and Glenn Close in a costume picture helped raise his standing in the industry. He was cast as
the psychotic political assassin in Clint Eastwood's In the Line of Fire (1993), for which he was nominated for both the Academy Award and the Golden Globe Award as "Best Supporting Actor."
Out of his roles in independent movies and his reputation as one of the most absorbing actors of Hollywood, the movie Being John Malkovich arose. Mr. Malkovich has periodically returned to Chicago to both act and direct.
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oprano Sophie Klussmann was born in FreiburgBreisgau and studied at Detmold with Mechtild Bohme and Thomas Qu?asthoff. She completed her musical education at Koln with Klesie Kelly-Moog and attended mas?ter classes with artists like Christoph Pregardien, Helmuth Rilling, and Christian Rieger (Musica Anti-qua Koln). In 2006 she received a special reward at the Mozartfestwettbewerb Wurzburg and won a scholarship from the Richard Wagner Foundation. As a sought-after singer in a broad repertoire from Baroque to contemporary, Ms. Klussmann has worked with conductors including Marcus Creed,
Michael Gielen, Simon Halsey, Marek Janowski, Enrico Onofri, and Ari Rasilainen. She has estab?lished a strong working re?lationship with the famous Akademie fur Alte Musik Berlin with whom she has toured through France, Germany, and the 3enelux. She has appeared in con?certs at Tonhalle Zurich,
Cite de la Musique Paris, and Philharmonie and Konzerthaus Berlin. In 2007 Ms. Klussmann sang the role of Maria Magdalena in Sir John Tavener's
John Malkovich
Sophie Klussmann
The Veil of the Temple at Hamburger Bahnhof Berlin and Glauke in the creation of Medea: Stimmen by Frank Schwemmer.
Recent opera engagements have included her debut at Komische Oper Berlin in Christian Jost's Angst and as Grafin Elvire in Soldatenliebschaft at Theater Gera, a production that was also screened by Arte. She has appeared on concert stages all over Europe with Collegium Vocale Gent, Marcus Creed in Handel's Brockes Passion and performed at Philharmonie Berlin, Schleswig-Holstein Musikfesti-val, and Beethovenfest Bonn, as well as in Prague and Beijing.
Beginning this season, Ms. Klussmann is a mem?ber of the Ensemble at Opernhaus Halle where she will be heard in a broad repertoire with leading roles like Franziska in Arabian Nights, Pamina in The Mag?ic Flute, Nanetta in Falstaff, and Dorinda in Orlando. In concert, she will be heard at Tonhalle Dusseldorf, Konzerthaus Berlin, Potsdam, and Venice.
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ne of Israel's most exciting young sing?ers to emerge in recent years, soprano Claire Meghnagi is earning outstanding critical acclaim for her performances in opera and concert throughout the world. Acclaimed in rep?ertoire from Monteverdi to 21st-century, she has been in particular demand for her interpretations of Baroque and classical music, especially works by Handel and Mozart.
Ms. Meghnagi made an impressive series of debuts at the world's most prestigious venues in
spring 2007, with Les Arts Florissants and William Christie at their Jardin des Voix concert tour. Her per?formances were received with international critical acclaim, pointing her out as "the most promising singing of the evening" (The Guardian), her "ra?diant voice" and "silvery gleam" (The London
Times), and her "inspired, luminous, and carnal interpretation" (Altamusica France). For her per?formance at Lincoln Center, The New York Times wrote "Claire Meghnagi had the most strikingly operatic sound, in terms of projection, power, and suppleness, qualities she put to superb use in the Prologue from Monteverdi's Orfeo..."
The 1112 season will see Ms. Meghnagi make her debut as Cleopatra (Julius Caesar) at the Finn?ish National Opera in Helsinki, and return to the Israeli Opera to sing Euridice (Orfeo ed Euridice) under the baton of David Stern. Concerts will in?clude her debut at the Philharmonie hall in Berlin performing Mahler's Symphony No. 4 as well as New Year's Gala concerts with the Berliner Sym-phoniker under the baton of Lior Shambadal. She will also perform in The Infernal Comedy alongside Hollywood legend John Malkovich, under the ba?ton of Martin Haselbock, on tour in the US.
Daughter of Italian cantor Isacco Meghnagi, she has particular interest in the traditional Jewish music of North Africa, and performs this repertoire alongside her father and her aunt, the well-known Jewish music performer Miriam Meghnagi. An avid performer of contemporary music, she performed world premieres of Israeli composers Oded Zehavi, Ella Milch-Sheriff, Gil Shohat, and Israeli premieres of works by renowned Italian composer Luca Lombardi.
Ms. Meghnagi graduated from the Rubin Acad?emy of Music in Tel Aviv, and continued her stud?ies in Boston and New York. Her teachers include Efrat Ben-Nun, Carole Haber, and Sylvia Green-berg. She currently works with Lillian Watson in London. Winner of numerous prizes and awards, she received scholarships from the America-Israel Cultural Foundation, the Israel Vocal Arts Institute, the Annie Sankey Bursary of the BBC Cardiff Singer of the World Competition, and IMERYS.
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usica Angelica Baroque Orchestra is led by internationally renowned organ?ist, conductor, and composer Martin Haselbock. Regarded as southern California's pre?mier Baroque ensemble, Musica Angelica presents wide-ranging programs encompassing music from the early Baroque through the early Classical era.
Since its inception in 1993, Musica Angelica has produced an annual subscription season of orches?tral and chamber concerts in venues throughout Los Angeles County, programming a mixture of known masterworks along with rarely-heard gems, and featuring many of the best Baroque musi?cians from across the country and Europe. Guest conductors have included Rinaldo Alessandrini, Giovanni Antonini, Harry Bicket, Paul Goodwin, and Jory Vinikour.
Musica Angelica's first international tour, dis?tinguished by sold-out performances and wide
Claire Meghnagi
critical acclaim, took place in March 2007 in a joint venture with Mr. Haselbock's acclaimed European orchestra, the Wiener Akademie of Vienna. The ensemble presented 13 performances of Bach's St. Matthew Passion in Los Angeles, New York, Savan?nah (Savannah Music Festival), Mexico, Hungary, Austria, Spain, Italy, and Germany.
Among critical acclaim from the media for Musica Angelica is a Los Angeles Times review which said, "Musica Angelica soars in a Baroque gem...a tri?umph...Haselbock's leadership was nuanced and in?spiring." Musica Angelica was described as a "world class Baroque orchestra" by KUSC FM Classical Music Radio, as "LA's premier Baroque music ensemble" by Angeleno magazine, and as "a serious and important early music ensemble, the best of its kind in these parts" by esteemed music critic Alan Rich.
In 1998, Musica Angelica issued a well-received recording, Vivaldi Concertos for Lute, Oboe, Violin, and Strings. In 2007, Musica Angelica raised its pro?file with a contract for four recordings on the Germa?ny-based New Classical Adventure (NCA) label. The first, released in 2007, is Handel's Acis and Galatea.
Based in Santa Monica, California, Musica An?gelica collaborates with leading performing arts institutions in Southern California including Los Angeles Opera, Long Beach Opera, the J. Paul Get?ty Museum, the Norton Simon Museum, and the Los Angeles Master Chorale. Musica Angelica was co-founded by Michael Eagan, widely considered one of the foremost lute players in the country, and gambist Mark Chatfield. Eagan passed away in 2004, and Chatfield passed away in 1998.
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artin Haselbock was appointed Musica Angelica's music director beginning with the ensemble's 0506 season. Equally at home with period and modern instrument ensem?bles, he has earned an outstanding reputation as a solo organist, an orchestral and opera conductor, and composer. Mr. Haselbock's main focus lies in works of the Baroque and Classical periods.
As a solo organist, he has performed under the direction of conductors Abbado, Maazel, Muti, and Stein; has won numerous competitions; and has made more than 50 solo recordings. Addition?ally, he has conducted over 60 recordings, with repertoire ranging from Baroque to 20th-century vocal and instrumental works. This prodigious out?put has earned him the Deutsches Schallplatten Critics' Prize as well as the Hungarian Liszt Prize.
While in his official role as Court Organist of Vienna, where he was responsible for an extensive repertoire of classical church music, Mr. Haselbock began an intense commitment to conducting, which led to his founding of the now-famous Vienna Akademie Ensemble in 1985. With this period instrument
orchestra, Mr. Haselbock established a year-round cycle of concerts for the Gesellschaft der Musik-freunde in the Great Hall of the Vienna Musikverein.
Mr. Haselbock frequently guest conducts major orchestras including the Vienna Symphony, St. Paul Chamber Orchestra, Deutsches Symphonie Orchester Berlin, Dresden Philharmonic, Hamburg Symphony, Flemish National Philharmonic, Radio Orchestra Hilversum, the Toronto Symphony, and the National Philharmonics of Hungary, Czech Republic, Slovakia, and Slovenia. In the US, he has conducted the Pittsburgh Symphony, Philadelphia Orchestra, San Francisco Symphony, the Detroit Symphony, and the Los Angeles Philharmonic. He has also been a guest with his Vienna Akademie as Artist-in-Residence with numerous festivals includ?ing those of the Cologne Philharmonic, Suntory Hall in Tokyo, and MozartFest in Wurzburg.
As an opera conductor, Mr. Haselbock made his debut with the Handel Festival in Gottingen. He regularly appears at the Zurich Opera and he conducted new productions of Mozart operas at the Theatre im Pfalzbau Ludwigshafen, using his?toric instruments for the first time in Germany's modern history. In 0001 he created new produc?tions of Handel's Ads and Galatea, Gassmann's La Contessina, and Haydn's Die Feuersbrunst with his Vienna Akademie, following in 2002 with produc?tions at the Festival in Schwetzingen (Benda's buon marito) and Salzburg (Handel's Radamisto). In 2004, he led productions of Handel's ' trionfo del tempo (Salzburg Festival), Mozart's II re pastore (Klangbogen Wien), and Handel's Radamisto (tour?ing to Spain, Istanbul, Venice, Israel, and the Con-certgebouw in Amsterdam). He also conducted the US premiere of Porpora's Gedeone in a concert version with Musica Angelica in Los Angeles.
When not conducting, Mr. Haselbock is busy unearthing long-lost vocalinstrumental works in the dusty archives of Kiev and Vienna, finding unpublished gems by Biber, Porpora, Fux, Muffat,
Martin Haselbock
and the Bach family, which he transcribes and resurrects in historical recreations for his Vienna Akademie Ensemble and festivals around the world.
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n early 2008, Michael Sturminger started a project with the renowned organist and con?ductor Martin Haselbock, who was looking for a new connection between classical music and contemporary acting. The Infernal Comedy, a piece for orchestra, two sopranos, and one actor, had its world premiere in Los Angeles, directed by and performed by John Malkovich. Following the production's initial success, The Infernal Comedy was produced and directed by Mr. Sturminger in 2009 at the Ronacher Theatre in Vienna and Pera Lada Festival in Spain. In May and June 2010, the production went on a tour including Luxemburg, Brussels, Paris, Istanbul, Hamburg, Athens, Sa-loniki, Malaga, Bilbao, Ravello, St. Petersburg, and Toronto and continues to North and South America in 2011.
Alongside his opera productions, Mr. Sturminger is regularly directing drama at Vienna's Volksthe-ater (Peer Gynt, Hiob, and Du bleibst bei mir), and also directed several operetta productions includ?ing Die Fledermaus (2008) with Franz Welser-Most at Zurich Opera House and The Czardas Princess with conductorintendant Stefan Soltesz at Aalto Theatre Essen (2010).
Mr. Sturminger has also worked in cinema. His 2004 film Hurensohn, starring Russian actress Chul-pan Khamatova, received several awards. In 2008, his documentary Malibran Rediscovered with Cecilia Bartoli was shown on Arte TV and released on DVD. A DVD of The Infernal Comedy was published by Arthouse. Malkovich, Haselbock, and Sturminger have just created a second opera project The Gia-como Variations, which will be published on DVD as well as performed in many European cities including Vienna, Sydney, Moscow, Bruxelles, Hamburg, Paris, Turku, and St. Petersburg.
UMS welcomes John Malkovich, Sophie Klussmann, Claire Meghnagi, Musica Angelica Baroque Orchestra, and Martin Haselbock, who make their UMS debuts this evening.
Musica Angelica Baroque Orchestra
Martin Haselbock, Conductor
Violin I
Ilia Korol Cynthia Roberts Kati Kyme Owen Dalby Francis Liu Noah Strick Tatiana Daubek
Violin II
Piroska Batori Janet Strauss Jolianne Einem Amy Wang Maxine Nemerokski Jennifer Heilig
Viola
Robert Diggins Aaron Westman William Frampton
Cello
William Skeen Shirley Hunt
Bass
Joshua Lee Jessica Powell
Flute
Stephen Schultz
Oboe
Gonzalo Ruiz Michael DuPree
Bassoon
Anna Marsh Kelsey Schilling
Clarinet
Nina Stern Laura Spino
Horn
Hermann Ebner Suzette Moriarty
UMSExperience
UMS EDUCATION & COMMUNITY ENGAGEMENT PROGRAMS
www.ums.orgeducation
UMS's Education Program deepens the rela?tionship between audiences and the perform?ing arts, while Community Engagement draws people together around the arts and raises awareness of the positive impact the perform?ing arts can have on the quality of life in our region. The program creates and presents the
Performing Arts = You.
You conduct symphonies in your car. You sing in the shower. You have a happy dance. You are more than ready to take the plunge and immerse yourself in the performing arts, to blur the boundaries between patron and participant, con?sumer and creator. To add fuel to your creative fire, UMS has a truly fantastic line-up of workshops, screenings, conversa?tions, and interactive experiences designed to draw you in and out of your comfort zone, connect you to interesting people and unexpected ideas, and bring you closer to the heart of the artistic experience. A sampling of what's com?ing this fall:
The Essential Samuel Beckett
Tuesday, October 25, 7:00 pm; Ann Arbor District Library, Downtown Branch (343 5. Fifth Avenue) Theater historian and Samuel Beckett specialist Enoch Brater presents an overview of the life and works of playwright Samuel Beckett, his influ?ence upon modern theater, and the landmark productions of Beckett's works staged by the Gate Theatre of Dublin.
Why Renegade
Monday, November 14, 7-9:00 pm; Ann Arbor District Library, Downtown Branch (343 5 Fifth Avenue); Multipurpose Room. Renegade: a rebel, someone who breaks with cus?toms--and the idea behind UMS's 10-week, 10-performance winter series focusing on innovation and experimentation in the performing arts. UMS artistic programming director Michael Kondziolka and a panel of special guests will lead a conversation about UMS's "Renegade" series and the significance of artistic renegades.
highest quality arts education and community engagement experiences to a broad spectrum of participants, proceeding in the spirit of part?nership and collaboration.
Details about all educational and residency events are posted online approximately one month before the performance date. Join UMS E-news to receive updated event information via e-mail. For immediate information, please contact umsed@umich.edu, or call the numbers listed on the following pages.
UMS on Film
U-M Museum of Art Helmut Stern Auditorium (525 5. State Street). A film series expanding our understanding of the artists and cultures represented on the UMS season that reveals the emotions and ideas behind the creative process.
Fauborg Treme: The Untold Story of Black New Orleans
(2008, Dawn Logsdon, 69 min.) Tuesday, October 11, 7:00 pm.
During slavery, Faubourg Treme was home to the largest com?munity of free Black people in the Deep South and a hotbed of political ferment. Executive producer Wynton Marsalis.
AnDa Union: From the Steppes to the City
(2011, Sophie Lascelles and Tim Pearce)
Tuesday, Novembers, 7:00pm.
Filmmakers Sophie Lascelles and Tim Pearce preview their
work-in-progress documentary which follows AnDa Union, a
group of 14 musicians who all hail from the Xilingol Grassland
area of Inner Mongolia, a semi-autonomous region of China.
Absolute Wilson
(2006, Katharina Otto-Bernstein, 105 min.) Tuesday, January 10, 7:00 pm.
Absolute Wilson chronicles the epic life, times, and creative ge?nius of Einstein on the Beach director Robert Wilson.
ADULT, UNIVERSITY, & COMMUNITY PROGRAMS
Please call 734.615.4077 or e-mail umsed@umlch.edu for more information.
Public Programs
Through public events and contextual material, UMS creates an array of entry points that explore the diversity of artists, art forms, ideas, and cultures represented on the UMS season. These are grouped into four categories:
Immersive: Experiences that connect deeply with the current mainstage season, including public interactions with artists, master classes, and lec? turespanels with artistic and cultural experts
Exploratory: Educational programs that more broadly explore the ideas, cultures, and values behind artistic work, and the history and tra? dition of artistic genres, including discussion groups, book clubs, and film screenings
Interactive: Opportunities for audiences to ex? periment with their own creativity and participate in the performing arts, including jam sessions, DIY workshops, and movement classes, as well as community receptions that provide a relaxed setting for audiences to network and socialize with each other and with artists
Contextual: Background material and multi? media content that audiences can delve into any? time before or after a performance
University Connections
UMS works with 57 academic units and 175 fac?ulty members at U-M, along with many partners at other regional colleges, bringing together visiting artists, faculty, students, and the broader south?eastern Michigan community. UMS appreciates the generosity of the many faculty members who share time and talent to enrich the performance-going experience for UMS audiences.
With the aim of educating and inspiring students to participate more fully in the performing arts, UMS student programs range from pre-concert pizza to post-concert dance parties; in-class visits with artists to internships and jobs at UMS. UMS also
provides various opportunities for students to at?tend UMS performances at significantly discounted rates (see ticket discount information on page 20). Each year, 18,000 students attend UMS events and collectively save $375,000 on tickets through our discount programs.
Arts & Eats
Mix, mingle, and unwind with your friends at Arts & Eats. Your $15 performance ticket includes exclusive access to a soiree with music, food, and conversa?tion-starters designed to keep you talking long after the curtains close. Tickets at www.ums.orgstudents or in person at the Michigan League Ticket Office. Limit two Arts & Eats tickets per student.
201112 Arts & Eats:
The Infernal Comedy with John Malkovich, Sat 101
Cloud Gate Dance Theatre of Taiwan, Fri 1021
A Night in Treme: The Musical Majesty of New Orleans, Fri 1111
Handel's Messiah, Sat 123
Einstein on the Beach, Fri 120
Random Dance, Sat 218
American Mavericks: San Francisco Symphony, Thu 322
Cheikh L6, Fri 413
With support from the U-M Alumni Association.
Internships and College Work-Study Jobs
Internships and College Work-Study jobs with UMS provide experience in performing arts administration, marketing, ticket sales, programming, production, fundraising, and arts education. Semesterand year?long unpaid internshipsare available in many of UMS's departments. If you are a U-M student interested in working at UMS, please e-mail kmabrown@umich.edu or visit www.ums.org.
UMS Student Committee
Do you believe in the transformative power of the performing arts Looking for a way to give back and pick up some resume-building experiences while you're at it UMS is a non-profit organization that
relies heavily on volunteer support to continue to bring world-class performing artists to Ann Arbor. Be a part of what we do by joining the UMS Student Committee. Here, you'll have an opportunity to see arts administration happening on the ground level and assist with student focused marketing and event planning. Student Committee mem?bers also have the opportunity to assist in content creation for our conversation-based website, www.umsLOBBY.org, and participate in other fan?tastic volunteer opportunities. E-mail us to join the fun: umsscboard@umich.edu.
UMS is grateful to the University of Michigan tor its support of many educational activities scheduled in the 1112 season.
YOUTH & TEENS
Please call 734.615.0122 or e-mail umsyouth@umich.edu for more information.
UMS Youth: Arts for the Next Generation
UMS has one of the largest K-12 education initia?tives in Michigan. Designated as a "Best Practice" program by ArtServe Michigan and the Dana Foun?dation, UMS is dedicated to making world-class performance opportunities and professional devel?opment activities available to K-12 students and educators.
201112 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 201112 season fea?tures the following performances for school au?diences: AnDa Union, A Night in Treme: The Musical Majesty of New Orleans, Sphinx Ju?nior Division Honors Concert, Chamber Ensem?ble of the Shanghai Chinese Orchestra, Sweet Honey In The Rock, San Francisco Symphony, and Zakir Hussain and Masters of Percussion.
Teacher Workshop Series
UMS is part of the Kennedy Center Partners in Edu?cation Program, offering educators meaningful pro?fessional development opportunities. Workshops, cultural immersions, and book clubs bring the best
Teacher Appreciation Month! February 2012 is Teacher Appreciation Month. Visit www.ums.orgeducation for special ticket discount information.
in local and national arts education to our com?munity, through presentations by Kennedy Center teaching artists, UMS performing artists, and local arts and culture experts. This series focuses on arts integration, giving teachers techniques for incorpo?rating the arts into everyday classroom instruction.
Student-Artist Interactions
Whenever possible, UMS brings its artists into schools to conduct workshops and interactive performanc?es 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 ad?vises and assists UMS in determining K-12 pro?gramming, policy, and professional development. If you would like to participate, please contact umsyouth@umich.edu.
UMS is in partnership with the Ann Arbor Public Schools and the Washtenaw Immediate School District as part of the Kennedy Cen?ter: 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 col?laborative performance, ticket discounts (see page ;20), and occasional internship oppor?tunities 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 Friday, May 11, 2012 at the Power Center, highlighting the area's best teen perform?ers. 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 fami?lies to experience the magic of the performing arts together, irrespective of age. Most family perfor?mances feature shorter program lengths, a more re?laxed performance-going environment, and special interactive opportunities for kids with the artist or art form. The 201112 UMS Family Series includes special one-hour performances by Dan Zanes & Friends.
UMS Family Series is sponsored by TOYOTA
Education Program Supporters
Reflects gifts made during fiscal year 2011 asofJune30, 2011.
Ford Motor Company Fund and Community Services
The Andrew W. Mellon Foundation University of Michigan
Anonymous
Arts at Michigan
Arts Midwest's Performing Arts Fund
Association of Performing Arts Presenters
Bank of Ann Arbor
Rachel Bendit and Mark Bernstein
The Dan Cameron Family Foundation
Alan and Swanna Saltiel CFI Group Community Foundation for Southeast
Michigan Confucius Institute at the University of
Michigan
Doris Duke Charitable Foundation Dons Duke Charitable Foundation
Endowment Fund DTE Energy Foundation The Esperance Family Foundation Jo-Anna and David Featherman Maxine and Stuart Frankel David and Phyllis Herzig Endowment
Fund
The Japan Foundation JazzNet Endowment W.K. Kellogg Foundation John S and James L. Knight Foundation Rani Kotha and Howard Hu Mardi Gras Fund
Masco Corporation Foundation Michigan Council for Arts and Cultural
Affairs THE MOSAIC FOUNDA-ION [of R. &
P HeydonI National Dance Project of the New
England Foundation for the Arts National Endowment for the Arts Sarah and Dan Nicoli Qumcy and Rob Northr jp Prudence and Amnon Rosenthal K-12
Education Endowment Fund Stout Systems Karen and David Stutz Target Toyota
UMS Advisory Committee University of Michigan Center for
Chinese Studies
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 Resident for
Research Wallace Endowment Fund
UMSSupport
T
here 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 volunteer?ing. Your financial investment andor gift of time to UMS allows us to continue connecting artists and audiences, now and into the future.
CORPORATE SPONSORSHIP AND ADVERTISING
Sponsorship
As a UMS corporate sponsor, your business comes to the attention of an educated, diverse, and loyal audience of performing arts lovers from throughout southeastern Michigan. You make possible one of our community's greatest assets, and receive valuable benefits for your in?vestment. For example, UMS offers a range of programs that, depending on your level of sup?port provide a unique venue for:
Cultivating clients
Recruiting top talent
Developing business-to-business relationships
Targeting messages to specific demographic groups
Enhancing corporate image
Making highly visible links with award-win? ning education programs
Rewarding employees
For more information, please call 734.647.1176.
Advertising
When you advertise in the UMS program book you gain season-long visibility among ticket buyers while enabling an important tradition of providing audiences with the detailed program notes, artist biographies, and program descrip?tions that are so important to the performance experience. Call 734.647.1176 to learn how your business can benefit from advertising in the UMS program book.
INDIVIDUAL DONATIONS
We could not present our season without the invaluable financial support of individual donors. Ticket revenue only covers half of the cost of our performances and educational events. UMS donors help make up the differ?ence. If you would like to make a gift, please fill out and mail the form on page (36 or call 734.647.1175.
UMS ADVISORY COMMITTEE
The UMS Advisory Committee is an organiza?tion of over 80 volunteers who contribute over 7,500 hours of service to UMS each year. The Advisory Committee champions the mission and advances the goals of UMS through com?munity engagement, financial support and oth?er volunteer service.
Advisory Committee members work to in?crease awareness of and participation in UMS programs through the Education & Commu?nity Engagement committee, ushering at UMS youth performances, and partnerships with vari?ous U-M and community groups.
Raising money to support UMS Education Programs is another major goal of the Advisory Committee. Upcoming events include:
17th Annual Ford Honors Gala
Violinist Joshua Bell and the Academy of St. Martin in the Fields will receive the 2012 UMS Distinguished Artist Award in a brief ceremony as part of their season-ending concert on Sun?day, April 22, 2012. The UMS Advisory Commit?tee organizes a Gala event around the perfor?mance, including the presentation of the DTE Energy Foundation Educator and School of the Year Awards, to raise funds for UMS's Education & Community Engagement Programs. Tickets for the concert are available now; information about purchasing tickets for the Gala will be available later this fall at www.ums.org.
The Ford Honors Program recognizes the longtime gener?ous support of UMS's Education Program by Ford Motor Company Fund and Community Services.
Ford Motor Company Fund and Community Services
DTE Energy Foundation Educator and School of the Year Awards are sponsored by
Seventh Annual On the Road with UMS
Held in September as a launch to the UMS sea?son, more than 300 people annually enjoy an evening of food, music, and silent and live auc?tions. The 2011 event was held at the A. Alfred Taubman Biomedical Science Research Building.
Advisory Presents...
These social and educational opportunities fall into three categories: Advisory Nights--casual events in members' homes or a specialized gathering in a community location; Artful En?counters--events incorporating the relationship between the visual and performing arts; and Unique Experiences--special opportunities for Advisory Committee members and friends to enjoy themed activities that will typically include a dining experience.
For more information on events being planned for this season, or if you are interested in joining the Advisory Committee, please call 734.647.8009.
THANK YOU!
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MS has been able to present world-class performances and programs for 133 years because of the loyalty of our donors, many of whom have made multiple gifts to the organization over a number of years. In particular, there are several individuals, corporations, foundations, and government agencies that have provided significant leadership support to the organization over time, enabling UMS to engage more audience members, provide education programs, and expand our offerings. We recognize here those donors whose cumulative giving to UMS totals $500,000 or more.
Anonymous
Linda and Maurice Binkow
Doris Duke Charitable Foundation
Ford Motor Company Fund and Community Services
Forest Health Services
The Andrew Mellon Foundation
Michigan Council for Arts and Cultural Affairs
National Endowment for the Arts
Pfizer, Inc.
Randall and Mary Pittman
Estate of Mary Romig-deYoung
Herbert E. Sloan, Jr., MD
The Wallace Foundation
ANNUAL FUND SUPPORT

JULY 1, 2010 JUNE 30, 2011
T
he cost of presenting world-class performances and educational programs exceeds the revenue UMS receives from ticket sales. The difference is made up through the generous support of individuals, corporations, foundations, and government agencies. The follow?ing list includes donors who made gifts to UMS between July 1, 2010 and June 30, 2011. Due to space constraints, we can only list in the UMS program book those who donated $250 or more. Please call 734.647.1175 with any errors or omissions. lndicates the donor made a contribution to a UMS Endowment Fund
DIRECTOR
($100,000 or more) Association of Performing Arts Presenters Doris Duke Charitable Foundation Ford Motor Company Fund and
Community Services Forest Health Services Maxine and Stuart Frankel Foundation The Andrew W. Mellon Foundation National Endowment for the Arts Randall and Mary Pittman University of Michigan Health System
SOLOIST
($50,000-$99,999)
Anonymous
Anonymous
Community Foundation for Southeast Michigan
DTE Energy Foundation
Esperance Family Foundation
MAESTRO
($20,000-$49,999)
'Anonymous
Mary and Brian Campbell
in memory of Herbert Amster David and Phyllis Herzig W.K. Kellogg Foundation KeyBank
Masco Corporation Foundation Jane and Edward Schulak Dennis and Ellie Serras Toyota
University of Michigan Office of the Provost University of Michigan Office of the Vice President
for Research
VIRTUOSO
($1O,OOO-$19,999)
Arts Midwest's Performing Arts Fund
Emily Bandera MD
Bank of Ann Arbor
Linda and Maurice Binkow Philanthropic Fund
DJ and Dieter Boehm
Carl and Isabelle Brauer Fund
Confucius Institute at the University of Michigan
Alice B. Dobson
Charles H. Gershenson Trust
Global Educational Excellence
Richard and Linda Greene
'Susan and Richard Gutow
The Japan Foundation
John S. and James L. Knight Foundation
Rani Kotha and Dr. Howard Hu
Robert and Pearson Macek
Mrs. Robert E. Meredith
Michigan Council for Arts and Cultural Affairs
Donald L. Morelock
NEA Jazz Masters Live
Gilbert Omenn and Martha Darling
Laurence and Beverly Price
Retirement Income Solutions
Sesi Lincoln-Mercury
Joe and Yvonne Sesi
James and Nancy Stanley
University of Michigan Credit Union
Dody Viola
Marina and Robert Whitman
Ann and Clayton Wilhite
CONCERTMASTER
($7,500$9,999)
Merry and Gloria Abrams Amgen Foundation Carol Amster
Rachel Benefit and Mark Bernstein Edward Surovell Realtors llene H. Forsyth GlaxoSmithKline Foundation Anne and Paul Glendon Debbie and Norman Herbert Michigan Critical Care Consultants, Inc. Prue and Ami Rosenthal Doug and Sharon Rothwell Linda Samuelson and Joel Howell Natalie and Edward Surovell The Zelenock Family in memory of Mary Kate Zelenock
PRODUCER
($5,000-$7,499)
Michael Allemang and Janis Bobrin
Ann Arbor Automotive
Anonymous
Janet and Arnold Aronoff
Arts at Michigan
Gary Boren
Mary Sue and Kenneth Coleman
Comerica Bank
Dennis Dahlmann and Patricia Garcia
The Herbert and Junia Doan Foundation
Jim and Patsy Donahey
Faber Piano Institute
David and Jo-Anna Featherman
Ken and Penny Fischer
Eugene and Emily Grant Family Foundation
Carl Herstein and Charlene Mosher Herstein
Honigman Miller Schwartz and Cohn, LLP
Issa Foundation
Verne and Judy Istock
David and Sally Pyne Kennedy
Wally and Robert Klein
Dr. and Mrs. Jerry Kolins
Richard and Carolyn Lineback
Debby and Tom McMullen
McMullen Properties
Miller, Canfield, Paddock and Stone, P.L.C.
THE MOSAIC FOUNDATION (of R. & P. Heydon)
Drs. Barbara and Stephen Munk
Eleanor Pollack
Phil and Kathy Power
Rosalie EdwardsVibrant Ann Arbor Fund
Herbert and Ernestine Ruben
Loretta Skewes
John W. and Gail Ferguson Stout
Stout Systems
Karen and David Stutz
Jim Toy
Susan B. Ullrich
Glenn Watkins
Robert 0. and Darragh H. Weisman
Max Wicha and Sheila Crowley
Marion T. Wirick and James N. Morgan
LEADER
($3.500$4,999)
Jim and Barbara Adams Barbara A. Anderson and
John H. Romani Anonymous
Essel and Menakka Bailey Bradford and Lydia Bates Kathy Benton and Robert Brown Edward and Mary Cady Valerie and David Canter Jean and Ken Casey Jutia Donovan Darlow and
John Corbett O'Meara Stephen and Rosamund Forrest Sid Gilman and Carol Barbour Samuel and Marilyn Krimm Donald J. Lewis and
Carolyn Dana Lewis Jeffrey Mason and Janet Netz Natalie Matovinovic Ernest and Adele McCarus Montague Foundation Dan and Sarah Nicoli Virginia and Gordon Nordby Robert and Quincy Northrup Stephen and Elizabeth Palms David N. Parsigian John and Dot Reed Craig and Sue Sincock,
Avfuel Corporation Lois A. Theis Karl and Karen Weick
PRINCIPAL
($2,500-$3,499)
Anonymous
Robert and Wanda Bartlett Anne Beaubien and Phil Berry Harry and Kathryn Benford Suzanne A. and Frederick J. Beutler Charles and Linda Borgsdorf Dale E. and Nancy M. Briggs Jeannine and Robert Buchanan Carolyn M. Carty and
Thomas H. Haug Pat and George Chatas Anne and Howard Cooper Dan Cameron Family Foundation Delta Air Lines, Inc. Dallas C. Dort and Sharon Peterson John Dryden and Diana Raimi John R. Edman and Betty B. Edman Sara and Michael Frank Thomas and Barbara Gelehrter William and Ruth Gilkey Tom and Katherine Goldberg John and Helen Griffith Diane S. Hoff Robert and Beatrice Kahn Jim and Pat Kennedy Tom and Connie Kinnear Diane Kirkpatnck Philip and Kathryn Klintworth Ted and Wendy Lawrence
Leo and Kathy Legatski Edwin and Catherine Marcus M Hasketland
Jan Barney Newman Jim and Bonnie Reece Duane and Katie Renken Corliss and Jerry Rosenberg Or. Nathaniel H. Rowe and
Melody K. Rowe Alan and Swanna Saltiel Muaiad and Aida Shihadeh Susan M. Smith and Robert H. Gray Richard and Susan Snyder Lewis and Judy Tann Elise Weisbach Ronald and Eileen Weiser Roy and JoAn Wetzel
PATRON
($1,000-$2,499)
3 Point Machine, Inc.
Wadad Abed
Abracadabra JewelryGem Gallery
Bonnie Ackley
Jim and Jill Adams
Quest Productions Bernard and Raquel Agranoff Robert and Katherine Aldrich Michael and Suzan Alexander Christine W. Alvey Dr. and Mrs. David G. Anderson Anonymous
Dr. and Mrs. Rudi Ansbacher Harlene and Henry Appelman Bob and Martha Ause Jonathan Ayers and
Teresa Gallagher Reg and Pat Baker John and Ginny Bareham Norman E. Barnett Ralph P. Beebe Cecilia Benner Linda and Ronald Benson Dr. Rosemary R. Berardi James K. and Lynda W. Berg Raymond and Janet Bernreuter Joan A. Binkow Blue Nile Restaurant Michael Boehnke and
Betsy Foxman
Margaret and Howard Bond Robert and Susan Bonfield Laurence and Grace Boxer Dr. and Mrs. Ralph R. Bozell
in memory of Gertrude Wagner June and Donald R. Brown Barbara Everitt Bryant Joan and Charley Burleigh Amy and Jim Byrne Barbara and Al Cain Lou and Janet Callaway H.D. Cameron Jean W. Campbell Janet and Bill Cassebaum Tsun and Siu Ying Chang J. Wehrley and Patricia Chapman Anne Chase
Dr. Kyung and Young Cho
Cheryl and Brian Clarkson
Hubert and Ellen Cohen
Phelps and Jean Connell
Connie and Jim Cook
Robin and Tim Damschroder
Susan Tuttle Darrow
Charles and Kathleen Davenport
Marylene Delbourg-Delphis
Andrzej and Cynthia Dlugosz
Molly Dobson
Stuart and Heather Dombey
Ivo Drury and Sun Hwa Kim
Julia and Charles Eisendrath
Emil and Joan Engel
Johanna Epstein and Steven Katz
Ernst & Young Foundation
Margaret and John Faulkner
Eric Fearon and Kathy Cho
Yi-Tsi M. and Albert Feuerwerker
David Fink and Manna Mata
Susan Fisher and John Waidley
Food Art
Dan and Jill Francis
Donna and Randy Friedman
Leon and Marcia Friedman
Bill and Boc Fulton
Enid H. Galler
Lois Kennedy Gamble
Tom Gasloli
Prof. David M. Gates
Zita and Wayne Gillis
Karl and Karen Gotting
Cozette Grabb
Elizabeth Needham Graham
Dr. Robert A. Green
Leslie and Mary Ellen Guinn
Helen C. Hall
Steven and Sheila Hamp
Jeff Hannah and Nur Akcasu
Alice and Clifford Hart
David W. Heleniak
Sivana Heller
Carolyn B. Houston
Robert M. and Joan F. Howe
Eileen and Saul Hymans
Iris Drycleaners
Jean Jacobson
Wallie and Janet Jeffries
Timothy and Jo Wiese Johnson
Stevo and Susan Julius
David and Gretchen Kennard
George T. Killoran Living Trust
James and Carolyn Knaggs
Jim and Carolyn Knake
'Mary L. Kramer
Barbara and Ronald Kramer
Donald J. and Jeanne L. Kunz
David Lampe and Susan Rosegrant
John Lawrence and
Jeanine De Lay Mary Rabaut LeFauve Carolyn and Paul Lichter E. Daniel and Kay Long Jean E. Long
John and Cheryl MacKrell Martin and Jane Maehr Michael and Melame Mandell Ann W. Martin and Russ Larson
Fran and Irwm Martin
Sally and Bill Martin
Marilyn Mason
Mary and Chandler Matthews
'Jerry A. and Deborah Orr May
Susan McClanahan and
Bill Zimmerman Griff and Pat McDonald Paul Morel and Linda Woodworth Alan and Sheila Morgan Melinda Morris Cyril Moscow
Margaret and Randolph Nesse William Nolting and
Donna Parmelee Paula Novelli and Paul Lee Mohammad and
J. Elizabeth Othman ParagG. Patil, MD PhD iudith Ann Pavitt Sandra Penkalski and Rick Peshkin Pfizer Foundation Winnifred P. Pierce Elaine and Bertram Pitt Stephen and Bettina Pollock Peter and Carol Polverini Thomas Porter and
Kathleen Crispell Richard and Mary Price Mrs. Gardner Quarton Anthony L. Reffells Donald Regan and
Elizabeth Axelson Malverne Reinhart Jeff and Huda Karaman Rosen Richard and Edie Rosenfeld Karem and Lena Sakallah Norma and Dick Sarns Maya Savarino Dr. Lynn Schachinger and
Dr. Sheryl Ulin Ann and Tom Schriber John J. H. Schwarz Erik and Carol Serr Michael and Janet Shatusky Carl Simon and Bobbi Low Nancy and Brooks Sitterley The Skillman Foundation Barbara Furin Sloat George Smillie and
Marysia Ostafin Andrea and William Smith Dr. Rodney Smith Kelly and Ernie Sorini Becki Spangler and Peyton Bland Michael B. Staebler and
Jennifer R. Poteat Gary and Diane Stahle Heidi Stani-Wolski and
Thomas Dwyer Lloyd and Ted St. Antome Lois Stegeman Eric and Ines Storhok Dr. and Mrs. Stanley Strasius Don and Kate Sullivan Charlotte B. Sundelson Jan Svejnar Target Louise Taylor
Doris H. Terwilliger Louise Townley Jeff and Lisa Tulin-Silver Marianne Udow-Phillips and
Bill Phillips
Jack and Marilyn van der Velde John and Maureen Voorhees Florence S. Wagner Liina and Bob Wallin Shaomeng Wang and Ju-Yun Li Harvey and Robin Wax W. Scott Westerman, Jr. Dianne Widzinski and
James Skupski, MD Max and Mary Wisgerhof Charles Witke and Aileen Gatten
BENEFACTOR
($500-$999)
Judith Abrams
Roger Albm and Nili Tannenbaum Richard and Mona Alonzo Doug Anderson and
Peggy McCracken John G. Anderson Catherine M. Andrea "Gail Annich and Oouglas Chepeha Anonymous Armen Cleaners Penny and Arthur Ashe Laurence R. and Barbara K. Baker Lisa and Jim Baker David and Monika Barera Naba and Leha Barkakati Frank and Lindsay Tyas Bateman Astrid B. Beck Prof, and Mrs.
Erling Blbndal Bengtsson Linda Bennett and Bob Bagramian Richard S. Berger Ramon and
Peggyann Nowak Berguer L.S. Berlin and Jean McPhail John 8lankley and Maureen Foley Beverly J. Bole Bob and Sharon Bordeau William R. Brashear Robert and Victoria Buckler Trudy and Jonathan Bulkley Lawrence and Valerie Bullen Susan and Oliver Cameron Brent and Valerie Carey Barbara Carr John Carver Casa Marbella Sue and Bill Chandler Samuel and Roberta Chappell Reginald and Beverly Ciokajlo Janice A. Clark Bob and Linda Cody Alice S. Cohen Judy and Malcolm Cohen Jonathan Cohn MD Wayne and Melinda Colquitt Anne and Edward Comeau Malcolm and Nita Cox Or. Joan and Mr. Michael Crawford Roderick and Mary Ann Daane Connie D'Amato
William S. Demray
Nancy and David Deromedi
Michele Derr
Linda Dintenfass and Ken Wisinski
Steve and Judy Dobson
Bill and Julie Dunifon
Peter and Grace Duren
Kim and Darlene Eagle
Harvey and Elly Falit
Irene Fast
Carol Finerman
Clare M. Fingerle
Esther M. Floyd
Scott and Janet Fogler
Mr. and Mrs. George W. Ford
Chris and Dara Genteel
Renate and Leonardas Gerulaitis
Ronald Gibala and Janice Grichor
Mr. and Mrs. Charles and
Janet Goss
Amy and Glenn Gottfried James and Maria Gousseff Grand Hotel Martha and Larry Gray Kenneth and Margaret Guire Keturah Thunder Haab Don Haefner and Cynthia Stewart Robert and Elizabeth Hamel Marlys Hamill
Walt and Charlene Hancock Alan Harnik and
Prof. Gillian Feeley-Harnik Martin and Connie Harris Susan R. Harris Katherine D. Hein Dr. and Mrs. Michael Hertz Herb and Dee Hildebrandt Perry Irish Hodgson Hotel Bougainvillea Ralph M. Hulett Ann D. Hungerman Dr. John B. Huntington Stuart and Maureen Isaac ISCIENCES, LLC Kent and Mary Johnson Mark and Madolyn Kaminski 'Bob and Jeri Kelch Christopher Kendall and
Susan Schilperoort Rhea K. Kish
David E. and Heidi Castleman Klein Jean and Arnold Kluge Michael J. Kondziolka and
Mathias-Philippe Florent Badin Chene Koppitz
Dr. and Mrs. Melvyn Korobkm Barbara and Michael Kratchman Justine Kulka Jane F. Laird
Marion and Jerry Lawrence Richard LeSueur Joan and Melvyn Levitsky David Baker Lewis Gloria Lewis
Marilyn and Marty Lindenauer Mark Lindley and Sandy Talbott "Lawrence and Rebecca Lohr William and Lois Lovejoy 'Joan Lowenstein and
Jonathan Trobe Fran Lyman Pamela J. Macintosh
Nancy and Phil Margolis
Betsy Y. Mark
W. Harry Marsden
John Martin and Molly Resmk
Susan E. Martin
Judythe and Roger Maugh
Carole J. Mayer
Margaret E. McCarthy
Bill and Ginny McKeachie
Bud McKenzie
Barbara Meadows
Warren and Hilda Merchant
Merrill Lynch
Bernice and Herman Merte
Robert C. Metcalf
Don and Lee Meyer
Candy and Andy Mitchell
Bert and Kathy Moberg
Harry and Natalie Mobley
Lester and Jeanne Monts
Lewis and Kara Morgenstern
Charles Moss and Dee Fenner
Tom and Hedi Mullord
Nacht, Roumel, Salvatore,
Blanchard & Walker, P.C. Laura Nitzberg Marylen Oberman Kathleen I. Operhall Susan and Mark Ornnger Norm and Charlotte Otto David and Andrea Page Brenda Paulsen and Doug Duwe Zoe and Joe Pearson Jack and Jean Peirce Evelyn Pickard Wallace and Barbara Prince Peter Railton and Rebecca Scott Doug and Nancy Roosa Stephanie Rosenbaum Margaret and Haskell Rothstem Craig and Jan Ruff Lisa and Jonathan Rye Ina and Terry Sandalow Miriam Sandweiss Charles Schmitter and Allyn Ravitz Brian and Michelle Schrag David and Monica Schtemgart John Scudder and Regan Knapp Matthew Shapiro and Susan Garetz Julie and Mike Shea Howard and Aliza Shevnn George and Gladys Shirley Dick and Sandy Simon Robert and Elaine Sims Don and Sue Sinta Irma J. Sklenar Tim and Marie Slottow Connie and Arthur Smith Gretchen Sopcak Steve and Diane Telian Ted and Eileen Thacker Peter, Carrie and Emma Throm Fr. Lewis W. Towler Claire and Jerry Turcotte 'Rebecca Van Dyke Douglas and Andrea Van Houweling Tsuguyasu and Harue Wada Charles R. and Barbara H. Wallgren Jo Ann Ward
Arthur and Renata Wasserman Lyndon Welch Iris and Fred Whitehouse
Reverend Francis E. Williams Gareth and Lauren Williams Richard C. Wilson Beth and I.W. Winsten Larry and Andi Wolf Or. and Mrs. Robert Wolf Mary Jean and John Yablonky Kathryn and Richard Yarmain James and Gladys Young
ASSOCIATE
($250-$499)
Ruth Addis and Man. Schloff
Martha Agnew and Webster Smith
Dr. Diane M Agresta
Jennie Allan and Marc Renouf
Helen and David Aminoff
Dave and Katie Andrea
Ann Arbor Optometry
Anonymous
Phil and Lone Arbour
Frank Ascione
Eric and Nancy Aupperle
Dr. and Mrs. Jerald G. Bachman
John and Lillian Back
Richard W. Bailey and
Julia Huttar Bailey Barbara and Daniel Balbach Jeffrey and Jennifer Barber Frank and Gail Beaver Gary Beckman and Karla Taylor Kenneth and Eileen Behmer Helen Berg
NarenK. and Nishta G. Bhatia Jack Billi and Sheryl Hirsch Sara Billmann and Jeffrey Kuras William and llene Birge Jerry and Dody Blackstone Donald and Roberta Blitz Mr. Mark D. Bomia Jean Borkowskt Victoria CBotek and
William M. Edwards Robert M. Bradley and
Charlotte Mistretta Mike and Peggy Brand David and Sharon Brooks Gloria and Michael Brooks Christie Brown and Jerry Davis Monty and Mary Brown Morton B. and Raya Brown Pamela Brown MD Mr. and Mrs. W.R. Burl II Anthony and Jane Burton Thomas and Colleen Carey Margaret W and Dennis B. Carroll Dennis J. Carter Michael Casher A. Craig Cattell
Charles Stewart Mott Foundation Joan and Mark Chester Mark Clague and Laura Jackson Coffee Express Co. George Collins and Paula Mencken Joe and Mary Pat Conen Carolyn and L. Thomas Conlin Conlin Travel Jud Coon Sue Coon and Linda Coon
in honor of Dr. Minor J. Coon Arnold and Susan Coran Mrs. Katharine Cosovich Katherine and Clifford Cox Michael and Susan Bozell Craig Jean C. Crump John and Carolyn Culotta Jean Cunningham and
Fawwaz Ulaby John G. and Mary R. Curtis
Joseph Custer
Judith Dart
Sunil and Merial Das
Davenport Insurance and Financial
Services. Inc. Ed and Ellie Davidson Linda Davis and Bob Richter Michelle Deatnck and Steven
Przybylski John Debbink
Nicholas and Elena Delbanco Mary Dempsey and James Corbett Jocelyn DeWitt and Kurt Riegel Elizabeth Dexter Dr. and Mrs. Ron DiCecco Macdonald and Carolin Dick Kalhryn Dominguez and James Hines Elizabeth Duel! Swati Dutta Eva and Wolf Duvernoy Gavin Eadie and Barbara Murphy James F. Eder Richard and Myrna Edgar Morgan and Sally Edwards Dr. Alan S. Eiser Mary Ann Faeth Stefan and Ruth Fajans Dr. and Mrs. S.M. Farhat Michael and Mkhaelene Farrell Peter B. Fayroian Phil and Phyllis Fellin James and Flora Ferrara Robin D. Ferriby Jon and Kayne Ferrier Jean Fine
Herschel and Adrienne Fink Sara Fink
C. Peter and Bev A. Fischer Jacqueline and David Fischer Jerry and Cathie Fischer Harold and Billie Fischer Laurel Fisher Susan A. Fisher Arnold Fleischmann Pete and Priscilla Flintoft David Fox and Paula Bockenstedt Howard P. Fox Stewart Frank Doug and Lucia Freeth Tim and Stephanie Freeth Otto W. and Helga B. Freitag Susan Froekh and Richard Ingram Gail Fromes
Jerrold A. and Nancy M. Frost Philip and Renee Frost Harriet Fusfeld
Carol Gaghardr and David Flesher James and Barbara Garavaglia Sandra Gast and Gregory Kolecki Gates Au Sable Lodge Drs. Steve Geiringer and
Karen Bantel
Beverley and Gerson Geltner Henry and Deborah Gerst Allan Gibbard and Beth Genne Elmer G. Gilbert and
Lois M. Verbrugge J. Martin Gillespie and
l.ii.i Gillespie Beverly Jeanne Giltrow Maureen and David Ginsburg Ed and Mona Goldman Irwin J. Goldstein and Martha Mayo Mitch and Barb Goodkin Kathryn Goodson and John Hieftje Enid M. Gosling Patricia Gotfredson Michael L. Gowmg Phyllis Gracie Steve and Carol Grafton Christopher and Elaine Graham 'Lewis and Mary Green
Linda and Roger Grekin Raymond and Daphne Grew Mark and Susan Griffin Werner H. Grilk Larry and Sandy Gnsham Milton and Susan Gross Jane and Bob Grover Carl Guldberg Arthur W. Gulick Susan C. Guszynski and
Gregory F. Mazure Talbot and Jan Hack George and Mary Haddad Michael C. Hammer Jeffrey L. Hauptman Daniel and Jane Hayes Jeanne and Michael Haynes Michele Heisler and Jamie
Tappenden J. Lawrence Henkel and
Jacqueline Stearns Alfred and Therese Hero Donald Hicks
James and Anne Marie Hitchcock Dr. Lisa E. Hoik Jane and Thomas Holland Ronald and Ann Holz Paul Hossler and Charlene Bignall Houghton Mifflin Company James House and
Wendy Fisher House Betty Hsiao Mabelle Hsueh Harry and Ruth Huff Alan and Karen Hunt Eugene and Margaret Ingram Keki and Alice Irani Richard and Suzette Isackson Esther Ann Jackson Joan L. and John H. Jackson Joachim and Christa Janecke Jerome Jelinek Mark and Linda Johnson Paul and Olga Johnson Paul and Meredyth Jones Jonna Companies Prof. Fritz and Monica Kaenzig Olof Karlstrom and Olivia Maynard Herbert and Jane Kaufer Donald and Suzanne Kaul Alfred and Susan Kellam Deborah Keller-Cohen and
Evan Cohen John Kennard, Jr. Nancy Keppelman and
Michael Smerza Kerry Family Periodontics Roland and Jeanette Kibler Donald and Mary Kiel Paul and Leah Kileny Dana and Paul Kissner James and Jane Kister Shira and Steve Klein Hermine Roby Klingler Aric Knuth and Jim Leija Michael Koen Rosalie and Ron Koenig Joseph and Marilynn Kokoszka Alan and Sandra Kortesoja Brenda Krachenberg Sheryl and Richard Krasnow Gary and Barbara Krenz Mary Krieger Bert and Geraldine Kruse Ken and Maria Laberteaux Lucy and Ken Langa Marci Raver Lash and Robert Lash Neal and Anne Laurance Jean A. Lawton and James H. Ellis David Lebenbom John and Theresa Lee Sue Leong
Max Lepler
Rachelle Lesko
Joseph M. Saul and Lisa Leutheuser
Myron and Bobbie Levine
Lewis & Company
Jacqueline H. Lewis
Michael and Debra Lisull
Daniel Little and Bernadette Lmtz
Len and Betty LofsUom
Julie M. Loftin
Barbara and Michael Lott
Drs. Michael and Jennifer Lukela
Bngitte Maassen
Donald and Jane MacQueen
William and Jutta Malm
Claire and Richard Malvin
Scott and Kris Maly
Melvin and Jean Mams
H. L. Mason
Matthew Mason and Renate Klass
"Laurie McCauley and Jessy Grizzle
Margaret and Harris McClamroch
James H. Mclntosh and
Elaine K Gazda
Ralph R. McKee and Jean L. Wong Frances McSparran Donald and Marilyn Meier Liz and Art Messiter Joetta Mial
Robin and Victor Miesel Gene and Lois Miller Carmen and Jack Miller Murray H. and Yetta R. Miller Myrna and Newell Miller Mark and Lesley Mozola Terence Roche Murphy Virginia Murphy and
David Uhlmann Lisa Murray and Mike Gatti Jeffrey L Myers and Eileen McMyler Drs. Louis and Julie Jaffee Nagel Gerry and Joanne Navarre Kay and Gayl Ness John and Ann Nicklas Susan and Richard Nisbett Christer E. and Outi Nordman Zibby and Robert Oneal Elizabeth Ong Nancy and Patrick Paige Mara Palty
William and Hedda Panzer Donna D. Park
Anne Parsons and Donald Dietz Katherine Pattndge Ara and Shirley Paul Wesen and William Peterson Don and Evonne Plantinga Richard Plewa and George Ferrell Susan Pollans and Alan Levy Bill and Diana Pratt Ann Preuss
Karen and Berislav Primorac Mike and Lisa Psarouthakis Margaret Jane Radin and
Phillip R. Coonce
Patricia L. Randle and James R Eng Stephen and Agnes Reading Martha Ream Ginny and Ray Reilly Carrol K. Robertsen Jonathan and Anata Rodgers Susan Rose
Stephen and Tanis Rosoff Rosemane Haag Rowney Carol Rugg and
Richard Montmorency Orii.iri Rush
Linda and Leonard Sahn David Sarns and Agnes Moy-Sarns Michael and Kimm Sarosi Drs. Rosalyn Sarver and
Stephen Rosenblum
Mike and Annmarie Savitski
Albert J. and Jane L. Sayed
Judith Scanlon
Jochen and Helga Schacht
Bonnie R. Schafer
Betma Schlossberg
Suzanne Schluederberg
David Schmidt
Sue Schooner and Tom Wieder
Harriet Selin
David and Elvera Shappirio
Bill and Chris Shell
Judith and Ivan Sherick
Patrick and Carol Sherry
Jean and Thomas Shope
Bruce M. Siegan
Scott and Joan Singer
Anthony L. Smith
Carl and Jari Smith
David and Renate Smith
Jonathan Smith
Robert W. Smith
Hanna Song and Peter Toogood
Cheryl Soper
Ralph and Anita Sosin
Linda Spector and Peter Jacobson
Doris and Larry Sperling
Gretta Spier and Jonathan Rubin
Jeff Spindler
Katherine R. Spindler
David and Ann Staiger
Barbara Stark-Nemon and
Barry Nemon Sally and Denny Stavros Christine Stead David and Carlin Stockson James L. Stoddard Nancy Bielby Sudia Jonathan Sugar and Nan Barbas Barbara and Donald Sugerman Rich and Diane Sullivan Charlotte Sundelson Richard and June Swartz Brian and Lee Talbot Stephanie Teasley and
Thomas Finholt Mark and Patricia Tessler Textron
Denise Thai and David Scobey Bette M. Thompson Patricia and Terril Tompkins Hitomi Tonomura Janet E. and Randall C. Torno Alvan and Katharine Uhle Hugo and Karla Vandersypen Thomas and Mary Wakefield David C. and Elizabeth A. Walker C. Glen and Edite B. Walter Enid Wasserman Richard and Madelon Weber Deborah Webster and
George Miller Jack and Jerry Weidenbach Mary Ann Whipple James B. and Mary F. White Leslie C. Whufield Nancy Wiernik Lawrence and Mary Wise Charlotte A. Wolfe Slan and Pris Woollams World Kitchen, LLC Frances A. Wright Erik and Lineke Zuiderweg Gail and David Zuk Thomas and Erin Zurbuchen
UMS also expresses its deepest appreciation to its many donors who give less than $250 each year, enabling the ongoing success of UMS programs.
Endowed Funds
The future success of the University Musical Society is secured in part by income from UMS's endow?ment funds. 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 Norman and Debbie Herbert Endowment Fund David and Phyllis Herzig Endowment Fund llene H. Forsyth Endowment Fund JazzNet Endowment Fund
William R. Kinney Endowment Fund
Natalie Matovinovic Endowment Fund
Medical Community 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
James and Nancy Stanley Endowment Fund Susan B. Ullrich Endowment Fund University Musical Society Endowment Fund The Wallace Endowment Fund
Burton Tower Society
The Burton Tower Society recognizes and honors those very special friends who have included UMS in their estate plans. UMS is grateful for this important support, which will continue the great traditions 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 Benlon 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 Fisher
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. Zollar
TRIBUTE GIFTS
Contributions have been made in memory of the following people:
Herbert Amster John Andrews Nancy L. Ascione Dr. Mel Barclay Raymond Benner Richard W. Cashin Ellwood S. Derr John S. Dobson Jules and Frieda Eder Sheree Falkauff Sidney Fine
Frances Henkin Fingerhut Margaret W. Fox E. James Gamble William James Herbert Helen Louise (Arata)
Hertler, Class of '44 Virginia Crandall Hills Dr. Julian T. Hoff
Ken Holmes George Kalis Linda Kartes George Killoran Bud Kulka Robin Lowell Carl J. Lutkehaus Dr. Josip Matovinovic Valerie Meyer Helen Nagy Pat O'Connor George Palty James Pattridge Ray and Ida Peck Peter Pollack Gwen and Emerson
Powrie Robert Pratt Steffi Reiss
Bruce J. Rogers Nona R. Schneider Edith Marie Snow John C. Stegeman Katherine Terrell Svejnar Charles R. Tieman Gertrude Wagner Sidney Warschausky Angela Dobson Welch Eleanor Whelan Eleanor Louise Wright Barbara R. Wykes Mary Kate Zelenock
Contributions have been made in honor of the following people: Dr. Minor J. "Jud" Coon Ken and Penny Fischer
Maxine and Stuart Frankel Walt and Charlene Hancock Anne Herrmann Michael Kondziolka Abigail Esther Marmor Sharon Anne McAllister Susan McClanahan Donald Parrish Omari Rush Dennis Serras Dr. and Mrs. Eugene
Silverman James Stanley James Woolliscroft MD
GIFTS IN-KIND
Abracadabra Ann Arbor Civic Theatre Ann Arbor District Library Ann Arbor Symphony Orchestra Anonymous
Sandy and Charlie Aquino Phil and Lorie Arbour Ayse's Turkish Cafe Barbara B Bach Pat Bantle
Barnes Ace Hardware Kathryn Bieda Linda and Maurice Bmkow Lou and Janet Callaway Casa Marbella
JWehrley and Patricia Chapman Cheryl and Brian Clarkson The Common Grill Jon Desenberg The Earle Restaurant Sara and Bill Fink Susan A. Fisher
Susan R. Fisher and John Waidley Gates Au Sable Lodge The Grand Hotel Walt and Charlene Hancock Gregory and Shelia Harden Alice and Clifford Hart David and Phyllis Herzig Hoiel Bougainvillea Jean and Arnold Kluge Jim and Carolyn Knaggs Marci Raver Lash and Robert Lash
Logan
Martin and Jane Maehr
Michael and Melanie Mandell
Mark Gjukich Photography
Fran and Irwin Martin
Liz and Art Messiter
Robin and Victor Miesel
Harry and Natalie Mobley
Morgan S York
THE MOSAIC FOUNDATION (of
R. & P. Heydon) Bonita Neighbors Nicola's Books Gilbert Omenn and Manha
Darling
Steve and Betty Palms Performance Network Theatre Ruth Petit
The Quarter Bistro and Tavern Quest Productions Stephen and Tanis Rosoff David Sams and Agnes Moy Sarns Sava's State Street Cafe Paul and Penny Schreiber SeloShevel Gallery Becki Spangler and Peyton Bland Karen and David Stutz Ted and Eileen Thacker Terry B's Janet Torno Louise Townley The West End Grill Whole Foods Market Larry and Andi Wolf
MEMBER ORGANIZATIONS
UMS is proud to be a member of the following organizations:
A2YChamber Americans for the Arts Ann Arbor Area Convention & Visitors Bureau
Arts Alliance of the Ann Arbor Area
ArtServe Michigan
Association of Performing Arts Presenters
BoardSource
Chamber Music America
Cultural Alliance of Southeastern Michigan
DanceUSA
Detroit Regional Chamber
International Society for the Performing Arts
Main Street Area Association
State Street Association
Think Local First

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