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UMS Concert Program, Monday Jan. 23 To Feb. 10: Ums 11 12 - Winter 2012 - Monday Jan. 23 To Feb. 10 --

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Monday Jan. 23 To Feb. 10 --  image
Day
23
Month
January
Year
2012
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Rights Held By
University Musical Society
OCR Text

Season: WINTER 2012
University Of Michigan, Ann Arbor

UNIVERSITY MUSICAL SOCIETY OF THE UNIVERSITY OF MICHIGAN, ANN ARBOR
ums University Musical Society
ums University Musical Society
ums University Musical Society
university musical society
Winter University of Michigan Ann Arbor
Spring 12
il Letters from the Presidents
5 Letter from the Board Chair
UMSLeadership n UMS Corporate and Foundation Leaders
14 UMS Board of DirectorsNational Council
SenateAdvisory Committee
15 UMS StaffCorporate Council
Teacher Advisory Committee
UMSlnfo iXl General Information
19 UMS Tickets
UMSAnnals 22 Member Organizations
23 UMS History
Event Program 24 Your event program follows page 24
UMSExperience m UMS Education & Community Engagement Programs
Adult, University, & Community Programs
H9 Youth & Teens
UMSSupport 33 Corporate Sponsorship and Advertising
Individual Donations
35 UMS Advisory Committee
37 Lifetime Giving to UMS
38 Annual Fund Support
48 UMS Advertisers

FROM THE U-M PRESIDENT
W
elcome to this University Musical Society performance. Since 1879, UMS has been 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.
One of the most significant undertakings in UMS history occurs this winter. For more than
two years, UMS has worked with producers to remount Einstein on the Beach on our campus. For most of January, the creators of this transfor?mative 1976 opera--com?poser Philip Glass, director Robert Wilson, and choreog?rapher Lucinda Childs--are here, along with singers, mu-
sicians, dancers, and crew, preparing the work for its international tour.
This residency provides a tremendous oppor?tunity for our students, faculty, and community to engage with these creative artists. Their stay will conclude with three preview performances at the Power Center January 20-22, representing the first North American presentation of the opera outside of New York City. As people are arriving from throughout the country for this special experience, I am excited we can welcome them to a University committed to celebrating innovators and game-changers in all fields, including the arts.
The Einstein residency launches Pure Michigan Renegade, a 10-week journey showcasing innova?tion and experimentation in dance, theater, and music. Pure Michigan Renegade concludes March 22-25 with American Mavericks, a four-day music festival and residency led by Michael Tilson Thomas with the San Francisco Symphony. It includes a roster of musical stars, including U-M alumna Jessye Norman, Emanuel Ax, Jeremy Denk, Meredith Monk, and the St. Lawrence String Quartet. Beyond Ann Arbor, American Mavericks takes place only in San Francisco, Chicago, and at New York's Carnegie Hall.
The UMS season ends on April 22 with the annual Ford Honors Program, where UMS and the University recognize world-renowned artists and ensembles that have had a long and deep relation?ship with us. This year we honor violinist Joshua Bell and the Academy of St. Martin in the Fields, each having appeared five times on our stages over several decades.
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,
So.
Mary Sue Coleman
President, University of Michigan
FROM THE UMS PRESIDENT
W
elcome! Thank you for attending this performance. I hope you'll enjoy the experience and attend other UMS events during the remainder of our 133rd season. You'll find a listing of all of our performances towards the center of this program book.
UMS has a rich history. It began in 1879 when four Ann Arbor church choirs joined forces under the direction of Calvin B. Cady to sing choruses from Handel's Messiah. They called the combined choruses the Choral Union. Their rehearsals led to the first Choral Union concert on Tuesday, December 16 of that year, held at the M.E. Church. Henry Simmons Frieze, a distinguished professor of classics and a three-time acting president of the University of Michigan, accompanied the Choral Union on the organ. A year later, the University Musical Society was officially incorporated with Professor Frieze as president.
The program of that first concert is now available online, along with every UMS program throughout our 133-year history. Also available are hundreds of photographs, most of them accom?panied by captions and dates. The programs and photos are available online thanks to our friends at the Ann Arbor District Library. The AADL ob?tained the documents from the University's Bent-ley Historical Library and digitized them, creating the website that now makes these UMS historical documents available to the public. Check it out at http:ums.aadl.org. We are now in the process of digitizing the remainder of our archives, so stay tuned for a future announcement when more of our history will be accessible online.
UMS is the oldest performing arts pre?senter in the US affiliated with a university. We are proud of our rich history and pleased that we can share so much of it with you online. We also encourage you to visit our interactive web?site--www.umsLOBBY.org--where "People are Talking" about UMS performances, educational programs, and other activities. Join the conver-
sation and let us hear from you. You'll also see videos of rehearsals, performances, artist interviews, and audience inter?views that we hope will enhance your experience with UMS.
We're planning a very special 1213 season as UMS will soon commemorate the 1OOth anniversary of Hill Au-
ditorium. Hill opened on May 14, 1913 with the Chicago Symphony Orchestra and the UMS Choral Union under conductor Frederick Stock as part of the 20th Ann Arbor May Festival. Hill Auditorium is beloved by artists and ensembles everywhere, and we are working hard to plan a season of perfor?mances worthy of the hall's world-class reputation. Look for the season announcement this spring.
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 again 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 role as Chair of the UMS Board of Directors. I am honored to serve UMS, one of the oldest arts presenting organizations in the country, now 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 7S0 volunteers, each providing critical services that contribute to UMS's excellence, including members of the Senate, Advisory Committee, UMS Choral Union, Usher Corps, Teacher Advisory Commit?tee, and our UMS National Council and Corporate Council.
The mission of UMS is "to inspire and en?rich communities by connecting audiences and artists in uncommon and engaging experiences." In pursuing this mission, we have developed a reputation far beyond southeastern Michigan. The scope of our presentations extends beyond music to include dance and theater. In the fall season we were entertained with Gate Theatre Dublin performing Beckett, the amazing artistry of Yuja Wang, mesmerizing movement by Cloud Gate Dance Theatre of Taiwan, and the sounds of A Night in Treme--something for every taste and interest. This winter, we will have the oppor?tunity to enjoy a range of performances by artists including the Chicago Symphony Orchestra, the Jazz at Lincoln Center Orchestra with Wynton Marsalis, as well as rare preview performances of Einstein on the Beach, and a multi-concert residency with the San Francisco Symphony and Michael Tilson Thomas. We also welcome you to help us conclude our season on Sunday, April
22, 2012 in Hill Auditorium for the Ford Honors Program, which will honor Joshua Bell and the Academy of St. Martin in the Fields. Please open your mind and your soul to these and other simi?lar opportunities.
Speaking of heart-warming opportunities, UMS continues to be committed to creating op-
portunities for younger audi?ences to have cultural expe?riences. We provide heavily discounted tickets to students as well as arrange and sup?port special performances for students in K-12 programs. If you ever have the opportunity to attend a UMS youth per-
formance, please arrange to do so. The students express deep and inspiring impressions of a wider world for which they are most appreciative.
We are in the "experience" business. I thank you for attending this performance, and I invite you to attend more UMS performances this sea?son and to support UMS by making a gift. Your support will help UMS continue not only its out?standing presentations but also its award-winning educational programs 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
Dear Friends of the Performing Arts:
T
his year marks the 40th anniversary of the opening of the Power Center for the Performing Arts. Over the years, the Power Center has provided a flexible venue for music, dance and theater performances of all kinds. It has provided audiences with a comfortable, visually compelling, acoustically correct and technically sophisticated facility to experience performances at the highest level. We both remember how excited we were to experience the Royal Shakespeare Company's back-to-back performances of Henry VI and Richard III in March, 2001! Such compelling theater would not have been possible without the facilities of the Power Center.
This is exactly what Gene and Sadye Power, Phil's parents, had in mind when they gave the University of Michigan the funds to build the Power Center, which opened in 1971. The idea was to provide a building that could accommodate all varieties of the performing arts, something that was lacking in Ann Arbor at the time. The basic design was originally sketched on the back of an envelope by the renowned architect, Eero Saarinen, just before his death, and carried out by Kevin Roche and John Dinkeloo.
Going all the way back to the Arts Theatre Club and the Dramatic Arts Center -mid 20th century efforts to bring theater-in-the-round to Ann Arbor -our family has been involved in supporting the performing arts of all kinds, especially the theater. Gene Power was one of the founders of the Ann Arbor Summer Festival. And Phil, as a Regent of the University of Michigan and a board member of the University Musical Society, helped launch the distinctive UMS international theater series and residency programs at the University.
Over the years -and in years to come -our family has welcomed opportuni?ties to help sustain the performing arts. In this, special mention must be made of the University Musical Society, one of the crown jewels of our community and of the broader world of the performing arts. It merits the financial support of all of us who cherish the value of artistic expression.
We believe strongly that we do not live by bread alone, and that the arts, culture and the humanities are essential parts of a high quality of life in a thriving community. The remounting of Einstein on the Beach and the residency attached to it are perfect examples of the bold experimentation and innovation the Power Center was intended to trigger.
Phil and Kathy Power
UMSLeadership
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."
Michael A. Finney
President and CEO, Michigan Economic Development Corporation "Culture and the arts and economic
development are two sides of the same coin. MEDC is proud to support the efforts of the University Musical Society because these endeavors greatly enrich the 'quality of place' of communities where workers, entrepreneurs, and businesses want to locate, invest, and expand."
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."
Subir and Malini Chowdhury Foundation
Co-Founders, Subir and Malini Chowdhury Foundation "We are proud to support the University Musical Society for its program excellence and enriching our communities and the great State of Michigan."
Bruce Duncan
Ann Arbor Regional Bank President, Comerica Bank "Comerica is proud to support the University Musical Society. UMS continues to enrich the local community by bringing the finest performing arts to Ann Arbor, and we're pleased to continue to support this long?standing tradition."
Fred Shell
Vice President, Corporate and Government Affairs, DTE Energy
"The DTE Energy Foundation is pleased to support exemplary organizations like UMS that inspire the soul, instruct the mind, and enrich the community."
Edward Surovell
President, Edward Surovell Realtors "Edward Surovell Realtors and its 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 Conn 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."
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 diverse and talented performers to Ann Arbor."
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."
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."
Dennis Serras
Owner, Mainstreet Ventures, Inc. "As restaurant and catering service owners, we consider
ourselves fortunate that our business provides so many op?portunities for supporting the University Musical Society and its continuing success in bringing internationally acclaimed talent to the Ann Arbor community."
Sharon J. Rothwell
Vice President, Corporate Affairs and Chair, Masco Corporation Foundation "Masco recognizes and appreciates the value the
performing arts bring to the region and to our young people. We applaud the efforts of the University Musical Society for its diverse learning opportunities and the impact its programs have on our communities and the cultural leaders of tomorrow."
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."
Robert Casalou
CEO, St. Joseph Mercy Hospital "The performing arts foster physical and spiritual wellness, which parallels Saint Joseph Mercy Health System's mission of healing body, mind, and spirit for our patients. We are proud to support UMS and the
significant role they play in improving the quality of life in our community."
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."
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 Maxine and Stuart Frankel Foundation The Andrew W. Mellon Foundation Michigan Economic Development Corporation National Endowment for the Arts
$50,000-599,999
Anonymous
DTE Energy Foundation
Esperance Family Foundation
W.K. Kellogg Foundation
John S. and James ,L. Knight Foundation
The Power Foundation
$20,000-549,999
Cairn Foundation
Charles H. Gershenson Trust
PNC Foundation
$10,000-519,999
Arts Midwest's Performing Arts Fund Confucius Institute at the University of Michigan
Eugene and Emily Grant Family Foundation
Japan Foundation
Masco Corporation Foundation
Michigan Council for Arts and
Cultural Affairs THE MOSAIC FOUNDATION
(of R. & P. Heydon) NEA Jazz Masters Live University of Michigan Center for
Chinese Studies
S1,000-S9,999
Subir and Malini Chowdhury Foundation
Mardi Gras Fund
Martin Family Foundation
Sams 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 Elise Kirk Wallis Klein Jerry Kolins Zarin Mehta
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 Kathleen Benton Richard S. Berger Maurice S. Binkow Lee C. Bollinger Charles W. Borgsdorf Janice Stevens Botsford Paul C. Boylan Carl A. Brauer, Jr. William M. Broucek Barbara Everitt Bryant Robert Buckler letitia J. Byrd Kathleen G. Charla Leon S. Cohan Jill A. Corr Peter B. Corr Ronald M. Cresswell
Gail Davis Barnes 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 5. 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 0. 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 Savarino 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. Telfer Susan B. Ullrich Michael D. VanHemert Eileen Lappin Weiser B. Joseph White Marina v.N. Whitman Clayton E. Wilhite Iva M. Wilson Karen Wolff
UMS ADVISORY COMMITTEE
Susan R. Fisher, Chair Eileen Thacker, Vice
Chair Michaelene Farrell,
Secretary
Ren Snyder, Treasurer Elizabeth A. Palms,
Past Chair Zakiyyah Ali Sandy Aquino Lorie Arbour Barbara Bach Pat Bantle I iiid.i 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 Melanie Mandell Ann Martin Fran Martin Deborah Meadows Liz Messiter Robin Miesel 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 Spector Nancy Stanley Gail Ferguson Stout Karen Stutz Louise Taylor Janet Torno Louise Townley Ebru Uras Barbara Wagner Kirsten Williams Sarajane Winkelman
UMS STAFF
Administration Finance
Kenneth C. Fischer, President Kathy M. Brown, Executive Assistant John B. Kennard, Jr., Director of
Administration & Finance Beth Gilliland,
Gift ProcessorIT Assistant Patricia Hayes, Financial Manager John Peckham,
Information Systems Manager
Choral Union
Jerry Blackstone,
Conductor & Music Director Arian Khaefi, Assistant Conductor Kathleen Operhall, Chorus Manager Nancy K. Paul, Librarian Jean Schneider, Accompanist Scott Van Ornum, 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 Sophia Kruz, Videographer
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
Ticket 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
Jessica Alper Brendan Asante Emily Barkakati Justin Berkowitz Adam Bichir Matthew Browne Caroline Buse Hailey Clark Brendan Coates Will DeCamp Kari Dion Brianne Dolce Kelsy Durkin Bethany Felder Brian Giebler Joshua Graham Tim Hausler Julie Heikel Sigal Hemy Jasmine Hentschel Grace Jackson Lauren Jacob Myesha Johnson Scott Kloosterman Jon Krause
Katherine Lawhead Corinn Lewis Rachel Lum Kenneth Luu Mary Martin Matthew Mejia Leila Mekias Taylor Norton Bryan Pansing Diana Radson Chrissy Reinard Andrew Richner Britton Riley Dan Rosenberg Dereck Seay Rheme Sloan Jason Spencer Rachel Starnes Amy Stilgenbauer Willie Sullivan Leah Taylor Jennifer Vaughn Rob Wilber Liz Wright George Xue
UMS CORPORATE COUNCIL
A. Douglas Rothwell,
Chair
Albert Berriz Bruce Brownlee Robert Buckler
Robert Casalou Richard DeVore Nolan Finley Stephen R. Forrest Timothy Gretkierewicz
Michele Hodges Mary Kramer Maud Lyon David N. Parsigian Ora Pescovitz
Vivian Pickard Sharon Rothwell Frederick E. Shell Michael B. Staebler James G. Vella
David J. Herzig, Ex-officio
UMS TEACHER ADVISORY COMMITTEE
Abby Alwin Fran Ampey Robin Bailey Greta Barfield Joey Barker Alana Barter Judy Barthwell Rob Bauman Suzanne Bayer Eli Bleiler
Ann Marie Borders David Borgsdorf Sigrid Bower Marie Brooks Susan Buchan Carl Clark Ben Cohen Julie Cohen Leslie Criscenti Orelia Dann
Saundra Dunn Johanna Epstein Susan Filipiak Katy Fillion Delorcs Flagg Joey Par ins 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.
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 3:00 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 is no longer permitted on the grounds of the Univer?sity, including the exteriors of U-M theaters and concert halls. Smoking is allowed on sidewalks adjacent to public roads.
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.
Family-Friendly UMS Performances
While parents are the best judge of their own children's age appropriateness for UMS events, we are happy to offer recommendations to guide you through our season. If in doubt, feel free to contact the UMS Ticket Office, who will be happy to put you in touch with a staff mem?ber with children to discuss whether an event might be appropriate for your family. You may also visit www.ums.org for our recommenda?tions of family-friendly performances. Please remember that children under the age of three are not allowed at regular UMS performances.
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.
Family-Friendly Programming and the UMS Kids Club is supported by TOYOTA
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 donation.
STUDENT TICKETS
A variety of discounted ticket programs are available for University students and teenagers. www.ums.orgstudents
Half-Price Student Ticket Sales
At the beginning of each semester, UMS offers half-price tickets.to college students. A lim?ited 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. The winter semes?ter sale ran from January 8-10, 2012. Please visit www.ums.orgstudents this summer for the Fall 2012 Half-Price Sale dates.
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.
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 are sold at www.ums.org students or in person at the Michigan League Ticket Office. Limit two Arts & Eats tickets per student.
Winter 2012 Arts & Eats:
Einstein on the Beach, Fri 120
Wayne McGregor I Random Dance, Sat 218
San Francisco Symphony: American Mavericks, Thu 322
CheikhLfi, Fri 413
Sponsored by UMBS8E With support from the U-M Alumni Association.
Gift Certificates
Available in any amount and redeemable for any events throughout our season, delivered with your personal message, the UMS Gift Certifi?cate 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 informa?tion, 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 Society (UMS) serves Michigan audi?ences by bringing to our community an ongoing series of world-class artists, who represent the diverse spectrum of today's vig?orous 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 performing 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 vi?sions of where the performing arts will take us in this new millennium. Every day UMS seeks to cultivate, 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 six 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.
For more information on UMS venues, please visit www.ums.org.
c o
Winter 2012 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 will not be admitted to regular, full-length UMS performances. All children must be able to sit quietly in their own seats without disturbing other patrons. Children unable to do so, along with the adult accompanying them, will be asked by an usher to leave the 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
Monday, January 23 through Friday, February 10, 2012
Denis Matsuev 3
Monday, January 23, 7:30 pm Hill Auditorium
Les Violons du Roy 9
Saturday, January 28, 8:00 pm Rackham Auditorium
Sabine Meyer and the Trio di Clarone 15
Saturday, February 4, 8:00 pm Rackham Auditorium
Chamber Ensemble of the 21
Shanghai Chinese Orchestra
Friday, February 10, 8:00 pm Rackham Auditorium
The 133rd UMS Season Winter 2012
January
National Theatre Live: The Collaborators Einstein on the Beach Denis Matsuev, piano Les Violons du Roy with Maurice Steger, recorder
29 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 Chamber Ensemble of the Shanghai
Chinese Orchestra 12 Michigan Chamber Players
The Tallis Scholars
Sweet Honey In The Rock
Wayne McGregor I Random Dance: FAR
FELA! (at Music Hall, Detroit)
19 National Theatre Live: Travelling Light
Jazz at Lincoln Center Orchestra with Wynton Marsalis
Hagen Quartet
March
9 Chicago Symphony Orchestra with Pinchas Zukerman, violin
10 Max Raabe & Palast Orchester
15-17 Ex Machina: The Andersen Project
18 National Theatre Live: The Comedy of Errors 22-25 San Francisco Symphony with
Michael Tilson Thomas, conductor:
American Mavericks
April
5 St. Lawrence String Quartet (NEW DATE)
National Theatre Live: She Stoops to Conquer
Zakir Hussain and Masters of Percussion
CheikhLo
Charles Lloyd New Quartet 18 Pavel Haas Quartet
19-21 Ballet Preljocaj: Snow White 22 Ford Honors Program: Academy of St. Martin in the Fields with Joshua Bell, violin
May
11 Breakin' Curfew
urns
presents
Denis Matsuev
Piano
betcol Program
Monday Evening, January 23, 2012 at 7:30 Hill Auditorium Ann Arbor
@@@@Franz Schubert
Ludwig van Beethoven
Edvard Grieg
Igor Stravinsky
Sonata No. 14 in a minor, D. 784, Op. posth. 143
Allegro giusto Andante Allegro vivace
Sonata No. 23 in f minor. Op. 57 ("Appassionata") Allegro assai Andante con moto Allegro non troppo
INTERMISSION
Sonata in e minor. Op. 7
Allegro moderato
Andante molto
Alia Menuetto, ma poco piu lento
Finale: Molto allegro
Three Movements from Petrushka
Russian Dance
Petrushka's Room
The Shrovetide Fair; Mardi Gras
32nd Performance of the 133rd Annual Season
133rd Annual Choral Union Series
The photographing or sound and video recording of this recital or possession of any device for such recording is prohibited.
This evening's performance is sponsored by the Catherine S. Arcure and Herbert E. Sloan Endowment Fund.
Media partnership is provided by WGTE 91.3 FM.
The Steinway piano used in this evening's performance is made possible by William and Mary Palmer and by the Steinway Piano Gallery of Detroit.
Special thanks to Tom Thompson of Tom Thompson Flowers, Ann Arbor, for his generous contribution of floral art for this evening's performance.
Mr. Matsuev appears by arrangement with Columbia Artists Management, LLC
Large print programs are available upon request.
Now that you're in your seat...
O
ne often hears an important discovery or a great work of art described as "epoch-making." In music, that adjective has rarely been more applicable than in the case of Beethoven, whose compositions energized an entire century with their tremendous emotional power. Both Schubert and Grieg, whose temperaments were predominantly lyrical, reveal themselves as Beethoven's descendants in their more robustly dramatic moments. Stravinsky, an equally "epoch-making" composer in the 20th century, rebelled against the German tradition epitomized by Beethoven. He did not wear his heart on his sleeve like his predecessors had done, but achieved artistic integrity and reached his listeners in an entirely different way. Hearing his amazing Petrushka transcription after three 19th-century sonatas, one will probably have only one question: how is it all possible
Sonata No. 14 in a minor, D. 784,
Op. posth. 143(1823) Franz Schubert Born January 31, 1797 in Himmelpfortgrund (then
a suburb of Vienna and now a part of that city),
Austria Died November 19, 1828 in Vienna
Snapshot of History... In 1823:
Beethoven completes his Missa Solemnis
Clement Clarke Moore writes "Twas the night before Christmas"
William Sturgeon invents the electromagnet
The French army invades Spain, ending three years of liberal rule
Alexander Pushkin begins work on Eugene Onegin
Of all the so-called "Viennese masters," only Schubert was actually born and raised in that city. Surprisingly, the composer of more than 600 art songs (or lieder) and 11 piano sonatas did not, for most of his creative life, own a piano. A great deal of Schubert's work was done at a writing table, to be later revised at borrowed pianos in the homes of various friends.
Schubert's music languished for most of the 19th century, due to the widespread belief that the sonata was to be found in the works of Beethoven, and Schubert's distinctive style was looked upon as an anomaly. The great master of lieder, it was believed, was incapable of handling extended pianistic composition. Although only a tiny fraction of Schubert's music was published during his lifetime, his solo and chamber music fills a comparatively large space in his instrumental writing. The history of the unpublished manuscripts
is extremely difficult to unravel; many gathered dust for decades on the shelves of his heirs and publishers, while others passed obscurely from one private collector to another until they came into the public domain.
It was not until 1928, in honor of the centenary of the composer's death, that Artur Schnabel wrote in New York's Musical Courier, "Schubert's piano sonatas rank with the greatest works of their kind; not even a juxtaposition of Beethoven's masterpieces can obscure their beauty or weaken their emotional power." This pronouncement by such an acclaimed pianist on works that had long been considered historical oddities led to a re-evaluation of Schubert, one of the most prolific composers of all time.
Composed in February, 1823, the Sonata in a minor, Op. 143 is the first of Schubert's mature sonatas, restrained and economical as compared to the great "Wanderer" Fantasy, and yet offering a complete break from the graceful, ornamental style of his earlier sonatas. Schubert's piano writing is often reminiscent of his orchestral thinking and such is the case in the first movement. Here there is a stark contrast--the austere opening theme is offset by the second subject which struck musicologist Alfred Einstein as "visions of paradise." The middle movement is not devoid of orchestral thinking either: the exquisite melody is constantly interrupted by string-like rumbling. A running figure between the hands starts off the final "Allegro vivace" in what could almost be "perpetual-motion" style. This alternates with yet another of Schubert's seemingly inexhaustible melodies until the initial figure is transformed to octaves, bringing the Sonata to an abrupt and fierce conclusion.
Program note by lleen Zovluck, O1997 Columbia Artists Management, Inc.
Sonata No. 23 in f minor, Op. 57
("Appassionata") (1804) Ludwig van Beethoven
Born December 15 or 16, 1770 in Bonn, Germany Died March 26, 1827 in Vienna
Snapshot of History... In 1804:
Napoleon Bonaparte is proclaimed Emperor of France
Friedrich Schiller's play William Tell is first performed
Thomas.Jefferson begins his second term as President of the United States
Beginning of the Lewis and Clark expedition
German philosopher Immanuel Kant dies in Konigsberg at the age of 79
For years Beethoven considered the Sonata in f minor, written 1804-5, to be his greatest sonata. Like the "Eroica" Symphony of the same period, this work reflects a suggestion of heroism; so do his "Waldstein" Sonata and the String Quartets of Op. 59. The subtitle "Appassionata" was added after Beethoven's death, and inappropriately, according to some. Carl Czerny suggested the title would be better applied to the Sonata in E-flat Major, Op. 7, "which he composed in a very impassioned mood." According to Schindler, Beethoven wrote the Op. 57 Sonata straight through during a stay with his friend Count Brunswick, to whom the work is dedicated. Asked to explain the meaning of his "Appassionata" Sonata, Beethoven responded, "Read Shakespeare's Tempest."
The first "Allegro" has a subject based on the arpeggio of f minor. The alternate loud and soft chords convey a feeling of passion and yearning. The second subject, in a major key, is heard in octaves above a rolling accompaniment. Its momentary calm and rest is disturbed by the agitated episodes which follow in the minor key. Throughout the strenuous exposition and development the despairing note is constantly sounded, and the long Coda, although brilliant, maintains the same idea down to a pianissimo close.
In contrast to all this storm and stress is the set of variations which form the second movement. The simple theme upon which it is built is a series of chords in low register. It is as though Beethoven had felt the need of something idyllically restful as
a contrast to the first movement. The variations are succeeded by a restatement of the theme. Then without a break comes the impetuous Finale. A passionate, tumultuous torrent of notes tosses and sparkles from beginning to end. Then follows the Coda, a presto of similar character working up to a climax of force and power.
Program note O1994 Columbia Artists Management, Inc.
Sonata in e minor. Op. 7 (1865) Edvard Grieg
Born June 15, 1843 in Bergen, Norway Died September 5, 1907 in Bergen
Snapshot of History... In 1865:
Schubert's "Unfinished" Symphony is first performed, 37 years after the composer's death
Abraham Lincoln is assassinated
Mark Twain achieves his first great success with The Celebrated Jumping Frog of Calaveras County
Wagner's Tristan und Isolde is first performed
Lewis Carroll publishes Alice's Adventures in Wonderland
With a burst of creative activity, Edvard Grieg pro?duced a series of works during the spring and sum?mer of 1865, when he and companion Benjamin Feddersen rented three furnished rooms at an inn at Rungsted on the coast north of Copenhagen. They made tea with an old samovar which Grieg also used for warming his fingers at the piano on the chilly spring mornings. He composed with such concentration that even the noise from the adja?cent billiard room failed to disturb him--a remark?able exception to his usual edginess when at work. During this period, he composed the Sonata in e minor, Op. 7, further developing the new, terse manner of the Humoresker, Op. 6. The Sonata was published in Leipzig in 1866. In an interview for an English journal in 1894, Grieg commented on the piece:
Whether it was the bewitching surroundings or the bracing air which inspired me, I cannot say. Suffice it that within 11 days I had com?posed my piano sonata and soon after that, my first violin sonata. I took them both to N. W. Gade, (the Danish composer, to whom the sonata is dedicated). He looked through them favorably, nodded, patted me on the shoulder
and said, 'That is very fine. Now we shall inspect it more closely.'
This was Grieg's first extant essay in sonata form and generally remains his most successful. It has compactness and directness that are absent from the later string sonatas and is celebrated for its distinguished writing for the piano, technically demanding but sidestepping obvious virtuosity.
The first movement begins with a descending four-measure motif spanning nearly an octave-and-a-half and ending on the tritone 'A-sharp.' The brief subsidiary theme in G Major that follows modulates with chromatic lines, serving as an epi?logue. The concise development opens with the principal theme's four-measure theme in E Major and uses some lively modulations before the prin?cipal key is reaffirmed at the end. The movement concludes with a short con fuoco coda.
The "Andante molto" in C Major is, to some extent, marked by modality and may be linked with folk music. Its short contrasting sections contain striking melodic and harmonic material. The most important, unified, and concentrated movement of the sonata is the third, marked "Alia Mennueto ma poco piu lento," with closely profiled thematic material beginning in e minor. This proceeds to a noble, inspired central section in E Major. The "Finale," with a Molto allegro tempo is in sonata form and has a stronger sense of unevenness than the preceding "Alia Mennueto." The concentrated coda brings the movement--and with it the sonata--to a fresh conclusion.
Program note by lleen Zovluck, O1996 Columbia Artists Management, Inc.
Three Movements from Petrushka (1921)
Igor Stravinsky
Born June 17, 1882 in Oranienbaum, near
St. Petersburg, Russia Died April 6, 1971 in New York
Snapshot of History... In 1921
Prokofiev writes his Piano Concerto No. 3
Pirandello writes Six Characters in Search of an Author
Edith Wharton receives the Pulitzer Prize for The Age of Innocence
Millions of people die in the Great Russian famine
Picasso paints his cubist masterwork Three Musicians
Stravinsky composed his second ballet, Petrushka, in 1910; it received its premiere performance on June 13, 1911, when it was staged at the Theatre du Chatelet in Paris by Sergei Diaghilev's Ballets Russes. Ten years after the immense success of Petrushka, the composer was asked by Artur Rubinstein to transcribe the music for piano, and he readily complied. The task was likely a simple one for Stravinsky. After all, the score had originally been conceived as a Konzertstuck for Piano and Orchestra, in which the piano would take the part of "a puppet suddenly endowed with life, exasperating the orchestra with diabolical cascades of arpeggios." It was Diaghilev who saw the dramatic possibilities of the score, and convinced Stravinsky to alter the work and to turn it into a ballet.
Petrushka is the Russian equivalent of Punch, the familiar figure at carnivals, and it is during carnival time in St. Petersburg that the action of the ballet develops. The growing, gathering crowd at the Shrovetide Fair watches a puppet show which presents the three central characters of the ballet: Petrushka, the Ballerina, and the Moor. At the end of the first scene, the three execute the wild "Russian Dance"; the music fits perfectly with the brilliant, jerky movements of the marionettes.
The scene shifts to Petrushka's room, where he is found engulfed by despair; he has fallen in love with the seductive Ballerina. Realizing his own grotesque countenance, the clown entertains little hope that his ardor will be returned. The Ballerina enters the scene and at first is amused, allowing Petrushka's advances; but when the brawny, richly dressed Moor appears, it is evident where the fickle beauty's real interest lies. At the end of this scene, "Petrushka's Room," our hero is humiliated by the Moor, who kicks him out.
One of the most brilliant tone pictures ever painted by Stravinsky (both in the original orchestration and in the present piano realization) is the carnival scene, "The Shrovetide Fair; Mardi Gras," in which the fair (and the ballet) reaches its climax. It requires little effort of the imagination to see the surging crowds, the gay (if heavy-footed) peasants in brightly colored shawls, and the scurrying children--every detail of an old-fashioned street fair. In the midst of this rejoicing, the rivalry between Petrushka and the Moor takes a tragic turn. The puppets escape the show and the Moor kills Petrushka with a single blow of his saber.
Program note O1994 Columbia Artists Management, Inc.
S
ince winning First Prize at the XI International Tchaikovsky Competition in 1998, Denis Matsuev has appeared in hundreds of recitals at the most prestigious and legendary concert halls throughout the world. Mr. Matsuev has also been awarded the State Prize of Russian Federation in Literature and Arts in 2009 and the Dmitry Shostakovich Prize in Music in 2010.
Mr. Matsuev collaborates with the world's best known orchestras, such as the New York Philharmonic, Chicago Symphony, Berlin Philharmonic Orchestra, London Symphony, London Philharmonic, Leipzig Gewandhaus Orchestra, Bavarian Radio Symphony, National Symphony, Pittsburgh Symphony, WDR Symphony Cologne, BBC Symphony, Philharmonia orchestra of London, Verbier Festival Orchestra, Filarmonica della Scala, Accademia Nazionale di Santa Cecilia, Orchestre National.de France, Orchestre de Paris, Orchestre Philharmonique de Radio France, and Orchestre National du Capitole de Toulouse.
He regularly appears with the most prominent conductors on the stage today, including Lorin Maazel, Valery Gergiev, Zubin Mehta, Mariss Jansons, Yuri Temirkanov, Kurt Masur, Paavo Jarvi, Leonard Slatkin, Myung-Whun Chung, Antonio Pappano, Semyon Bychkov, Ivan Fischer, Adam Fisher, Gianandrea Noseda, Jukka-Pekka Saraste, James Conlon, Mikhail Pletnev, Vladimir Fedoseyev, Vladimir Spivakov, and Tugan Sokhiev.
Mr. Matsuev is a frequent guest of renowned musical festivals such as the Ravinia Festival and the Hollywood Bowl in the US, BBC Proms and Edinburgh International Festival in Great Britain, Schleswig-Holstein, Rheingau, Festspielhaus Baden-Baden in Germany, Chopin Festival in Poland, Maggio Musicale Fiorentino in Italy, Les Choregies d'Orange and Festival de la Rogue d'Antheron in France, Verbier and Montreux Festivals in Switzerland, Enescu Festival in Romania, Budapest Spring Festival in Hungary, and Stars of the White Nights Festival in Russia.
Denis Matsuev's debut recital at Carnegie Hall in November 2007 was recorded live by Sony BMG and released as Denis Matsuev--The Concert at Carnegie Hall. The New York Times praised his performance, "...his poetic instincts held fast in tender moments, with trills as thrillingly precise as one might ever hope to hear."
In December 2007, Alexander Rachmaninoff, grandson of Sergei Rachmaninoff, chose Mr. Matsuev to perform and record unknown pieces
on the composer's own piano at the Rachmaninoff house "Villa Senar" in Lucerne. Subsequently, Sony BMG released Unknown Rachmaninoff, which has received strong positive reviews praising Mr. Matsuev's execution and creativity. In October 2008, at the personal invitation of Alexander Rachmaninoff, Mr. Matsuev was named Artistic Director of the Sergei Rachmaninoff Foundation.
Mr. Matsuev is the Artistic Director of Annecy Classics Festival in France, Stars on Baikal Musical Festival in Irkutsk, Siberia, and the internationally recognized Crescendo Festival. Mr. Matsuev is the president of the charitable foundation New Names that supports music education for children in regions of his native Russia.
UMS Archives
T
his evening's recital marks Denis Matsuev's second appearance under UMS auspices. Mr. Matsuev made his UMS debut last season as piano soloist in Rachmaninoff's Piano Concerto No. 3 with the Mariinsky Orchestra under the baton of Valery Gergiev in October 2010 at Hill Auditorium.
Denis Matsuev
urns
presents
Les Violons du Roy
Bernard Labadie, Conductor Maurice Steger, Recorder
betcol Program
Saturday Evening, January 28, 2012 at 8:00 Rackham Auditorium Ann Arbor
@@@@George Frideric Handel
Concerto Grosso in B-flat Major, Op. 6, No. 7, HWV 325
Largo
Allegro
Largo
Andante
Hornpipe
@@@@Georg Philipp Telemann
Suite in a minor for Treble Recorder, Strings, and Basso Continue TWV 55: a2
Overture
Les Plasirs I Les Plasirs II
Air a I'ltalien. Largo
Menuet I Menuet II
Rejouissance. Viste
Passepied I Passepied II
Polonaise
Mr. Steger
INTERMISSION
Giuseppe Sammartini
Francesco Geminiani
Geminiani
Concerto in F Major for Soprano Recorder, Strings, and Basso Continuo
Allegro Siciliano Allegro assai
Mr. Steger Concerto Grosso No. 12 in d minor, "La Follia" (after Corelli)
Recorder Concerto in F Major (after Corelli, Op. 5), with ornamentation by eminent masters Prelude: Largo Allemande: Allegro Sarabande: Largo Gigue: Allegro Gavotte: Allegro
Mr. Steger
33rd 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 evening's performance is sponsored by Jerry and Gloria Abrams. Media partnership is provided by WGTE 91.3 FM and WRCJ 90.9 FM.
Les Violons du Roy would like to thank the following partners: Conseil des arts et des lettres Quebec; Foundation des Violons du Roy.
Les Violons du Roy appear by arrangement with Opus 3 Artists, New York, NY.
Large print programs are available upon request.
The Recorder: Birth and Renaissance of an Instrument
T
he recorder, which first appeared in 13th-century Europe in the days of troubadours and minstrels, entered its golden age in the Renaissance. It was not only a mainstay of court musicians in the 15th and 16th centuries, but popular among aristocratic amateurs as well, including Henry VIII of England. Joining together in consorts, recorder players would perform dance music and works borrowed from the choral repertoire, such as polyphonic songs. The instrument also came into its own as a solo instrument, as evidenced by the growing repertoire of virtuosic "diminutions" (variations) on popular songs.
But the recorder's round, extremely soft timbre was ill-suited to the new Baroque concertante style that emerged in the 17th and 18th centuries. To adapt the instrument to changing tastes, it underwent a makeover of sorts in Italy, as well as in the Parisian workshops of the famed Hotteterre family. The recorder, which had been crafted in one piece since the Middle Ages, would henceforth be built in three sections, with tenon joints to facilitate tuning. The bore was also reconfigured to produce a clearer, somewhat louder sound, allowing it to serve as a solo instrument in an ensemble setting.
Attesting to the success of these adaptations, Monteverdi, Lully, Purcell, Bach, and Handel incorporated twin recorders alongside other woodwinds in a wide range of orchestral works for the theater and church. Bach, for example, wrote recorder parts for 19 of his cantatas, as well as his St. Matthew Passion, while Handel wrote twin recorders into no less than 90 of his arias. Orchestras of the day often featured both recorders and their future rival, the flute. They were used to evoke shepherds, supernatural scenes, sleep, death, birds--even bubbling brooks.
The period of 1690 to 1750 was the recorder's undisputed heyday, both as a solo and orchestral instrument. The late Baroque era gave birth not only to chamber works--sonatas and trio sonatas--but to recorder concertos and concerti grossi that showcased the instrument. Composers who wrote prominently for the recorder include Bach, Handel, Sammartini, Alessandro Scarlatti, Telemann, Veracini, and Vivaldi. Bach, who left no known solo pieces for recorder, nonetheless gave us a number of truly memorable passages for the instrument in two of his concerti grossi, the Brandenberg Concertos, Nos. 2 and 4.
Concerto Grosso in B-flat Major,
("Hornpipe"), Op. 6, No. 7, HWV 325
(1739)
George Frideric Handel Born February 23, 1685 in Halle, Germany Died April 14, 1759 in London
In England, Italian instrumental music enjoyed con?siderable popularity beginning around 1710, both in concert performance and among amateur musi?cians. The eclectic and rather conservative English preferred the concerti grossi of Arcangelo Corelli (1653-1713) to the more modern concertos of the Venetian Vivaldi (1678-1741). Indeed, Francesco Geminiani (1687-1762), a composer and Corelli disciple, led a brilliant career in London, faithfully perpetuating the style made famous by his Roman inspiration. London publisher John Walsh, who released two collections of Geminiani's concerti grossi in 1732, is said to have pressed Handel to capitalize Corelli's accomplishments. Handel, who had met Corelli during a stay in Rome, published an initial set of six concerti grossi, Op. 3, with Walsh in 1734. In 1740, his 12 Op. 6 concertos were released. Today, this second set is considered one of the finest examples of the concerto grosso form, alongside the works of Corelli and Bach's cel?ebrated Brandenberg Concertos. Op. 6 is charac?terized by a remarkable synergy between Handel's intensely personal style and the spirit of Corelli.
Suite in a minor for Treble Recorder, Strings, and Basso Continuo, TWV 55: a2
Georg Philipp Telemann
Born March 14, 1681 in Magdeburg, Germany
Died June 25, 1767 in Hamburg
After falling into relative obscurity for a century-and-a-half, Telemann's music enjoyed a major resurgence in Germany in the 1930s. One of the first works to resurface during this period was his Suite in a minor for Recorder and Strings, which gained immense popularity in the 1960s. Half of the movements in the suite have parts written for two recorders. In this work, courtly French dance stylings combine with Italian-inspired melodies and, as is often the case with Telemann, a smattering of Polish folk touches.
Concerto in F Major for Soprano Recorder, Strings, and Basso Continuo
Giuseppe Sammartini
Born January 6, 1693 in Milan, Italy
Died November 1751 in London
The recorder was much in vogue in London from 1715 until around 1735. Concertos by English composers such as William Babel, John Baston, and Robert Woodcock were popular not only in concert halls but in theaters as well, where they were performed as musical interludes between acts. Milanese composer Giuseppe Sammartini helped fuel the city's love affair with the recorder. Sammartini arrived in England in 1728 or 1729, preceded by his reputation as a recorder virtuoso. There he presented London audiences with this Concerto in F Major, a work infused with Vivaldi influences and gallant character.
Concerto Grosso No. 12 in d minor,
"La Follia" (after Corelli) Francesco Geminiani
Born December 5, 1687 in Lucca (baptized), Italy Died September 17, 1762 in Dublin
After studying in Rome with Arcangelo Corelli (1753-1713) and Alessandro Scarlatti (1660-1725), Francesco Geminiani worked for several years as a violinist and composer in his native town of Lucca, as well as in Parma. Like many Italians before him, he traveled to England, where Italian music had achieved immense popularity. Both Geminiani's talent and reputation as a disciple of the famed Corelli allowed for a stellar career as a solo violinist and composer. In 1731, he founded a subscription concert society that both his own concerti grossi and the transcriptions of works by Corelli were performed. Geminiani had quickly realized that the English, with their love of Italian composers, were infatuated with the Roman master. The Concerto Grosso No. 12 in d minor is a chamber orchestra transcription of the last of Corelli's Op. 5 violin sonatas--a series of variations on "La Follia," an immensely popular melody in the Baroque era.
Recorder Concerto in F Major (after Corelli, Op. 5), with ornamentation by eminent masters
Geminiani
It was not unusual in 18th-century London for recorder virtuosos to perform works from the popular string repertoire on their instrument, adapting them as necessary. As a connoisseur of England's Baroque music scene, Maurice Steger pays homage to this tradition this evening. Joining with the string ensemble for a concerto grosso, he will perform the concertante part normally played by the solo violin. The concerto grosso in question is a Francesco Geminiani orchestration of a Corelli sonata.
Program notes by Pierre Grondines.
@@@@A
ccording to The Independent, Maurice Steger is "the world's leading recorder virtuoso." With a repertoire focused on early music, Mr. Steger is a sought-after soloist amongst leading early music period instrument ensembles.
A major portion of Mr. Steger's artistic activities is devoted to recitals accompanied by harpsichord or small chamber orchestras. But Maurice Steger is no stranger to contemporary music: he premiered two solo concertos for recorder and orchestra and has performed Rodolphe Schacher's musical fairytale Tino Flautino over 50 times.
Maurice Steger
ums University Musical Society
After studying with Marcus Creed in Stuttgart and upon the encouragement of Reinhard Goebel, Maurice Steger has also been conducting for a number of years. In his position as the Baroque Music Director at the Zurich Chamber Orchestra, he has developed and conducted concerts from the Baroque and Classical periods.
Among his many CD releases, the Telemann flute quartets (Deutsche GrammophonArchiv), sonatas by Sammartini, Telemann's suites and con?certo for recorder (harmonia mundi), as well as Vivaldi's concertos for recorder are particularly no?table. Several recordings, among them the album Venezia 1625 and Mr. Corelli in London (harmo?nia mundi), have received important international awards and-acclaim.
@@@@R
ecognized internationally for his expertise in 17thand 18th-century repertoire, Bernard Labadie is the founder of Les Violons du Roy and La Chapelle de Quebec. For over 27 years, he has led each ensemble during the regular season in Quebec City and Montreal, on tour through North America and Europe, and on over 15 recordings for the Virgin Classics, Dorian, and ATMA labels.
Highly sought after as a guest conductor, Bernard Labadie regularly appears with some of North America's most prestigious orchestras in cities such as Chicago, New York, Boston, Philadelphia, Cleveland, San Francisco, Los Angeles, St. Louis, Houston, and Toronto. In 2009, he made his Metropolitan Opera debut with Mozart's The Magic Flute.
In Europe, he has taken to the podium with Amsterdam's Concertgebouw Orchestra, the Bavarian Radio Symphony, and the Radio-France Philharmonic Orchestra, and conducted at the Liceu in Barcelona. He is also a regular guest with
the Melbourne Symphony Orchestra and the Malaysian Philharmonic Orchestra.
Period instrument orchestras are also calling upon Bernard Labadie with increasing frequency. He will be a frequent guest with the Academy of Ancient Music in coming seasons, and has been hailed for his appearances with the Orchestra of the Age of Enlightenment, The English Concert, and Collegium Vocale Gent.
As a leading ambassador for music in his native city of Quebec, Mr. Labadie was made an Officer of the Order of Canada in 2005 and a knight of Ordre national du Quebec in 2006. In 2008, he received the Banff Centre's National Arts Award for his contribution to the development of the arts in Canada, as well as an honorary doctorate from Laval University.
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es Violons du Roy borrows its name from the renowned string orchestra of the court of the French kings. The group, comprised of 15 core members, was assembled in 1984 by music director Bernard Labadie and specializes in the vast repertoire of music for chamber orchestra. Although the ensemble plays on modern instruments, its approach to the works of the Baroque and Classical periods has been strongly influenced by current research into performance practice in the 17th and early-18th centuries; in this repertoire Les Violons du Roy uses replicates of period bows. The orchestra has been widely acclaimed for its exceptional energy, brilliance, and vitality. In recent seasons, under the leadership of first guest conductor Jean-Marie Zeitouni, the orchestra has begun a more in-depth exploration of 19thand 20th-century repertoire.
Les Violons du Roy has resided at the Palais Montcalm, the heart of the music scene in Quebec City, since 2007. The orchestra is renowned throughout Canada thanks to numerous concerts and recordings broadcast by Societe Radio-Canada and CBC, and its regular presence at music festivals. Les Violons du Roy first performed in Europe in 1988 and has since given dozens of concerts in France, Germany, England, Spain, and the Netherlands with internationally renowned soloists including Magdalena Kozena, David Daniels, and Vivica Genaux. The orchestra has twice been asked to perform at the Concertgebouw in Amsterdam. It again toured Europe in November 2011 with pianist Alexandre Tharaud.
Bernard Labadie
Since its first performance in Washington in 1995, Les Violons du Roy has extended its performance network in the US, making regular stops in New York, Chicago, and Los Angeles, and is now represented by the Opus 3 Artists agency. A recent highlight includes a US tour to both Carnegie Hall in New York and the Walt Disney Concert Hall in Los Angeles, where the orchestra performed Handel's Messiah and Bach's Christmas Oratorio with La Chapelle de Quebec and an outstanding array of soloists (Rosemary Joshua, David Daniels, Jan Kobow, Andrew Foster-Williams, and Joshua Hopkins).
Les Violons du Roy's 22 recordings have earned acclaim, distinctions, and awards at national and international levels. Two of the 12 recordings re?leased by Dorian (Handel's Apollo e Dafne and Mo?zart's Requiem) have earned Juno Awards. The as?sociation with Quebec label ATMA has given way to six CDs since 2004, including: Water Music, the 2008 Felix Award-winning album recorded in the Raoul-Jobin Hall; Piazzolla, conducted by Jean-Ma?rie Zeitouni and winner of a Juno Award in 2006; and 2010's Britten, Les Illuminations with soprano Karina Gauvin. The group's first collaboration with the multinational Virgin Classics label led to the fall 2006 release of a compilation of cantata arias by Handel and Hasse with US mezzo-soprano Vivica Genaux. Two other Virgin Classics releases in 2011 feature C.P.E. Bach's cello concertos with the Nor?wegian cellist Truls Mork and J.S. Bach's keyboard concertos with the French pianist Alexandre Tharaud. The most recent recording, presenting arias by Mozart, Haydn, Gluck, and Graun with the contralto Marie-Nicole Lemieux, was produced for the Naive label. Les Violons du Roy is a proud member of Orchestras Canada, the national asso?ciation representing Canada's orchestras.
UMS Archives
T
his evening's performance marks Les Violons du Roy and Bernard Labadie's second appearances under UMS auspices. The orchestra and Maestro Labadie made their UMS debuts in March 2001 in a concert featuring countertenor soloist David Daniels at St. Francis of Assisi Catholic Church.
Les Violons du Roy
Bernard Labadie, Conductor
Violin I
Nicole Trotier, Soloist Michelle Seto Maud Langlois Noella Bouchard
Violin II
Pascale Giguere, 5oosf Veronique Vychytil Pascale Gagnon Angelique Duguay
Viola
Annie Morrier Jean-Louis Blouin
Cello
Benoit Loiselle Raphael Dube
Double Bass
Raphael McNabney
Harpsichord
Richard Pare
Archluth
Sylvain Bergeron
Orchestra Personnel and Production Manager
Michel Robitaille
Orchestra Personnel and Production Assistant
Fanie Bourgault
For Opus 3 Artists
David V. Foster, President and CEO David J. Baldwin, Wee President, Manager,
Artists & Attractions Leonard Stein, Senor Wee President, Director,
Tour Administration
John C. Gilliland III, Associate, Tour Administration Kay McCavic, Company Manager
urns
presents
Sabine Meyer and the Trio di Clarone
Sabine Meyer, Clarinet and Basset Horn Wolfgang Meyer, Clarinet and Basset Horn Reiner Wehle, Clarinet and Basset Horn
betcol Program
Saturday Evening, February 4, 2012 at 8:00 Rackham Auditorium Ann Arbor
@@@@Wolfgang Amadeus Mozart,
An Anonymous,
from the late-18th century
Three Arias from Le nozze di Figaro, K. 492
(for three basset horns) Susanna: Al desio di chi t'adora (K. 577) Cherubino: Voi che sapete Figaro: Non piu andrai
@@@@Francis Poulenc
Sonata for Two Clarinets
Presto
Andante
Vif
@@@@Igor Stravinsky
Three Pieces for Clarinet
@@@@Johann Sebastian Bach, An. Rainer Schottstadt
French Suite No. 5, BWV 816 (for two clarinets and basset horn) Allemande Courante Sarabande Gavotte Bouree Loure Gigue
INTERMISSION
betcol Mozart
Divertimento I for three basset horns, K. 439b
Allegro
Menuetto Allegretto
Adagio
Menuetto Rondo
Allegro
@@@@Carl Philipp Emanuel Bach
Duet for Two Clarinets in C Major, Wq. 142 (H. 636)
@@@@Wolfgang Amadeus Mozart, An. Schottstadt
Four Arias from Cosi fan tutte, K. 588 (for three basset horns) Fiordiligi: Come scoglio immota resta Despina: In uomini, in soldati Ferrando: Un aura amorosa FerrandoGuilelmoDon Alfonso: Una bella serenata
35th 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.
Media partnership is provided by WGTE 91.3 FM.
Sabine Meyer and the Trio di Clarone appear by arrangement with Marianne Schmocker Artists International.
Large print programs are available upon request.
Arias from Le nozze di Figaro, K. 492 (1786) and Cosi fan tutte, K. 588 (1790)
Wolfgang Amadeus Mozart,
Arr. by an anonymous author from the late-18th century (Figaro) and Rainer Schottstadt (Cosi)
Born January 27, 1756 in Salzburg, Austria
Died December 5, 1791 in Vienna
There is no better indication of the early popularity of Mozart's operas than the number of arrangements made of them during the composer's lifetime and after. Mozart himself acknowledged this practice when, in the Act II finale of Don Giovanni, he playfully inserted a quote of "Non piu andrai" from Le nozze di Figaro in such a popularized version. In instrumental arrangements, the operatic melodies reached a wide audience far beyond the opera-going public, and gave both players and listeners a great deal of pleasure whenever this music was played.
Tonight's operatic selections include one relative rarity: "Al desio di chi t'adora" (K. 577), which is not normally performed at the opera today. This aria, scored by Mozart with two solo basset horns, was composed for a 1789 revival of Figaro. It is a more brilliant showpiece replacing Susanna's mysteriously intimate Act IV aria, "Deh vieni, non tardar." The other two selections (the adolescent Cherubino's lovelorn "Voi che sapete" from Act II and Figaro's famous, mock-heroic "Non piu andrai" from Act I) will be immediately recognized. (The arrangements were first published in the same print from the early-19th century, which also contains the divertimentos for two clarinets and basset horn.)
The arrangements from Cosi are by Rainer Schottstadt, a prominent contemporary bassoonist based in Cologne. The excerpts (all from Act I) include Fiordiligi's bravura aria "Come scoglio," Despina's coquettish "In uomini," Ferrando's effusive "Un aura amorosa," and the trio "Una bella serenata." In the last number, Ferrando and Guglielmo express their confidence in the face of Don Alonso's cynical challenge: they firmly believe that nothing can ever shake the loyalty and fidelity of their fiancees, Dorabella and Fiordiligi, and they will have cause to celebrate when the test is over.
Sonata for Two Clarinets (1918, rev. 1945)
Francis Poulenc
Born January 7, 1899 in Paris
Died January 30, 1963 in Paris
At the age of 19, Poulenc was already earning attention as a young composer from the circle of Erik Satie. Although he had only begun composing seriously the year before, his Rapsodie negre had become something of a sensation, and his career was on the rise. Understandably, Poulenc was very unhappy when he was called up for military service in January 1918, during the last year of the war. Fortunately, he was not sent to the front and was able to compose rather prolifically while wearing the uniform. One of the most successful products of these difficult months was the Sonata for Two Clarinets, one of Poulenc's first works to be published.
It is quite obvious that the young Poulenc was very much under Stravinsky's spell when he wrote the present work. Stravinsky had recently completed his Berceuses du chat (The Cat's Lullabies) for voice and three clarinets, and that work may have exerted a specific influence (the Three Pieces for Clarinet were written the same year as the Poulenc sonata, so there could be no question of a direct connection).
In his 1993 monograph on Poulenc, English musicologist Wilfrid Mellers offered a succinct description of this six-minute gem: "In the 1918 Sonate the two clarinet-pipers chortle like mountebanks at a Petrouchka-stye fair in the quick movements, while in the slow movement they lament in peasant monotone."
Three Pieces for Clarinet (1918)
Igor Stravinsky
fiorn June 17, 1882 in Oranienbaum, near
St. Petersburg, Russia Died April 6, 1971 in New York
Among the numerous instrumental and vocal miniatures Stravinsky composed during and shortly after World War I, these pieces stand out by their scoring for a single, unaccompanied melody instrument, one that, moreover, could play no double-stops like string instruments could, effectively precluding any kind of harmonic writing. Nevertheless, Stravinsky (for whom it was a matter of artistic philosophy to draw inspiration
from limitations) managed to put his unmistakable personal stamp on the piece. The rhythmical expansions and contractions in mixed meter recall such works as the earlier Rite of Spring and the later Symphonies of Wind Instruments. Stravinsky combined these rhythmic maneuvers with a lyrical exploration of the clarinet's sensuous lower register. The second piece is the only instance in Stravinsky's entire output to dispense with barlines. Eric Walter White, in his detailed survey of Stravinsky's works, described this movement as being "in an improvisatory vein, with fast-flowing arpeggios and arabesques, framing a slower, quieter, lower-pitched middle section." The last piece is again a study in mixed meters, but this time the tempo is fast, and the action takes place predominantly in the instrument's shrill upper register.
Stravinsky dedicated this work to Werner Re-inhart, a Swiss industrialist and amateur clarinetist who sponsored L'histoire du soldat in 1918.
French Suite No. 5, BWV 816
(for two clarinets and basset horn) (1723) Johann Sebastian Bach, Arr. Rainer Schottstadt Born March 21, 1685 in Eisenach, Germany Died July 28, 1750 in Leipzig
J.S. Bach's musical thinking was predominantly contrapuntal, even when he was writing in the dance forms of his day. He may well be writing melodies with accompanying harmonies for a keyboard instrument, but he still leads the top, middle, and bottom voices as though intended for different players. Therefore, a work like the French Suite No. 5 lends itself surprisingly well for arrangement as an ensemble piece. Such a performance stresses the independence of the individual voices, which is the main idea behind the art of counterpoint.
Like all the French suites, No. 5 begins with an "Allemande" in which the dance character is much attenuated, with the emphasis on a continuous motion in 16th-not.es. The same kind of motion is typical of the "Courante" as well, but now the tempo is faster and the 34 meter conveys a stronger dance feel. The "Sarabande" is a slow movement in 34 meter, made eminently danceable by the symmetrical structure of the musical phrases. The "Gavotte" and the "Bourree" are both fairly straightforward fast dances in duple meter, but the
next movement, the "Loure," is again slow, and introduces actual contrapuntal imitation for the first time in the suite. The "Loure" is, in essence, a slow form of the gigue, and is here followed by a fast gigue which, in fact, is the last movement of every Baroque suite. The present "Gigue" takes the form of a full-fledged fugue in three parts, or rather two fugues, because the second half of the piece is really a new fugue where the theme of the first fugue is inverted (that is, turned upside down, with ascending intervals becoming descending and vice versa). Contrapuntal writing, then, gradually takes over the entire suite.
Divertimento I for three basset horns,
K. 439b (1783-88) Mozart
There are a total of 25 short pieces for two clarinets and basset horn that Mozart composed during the final decade of his life. It was probably the publish?er, Nikolaus Simrock in Bonn, who grouped them together in five "serenades," each containing five movements. (Another source calls the works "divertimentos," the title chosen by the modern editors of the pieces.) The movement sequence is fast-minuet-slow-minuet-fast; each movement is fairly short in duration and extremely simple in tex?ture. Yet even when he wrote such relatively unas?suming miniatures, Mozart gave ample evidence of his incomparable mastery.
Duet for Two Clarinets in C Major, Wq.
142 (H. 636) (unknown composition date) Carl Philipp Emanuel Bach Bom March 8, 1714 in Weimar, Germany Died December 14, 1788 in Hamburg
Credit for the invention of the modern clarinet usually goes to Johann Christoph Denner (1655-1707), who introduced some substantial improvements upon the Baroque chalumeau. Composers soon adopted the new member of the woodwind family; most notable from the Baroque era are the concertos by Antonio Vivaldi. Although J. S. Bach is not known to have used the instrument, Handel occasionally did. And Bach's second son, Carl Philipp Emanuel, one of the most original and forward-looking composers of his generation, wrote several sonatas and other works for clarinet.
There have been claims that the present Duet was originally written for a musical clock, yet the manuscript that has come down to us definitely as?signs it to two clarinets. The duet is in two move?ments (slow-fast) and probably dates from the fi?nal period of Bach's life when he served as director of music for the city of Hamburg.
Program notes by Peter Laki.
@@@@T
he music enthusiast may certainly know the basset horn, a rare instrument in the clarinet family whose dark tone is featured in Mozart's Requiem, K. 626. The clarinet player, however, also knows this instrument as a rather difficult one: it is often challenging to master both technically and in .terms of intonation. A trio of basset horns may have been unthinkable had it not been for Mozart and his five Divertimenti written for this particular instrumentation.
Mozart seemed to have had a particular infinity for the basset horn during his final years. Although many of his compositions with basset horn have fallen into near oblivion today, some even believe that the basset horn was his favorite instrument. The five above-mentioned Divertimenti (K. 439b) survived, but only as an arrangement for two clarinets and bassoon.
Sabine Meyer, Wolfgang her brother, and clarinet player Reiner Wehle formed the Trio di Clarone in 1983, sparked by their interest in how the original Divertimenti might have sounded. As the five Divertimenti of Mozart could not form a complete concert program, the trio was faced with the challenge of compiling their concert repertoire. Rather than include compositions of lesser quality by Mozart's contemporaries, they decided to contrast Mozart's ingenious works with important compositions of the present day.
This juxtaposition of Mozart and contemporary works soon became a success. Regular concert appearances in Germany and other European countries as well as numerous broadcast recordings and appearances on television have made Trio di Clarone quickly popular. Tours have brought them to the US, Africa, Japan, and China.
In their effort to perform seldom-heard original pieces, Trio di Clarone occasionally collaborates with other musicians, allowing the presentation of truly rare and interesting programs, including
pieces for three singers and three clarinet players or works for three clarinets and piano. To celebrate their 10th anniversary. Trio di Clarone collaborated with well-known American jazz clarinettist Eddie Daniels in a cross-over program, which was released on CD as Blues for Sabine by EMI Classics. In 2000, Trio di Clarone toured with German jazz clarinettist Michael Riessler for promotion of Bach 2000, which was also released by EMI Classics as Bach in 1 Hour. The trio has also collaborated and recorded with French hurdy-gurdy player, Pierre Charial, on their piece entitled Paris Mecanique. Their most recent project, released in summer 2009, is Invitacion al Danzon with Paquito D'Rivera.
UMS Archives
T
his evening's concert marks Sabine Meyer's fourth appearance under UMS auspices. Ms. Meyer made her UMS debut in November 2002 in a concert with violinist Gidon Kremer and pianist Oleg Maisenberg at Rackham Auditorium. She most recently appeared in Ann Arbor in collaboration with the Tokyo String Quartet in October 2008 at Rackham Auditorium.
UMS welcomes Wolfgang Meyer and Reiner Wehle who make their UMS debuts this evening.
Sabine Meyer and the Trio di Ctarone
urns
presents
Chamber Ensemble of the Shanghai Chinese Orchestra
Wang Fujian, Artistic Director and Conductor
betcol Program
Friday Evening, February 10, 2012 at 8:00 Rackham Auditorium Ann Arbor
@@@@Wang Fujian Relic
Xie Peng Drum Fantasia
Hua Yanjun, Adapted by Wang Fujian Moon's Reflection on Er-Quan
Fujian In the Still of the Night
Jian Ying The Silk Road
Traditional, Arr. by Fang Yu and Qiao Haibo Autumn Yearning by the Dresser
Traditional The Rainbow Skirt and the Feathered Coat
Tang Jinping Jijiruling
Traditional Moonlight on the Spring River
Tonight's program is approximately 120 minutes in duration and is performed with one intermission.
36th Performance of the 133rd Annual Season
49th Annual Chamber Arts Series
The photographing or sound and video recording of this performance or possession of any device for such recording is prohibited.
This evening's performance is sponsored by the Confucius Institute at the University of Michigan.
The 2012 national tour of the Chamber Ensemble of the Shanghai Chinese Orchestra is also part of a major, multi-year cultural exchange with Minneapolis-based Arts Midwest, the Chinese Ministry of Culture, and the US Major University Presenters' Consortium. Support for this tour has been provided by the Ministry of Culture, People's Republic of China.
Special support for this residency is from Arts Midwest's Performing Arts Fund. Media partnership is provided by WGTE 91.3 FM
Large print programs are available upon request.
Relic (2009) Wang Fujian
This piece uses the guqin and xiao, two classical Chinese instruments, to represent the gallant and magnificent warriors of the past.
Drum Fantasia (2006) Xie Peng
Strong rhythm, fast melody, and a variety of percussive sounds blend to explore the humor and fun of Chinese drums. The music is a frolic between musicians and drums that reminds us of the happy days of our childhood.
Moon's Reflection on Er-Quan (2006)
Hua Yanjun,
Adapted by Wang Fujian
The erhu is a two-stringed, bowed instrument that is one of the most popular instruments in China. This work is adapted (to include the yangqin and xiao) from a famous folk piece for solo erhu that was composed by a blind street musician and symbolizes his suffering, endurance, hope, and triumph. The chamber music format enhances the artistic mood and conception of the original music. The music evokes a silent night with the moon reflecting in a clear spring, echoing the folk piece written decades ago.
In the Still of the Night (2007) Wang Fujian
"I saw the moonlight before my bed, and wondered if it were not the frost
on the ground. I raised my head and looked out on the
mountain moon. I bowed my head and thought of
my far-off home."
This is a classic poem by the ancient poet Li Bai (701-762 AD), who is widely considered one of the greatest poets from the golden age of Chinese poetry. Interpreting this poem, the composer used the mellow and simple timbre of Chinese musical instruments to present a clear and tranquil night.
The Silk Road (2007) Jiang Ying
The iconic Silk Road symbolizes the cultural exchange between the East and the West. This piece displays the exotic features of musical elements from Western China and Western Asia and features the ruan, liuqin, dizi, and percussion.
Autumn Yearning by the Dresser
Traditional,
Arr. by Fang Yu and Qiao Haibo
This piece was originally composed for pipa as the fourth tune of Frontier Song Suite, based on the Chinese folk story of Zhao Jun traveling abroad. It pictured Zhao Jun's nostalgia and sadness when coming to the frontier.
The Rainbow Skirt and the Feathered
Coat (for String Ensemble) Traditional
This piece of work is ancient and elegant. Performed by seven female musicians, the music sounds like a colorful and romantic dream.
Jijiruling (Instrumental Ensemble) (1995) Tang Jianping
The rapid beat of the percussion represents the busy and stressful life of modern people. Later, the free rhythm and familiar melody shows a return to peace and the sweetness of life.
Moonlight on the Spring River
(Instrumental Ensemble) Traditional
This piece is the earliest traditional melody adapted for modern Chinese instruments in Shanghai. It typifies the development of Chinese music in Shanghai at the turn of the 20th century. Here, the arrangement provides a clean, terse form and a more complex instrumental configuration for rich acoustic effects. In this new interpretation, the lyricism in the original score is enriched with an opulent textural harmony.
Program notes provided by Arts Midwest.
F
ounded in 1952, the Shanghai Chinese Orchestra is the first large-scale modern Chinese orchestra in China. The Orchestra is famous for the unique collaborations between its members and its mastery of diverse works. The Orchestra plays an important role in the development of Chinese music.
The Shanghai Chinese Orchestra continues to develop an extensive repertoire, performed by renowned musicians. Its performance repertoire includes large-format Chinese orchestral works as well as midand small-scale traditional works, such as stringed and wind instrumental pieces, Cantonese music, plucked-string instrumental ensembles, and percussion instrumental ensembles. The Shanghai Chinese Orchestra is also actively engaged in composition, which contributes to the Orchestra's rich repertoire. These compositions have received awards from a variety of venues, including the Shanghai Spring International Music Festival and the Shanghai International Art Festival, as well as venues around the world.
The Shanghai Chinese Orchestra has per?formed in more than 80 cities in China and has toured to more than 30 countries and regions throughout the world. The Orchestra often per?forms for prestigious audiences, including the presidents and chairmen of other countries when they visit China. In 2001 and 2003, the Orchestra performed two Chinese New Year concerts--The Year of Snake New Year Concert and The Year of Goat New Year Concert in the Musikverein, Vi?enna--to wide acclaim in Europe. In addition, the Orchestra is frequently invited to perform in major activities at home, such as the 2006 Shanghai Co?operation Organization summit, the ASEAN Sum?mit, the 2007 Special Olympics Games, the 2008 and 2010 Shanghai National Day Concert, and the 2010 Shanghai EXPO Week.
Chamber Ensemble of the Shanghai Chinese Orchestra
Wang Fujian, Artistic Director
Wang Haiping, Stage Manager
Liang Xiaofen, Foreign Affairs Executive
Hu Chenyun, Suona Duan Aiai, Erhu Zhu Yanyun, Erhu Chen Yan, Erhu Deng Yuemei, Erhu Qiao Haibo, Dizi Jin Kai, Dizi Fang Yu, Zheng Mi Songjie, Quqin Zhao Zhen, Sheng Gao Jing, YangQin Zhou Tao, Pipa Tang Xiaofeng, Ppa Liu Bo, Zhongruan Han Xue, Zhongruan Li Yueru, Daruan Wang Yan, Liuqin Wang Yinrui, Percussion Dou Qiang, Percussion Rong Chenchu, Percussion
P
rofessor Wang Fujian is the Artistic Director of Shanghai Chinese Orchestra. He is also the Vice Chairman of the Conducting Department at the Central Conservatory of Music and the Resident Conductor and Artistic Director of the China Youth Chinese Music Orchestra. Since 1985, Wang has conducted Chinese ensembles in performances throughout the world and has been a pioneer in presenting contemporary music in a traditional Chinese musical format. He has led the Shanghai Chinese Orchestra into a new era since joining as its Artistic Director in 2006.
A young erhu musician, Duan Aiai is the administrative erhu officer of the China Musicians Association and the vice president of the erhu committee of the Shanghai Musicians Association. She studied under the famous erhu instructor Professor Wang Yongde. Her awards include First Prize in the National Undergraduate Students of Performing Arts and the Excellent Performing Award in 2002 Shanghai Spring International Music Festival. As a soloist, she has been invited to perform in many countries and has attended many important events. She has held successful recitals in the Shanghai Concert Hall in 2002 and the Musikverein, Vienna, in 2003. Her versatile techniques, her understanding of the music, and her pursuit of the art make her erhu playing full of charm.
UMS welcomes the members of the Chamber Ensemble of the Shanghai Chinese Orchestra and Artistic Director and Conductor Wang Fujian who make their UMS debuts this evening.
Wang Fujian
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 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.
ADULT, UNIVERSITY, & COMMUNITY PROGRAMS
Please call 734.615.4077 or e-mail umsed@umich.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 stu?dents 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 attend UMS performances at significantly dis?counted 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.
Internships and College Work-Study Jobs
Internships and College Work-Study jobs with UMS provide experience in performing arts administra?tion, marketing, ticket sales, programming, produc?tion, fundraising, and arts education. Semesterand
year-long positions are 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 for 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 Winter 2012 season features the following performances for school audiences: Sphinx Junior Division Honors Concert, Cham-
ber Ensemble of the Shanghai Chinese Orchestra, Sweet Honey In The Rock, San Francisco Symphony, and Zakir Hussain and Masters of Percussion.
Teacher Appreciation Month! February 2012 is Teacher Appreciation Month. Visit www.ums.orgeducation for special ticket discount information.
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 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 performances directly with students, creating an intimate and special experience in students' own environment.
Teacher Advisory Committee
This group of regional educators, school admin?istrators, and K-12 arts education advocates 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 Intermediate School District as part of the Kennedy Center: Partners in Education Program. UMS also participates in the Ann Arbor Public Schools' "Partners in Excellence" program.
UMS Teen
UMS nurtures the development of young artists and audiences with a yearlong collaborative performance (Breakin' Curfew), ticket discounts (see page 20), and occasional internship op?portunities for outstanding high school students.
Breakin' Curfew
In a special collaboration with the Neutral Zone, Ann Arbor's teen center, UMS presents this an?nual performance on Friday, May 11, 2012 at the Power Center, highlighting the area's best teen performers. This show is curated, designed, mar?keted, and produced by teens under the mentor-ship of UMS staff.
Education Program Supporters
Reflects gifts made from July I, 2010 through November 1, 20it
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 Franket David and Phyllis Herzig Endowment
Fund
The Japan Foundation JazzNet Endowment W.K. Kellogg Foundation John S. and James L. Knight Foundation Ram Kotha and Howard Hu Mardi Gras Fund
Masco Corporation Foundation Michigan Council for Arts and Cultural
Affairs THE MOSAIC FOUNDATION (of R. &
P. Heydon]
National Endowment for the Arts Sarah and Dan Nicoli Oumcy and Rob Northrup PNC Foundation Prudence and Amnon Rosenthal K-12
Education Endowment Fund Stout Systems Karen and David Stutz Target Toyota
UMS Advisory Committee University of Michigan (U-M) Center for
Chinese Studies U-M Credit Union U-M Health System U-M Office of the Senior Vice Provost
for Academic Affairs U-M Office of the Vice President for
Research Wallace Endowment Fund
UMSSupport
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 great?est assets, and receive valuable benefits for your investment. 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 awardwinning 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 covers only 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 more than 7,500 hours of service to UMS each year. The Advisory Committee champions the mis?sion and advances the goals of UMS through community engagement, financial support, and other 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, which includes the presentation of the DTE Energy Foundation Educator and School of the Year Awards, to raise funds for UMS's Edu?cation & Community Engagement Programs. Tickets for the concert are available now; infor?mation about purchasing tickets for the Gala will be available in February 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.
On the Road with UMS
Held each September as a launch to the UMS season, 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 and netted nearly $100,000 to support UMS Education Programs.
Advisory Presents...
These social and educational opportunities fall into three categories: Advisory Nights--ca?sual 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 en?joy 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!
@@@@U
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 W. Mellon Foundation
Michigan Council for Arts and Cultural Affairs
National Endowment for the Arts
Pfizer, Inc.
Randall and Mary Pittman
Phil and Kathy Power
Estate of Mary Romig-deYoung
Herbert E. Sloan, Jr., MD
The Wallace Foundation
ANNUAL FUND SUPPORT
JULY 1, 2010 NOVEMBER 1, 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 following list includes donors who made gifts to UMS between July 1, 2010 and November 1, 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 Michigan Economic Development Corporation National Endowment for the Arts Randall and Mary Pittman University of Michigan Health System
SOLOIST
($50,000-$99,999)
Anonymous
Anonymous
Emily Bandera MD
Community Foundation for Southeast Michigan
DTE Energy Foundation
Esperance Family Foundation
John S. and James L. Knight Foundation
Phil and Kathy Power
The Power Foundation
Glenn Watkins
MAESTRO
($20,000-$49,999)
'Anonymous
Mary and Brian Campbell
in memory of Herbert Amster Nancy Sayles Day Foundation Alice B. Dobson David and Phyllis Herzig W.K. Kellogg Foundation KeyBank Doug and Gay Lane
Masco Corporation Foundation
PNC 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 John and Mary West
VIRTUOSO
($10,000-$19,999)
Arts Midwest's Performing Arts Fund
Bank of Ann Arbor
Rachel Bendit and Mark Bernstein
Linda and Maurice Binkow Philanthropic Fund
DJ and Dieter Boehm
Carl and Isabelle Brauer Fund
Confucius Institute at the University of Michigan
Charles H. Gershenson Trust
Global Educational Excellence
Susan and Richard Gutow
Verne and Judy Istock
The Japan Foundation
Rani Kotha and Dr. Howard Hu
Robert and Pearson Macek
Mrs. Robert E. Meredith
Michigan Council for Arts and Cultural Affairs
Michigan Critical Care Consultants, Inc.
Donald L. Morelock
THE MOSAIC FOUNDATION (of R. & P. Heydon)
NEA Jazz Masters Live
Gilbert Omenn and Martha Darling
Laurence and Beverly Price
Retirement Income Solutions
Joe and Yvonne Sesi
Sesi Lincoln-Mercury
Mames and Nancy Stanley
University of Michigan Center for Chinese Studies
University of Michigan Credit Union
Dody Viola
Marina and Robert Whitman
Ann and Clayton Wilhite
CONCERTMASTER
($7,500-$9,999)
Jerry and Gloria Abrams Amgen Foundation Carol Amster Edward Surovell Realtors David and Jo-Anna Featherman llene H. Forsyth GlaxoSmithKline Foundation Anne and Paul Glendon Richard and Linda Greene "Debbie and Norman Herbert Mardi Gras Fund Robert and Quincy Northrup 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
Barbara A. Anderson and John H. Romani
Ann Arbor Automotive
Anonymous
Janet and Arnold Aronoff
Arts at Michigan
Gary Boren
Valerie and David Canter
?Jean and Ken Casey
Subir and Malini Chowdhury Foundation
Mary Sue and Kenneth Coteman
Comerica Bank
Anne and Howard Cooper
Dennis Dahlmann and Patricia Garcia
The Herbert and Junia Doan Foundation
Jim and Patsy Donahey
Dallas C. Dort and Sharon Peterson
Faber Piano Institute
Ken and Penny Fischer
Global Educational Excellence
Eugene and Emily Grant Family Foundation
Carl Herstein and Charlene Mosher Herstein
Honigman Miller Schwartz and Cohn, LLP
Issa Foundation
David and Sally Pyne Kennedy
Wally and Robert Klein
Dr. and Mrs. Jerry Kolins
Frank Legacki and Alicia Torres
Richard and Carolyn Lineback
Mainstreet Ventures
Debby and Tom McMullen
McMullen Properties
Miller, Canfield, Paddock and Stone, P.L.C.
Drs. Barbara and Stephen Munk
?Eleanor Pollack
Herbert and Ernestine Ruben
Loretta Skewes
John W. and Gail Ferguson Stout
Stout Systems
Karen and David Stutz
Jim Toy
Susan B. Ullrich
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 Anonymous
Essel and Menakka Bailey Robert and Wanda Bartlett Bradford and Lydia Bates Kathy Benton and Robert Brown Jeannine and Robert Buchanan Edward and Mary Cady Julia Donovan Darlow and
John Corbett O'Meara Scott and Kris Fisher Stephen and Rosamund Forrest Sid Gilman and Carol Barbour Samuel and Marilyn Krimm Ted and Wendy Lawrence Leo and Kathy Legatski Donald J. Lewis and
Carolyn Dana Lewis Jeffrey MacKie-Mason and
Janet Netz Natalie Matovinovic Ernest and Adele McCarus Montague Foundation Dan and Sarah Nicoli Virginia and Gordon Nordby Stephen and Elizabeth Palms David N. Parsigian John and Dot Reed Craig and Sue Sincock,
Avfuel Corporation Dr. Rodney Smith and
Janet Kemink Lewis and Judy Tann Lois A. Theis Karl and Karen Weick
PRINCIPAL
($2,50043,499)
Anonymous
Anne Beaubien and Phil Berry Harry and Kathryn Benford Suzanne A. and
Frederick J. Beutler Blue Nile Restaurant Charles and Linda Borgsdorf Dale E. and Nancy M. Briggs Dan Cameron Family Foundation Jean W. Campbell Carolyn M. Carty and
Thomas H. Haug Pat and George Chatas Marylene Delbourg-Delphis Delta Air Lines
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 (Catherine Goldberg John and Helen Griffith Diane S. Hoff Robert and Beatrice Kahn
Jim and Pat Kennedy
Tom and Connie Kinnear
Diane Kirkpatrick
Philip and Kathryn Klintworth
Edwin and Catherine Marcus
Bernice and Herman Merte
M. Haskelland
Jan Barney Newman Jim and Bonnie Reece Ouane and Katie Renken Corliss and Jerry Rosenberg Dr. Nathaniel H. Rowe and
Melody K. Rowe Alan and Swanna Saltiel John J. H. Schwarz, M.D. Muaiad and Aida Shihadeh Susan M. Smith and
Robert H. Gray Richard and Susan Snyder Shaomeng Wang and Ju-Yun Li 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
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 Michael Boehnke and
Betsy Foxman
Ronald and Mimi Bogdasarian 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 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
Connie D'Amato
Robin and Tim Damschroder
Susan Tuttle Darrow
Charles and Kathleen Davenport
Andrzej and Cynthia Dlugosz
Molly Dobson
Stuart and Heather Dombey
Ivo Drury and Sun Hwa Kim
'Julia and Charles Eisendrath
Bruce and Cheryl Elliott
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 Marina 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 Gitlis
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
Alan Harnik and
Prof. Gillian Feeley-Harnik Alice and Clifford Hart David W. Hefeniak Sivana Heller
Paul and Nancy Hillegonds Carolyn B. Houston Robert M. and Joan F. Howe Eileen and Saul Hymans Hitch Holdings, Inc. Keki and Alice Irani Iris Drycleaners Jean Jacobson Wallie and Janet Jeffries Timothy and Jo Wiese Johnson David and Gretchen Kennard George T. Killoran Living Trust Jean and Arnold Kluge James and Carolyn Knaggs Jim and Carolyn Knake Barbara and Ronald Kramer Mary L. Kramer Barbara and Michael Kratchman Donald J. and Jeanne L. Kunz David Lampe and Susan Rosegrant 'John Lawrence and
Jeanine De Lay Carolyn and Paul Lichter
E. Daniel and Kay Long Jean E. Long
John and Cheryl MacKrell Martin and Jane Maehr Michael and Melanie Mandell Ann W. Martin and Russ Larson Fran and Irwin Martin Sally and Bill Martin Marilyn Mason
Mary and Chandler Matthews Judythe and Roger Maugh Jerry A. and Deborah Orr May Susan McClanahan and
Bill Zimmerman Griff and Pat McDonald Lester and Jeanne Monts 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 Parag G. Patil, MD PhD Judith 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 Quest Productions Red Hawk Bar & Grill Anthony L. Reffells Donald Regan and
Elizabeth Axelson Malverne Reinhart Rosalie Edwards
Vibrant Ann Arbor Fund Jeff and Huda Karaman Rosen Richard and Edie Rosenfeld Karem and Lena Sakallah Norma and Dick Sarns Maya Savanno Dr. Lynn Schachinger and
Dr. Sheryl Ulin
Schakolad Chocolate Factory Ann and Tom Schriber Erik and Carol Serr Michael and Janet Shatusky Silvio's Organic Ristorante
and Pizzeria
Carl Simon and Bobbi Low Nancy and Brooks Sitterley The Skillman Foundation Barbara Furin Sloat 'George Smillie and Marysia
Ostafin
Andrea and William 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. Antoine 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 Vander Velde Vinology Wine Bar and Restaurant John and Maureen Voorhees Florence S. Wagner Liina and Bob Wallin 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 Albin and Nili Tannenbaum
Richard and Mona Alonzo
American Title Company of Washtenaw
Doug Anderson and Peggy McCracken
John G. Anderson
Neil P. Anderson
Catherine M. Andrea
"Gail Annich and Douglas Chepeha
Anonymous
Armen Cleaners
Penny and Arthur Ashe
Ralph w and Barbara L. Babb
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 Prol. and
Mrs. Erling Blondal Bengtsson Linda Bennett and Bob Bagramian Richard S. Berger Ramon and
Peggyann Nowak Berguer L.S. Berlin and Jean McPhail John Blankley and Maureen Foley Beverly J. Bole Bob and Sharon Bordeau William R. Brashear David and Sharon Brooks Gloria and Michael Brooks Robert and Victoria Buckler Trudy and Jonathan Bulkley Lawrence and Valerie Bullen Letitia I. Byrd
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 Conn MD
Wayne and Melinda Colquitt
Anne and Edward Comeau
Conlin, McKenney, and Philbrick, PC.
Malcolm and Nita Cox
Dr. Joan and Mr. Michael Crawford
Jean C. Crump
Roderick and Mary Ann Daane
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
Eva and Wolf Duvernoy
Kim and Darlene Eagle
Stefan and Ruth Fajans
Harvey and Elly Falit
Irene Fast
Jean Fine
Carol Finerman
Clare M. Fingerle
Esther M. Floyd
Scott and Janet Fogler
Mr. and Mrs. George W. Ford
David Fox and Paula Bockenstedt
Howard P. Fox
8everley and Gerson Geltner
Chris and Dara Genteel
Renate Gerulaitis
Ronald Gibala and Janice Grichor
Mr. and Mrs. Charles and
Janet Goss
Amy and Glenn Gottfried James and Maria Gousseff Grand Hotel
P. Larry and Martha Gray Dr. John and Renee M. Greden Kenneth and Margaret Guire Keturah Thunder Haab Don Haefner and Cynthia Stewart Robert and Elizabeth Hamel Marlys Hamill
Walt and Charlene Hancock 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. Hufett Ann D. Hungerman Dr. John B. Huntington Stuart and Maureen Isaac ISCIENCES, LLC Kent and Mary Johnson Paul and Meredyth Jones Mark and Madolyn Kaminski Bob and Jeri Kelch Christopher Kendall and
Susan Schilperoort Rhea K. Kish David E. and Heidi Castleman Klein
Michael J. Kondziolka and
Mathjas-Phiiippe Florent Badin Chene Koppitz
Dr. and Mrs. Melvyn Korobkin Justine Kulka Jane E. Laird La Pita Fresh
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 Ron and Margaret Lomax William and Lois Lovejoy Joan Lowenstein and
Jonathan Trobe Frances Lyman Pam MacKintosh Claire and Richard Malvin Nancy and Phil Margolis Betsy Y. Mark W. Harry Marsden John Martin and Molly Resnik Susan E. Martin Carole J. Mayer Margaret E. McCarthy Bill and Ginny McKeachie Bud McKenzie Barbara Meadows Warren and Hilda Merchant Mercy's Restaurant Merrill Lynch Robert C. Metcalf Don and Lee Meyer Gene and Lois Miller Andrew and Candy Mitchell Bert and Kathy Moberg Harry and Natalie Mobley Lewis and Kara Morgenstern Charles Moss and Dee Fenner Tom and Hedi Mulford Nacht, Roumel, Salvatore, BlanchardS Walker, PC. Marylen Oberman Kathleen I. Operhall Susan and Mark Orringer 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 Revive + Replenish Carrol K. Robertsen Doug and Nancy Roosa Stephanie Rosenbaum Haskell Rothstein Craig and Jan Ruff Lisa and Jonathan Rye Ina and Terry Sandalow Miriam Sandweiss Joseph M. Saul and Lisa Leutheuser Charles Schmitter and Allyn Ravitz Brian and Michelle Schrag David and Monica Schteingart John Scudder and Regan Knapp Matthew Shapiro and
Susan Garetz Julie and Mike Shea
Sheraton Hotel
Howard and Aliza Shevrin
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
Eric and Virginia Stein
Steve and Diane Telian
Ted and Eileen Thacker
Peter, Carrie and Emma Throm
Fr. Lewis W. Towler
'Claire and Jerry Turcotte
Alvan and Katharine Uhle
Rebecca Van Dyke
Douglas and Andrea Van Houweling
Vinology Wine Bar and Restaurant
Tsuguyasu and Harue Wada
Charles R. and Barbara H. Wallgren
Jo Ann Ward
Arthur and Renata Wasserman
Lyndon Welch
Iris and Fred Whitehouse
Alan and Leslie Whitfield
Reverend Francis E. Williams
Gareth and Lauren Williams
Richard C.Wilson
Beth and I.W. Winsten
Larry and Andi Wolf
Dr. and Mrs. Robert Wolf
Mary Jean and John Yablonky
Kathryn and Richard Yarmain
James and Gladys Young
ASSOCIATE
($250-$499)
Ruth Addis and Marj Schlof f
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
Sandy and Charlie Aquino
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 V. Berg
Naren K 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 Gary Bloomfield. DOS Mr Mark D. Bomia Jean Borkowski Victoria C. Botek and
William M. Edwards Robert M. Bradley and
Charlotte Mistretta Mike and Peggy Brand 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 Susan M. Carter A. Craig Cattell Charles Stewart Mott
Foundation
Joan and Mark Chester John and Sherry Chin Mark Clague and
Laura Jackson Coffee Express Co. George Collins and
Paula Hencken Joe and Mary Pat Conen Carolyn and
L. Thomas Conlin Conhn Travel Jud Coon Sue 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 John and Carolyn Culotta Jean Cunningham and
Fawwaz Ulaby John G. and Mary R. Curtis Joseph Custer Judith Dart Suml and Merial Das Davenport Insurance and
Financial Services. Inc. Ed and Elite Davidson Linda Davis and Bob Richter Michelle Deatrick and
Steven Przybylski John Debbink
Nicholas and Elena Delbanco Mary Dempsey and
James Corbett Ric and Donna DeVore Jocelyn DeWitt and
Kurt Riegel Elizabeth Dexter Dr. and Mrs. Ron DiCecco Macdonald and Carolin Dick Rev. Dr. Timothy J.
Dombrowski Kathryn Dominguez and
James Hines Elizabeth Duell Swati Dutta Gavin Eadie and
Barbara Murphy James F. Eder Richard and Myrna Edgar Morgan and Sally Edwards Dr. Alan S. Eiser Charles and Julie Ellis Joan and David Evans Mary Ann Faeth Dr. and Mrs. S.M. Farhat Michael and
Michaelene Farrell Peter and Rachel Fayroian Phil and Phyllis Fellin James and Flora Ferrara Robin D. Ferriby Jon and Kayne Ferrier Herschel and Adnenne Fink Sara Fink
C. Peter and BevA. Fischer Jacqueline and David Fischer Jerry and Cathie Fischer Harold and Billie Fischer Laurel Fisher Susan A. Fisher Arnold Fleischmann Pete and Priscilla Fhntoft Stewart Frank Doug and Lucia Freeth
Tim and Stephanie Freeth Otio W. and Helga B Freitag Susan Froelich and
Richard Ingram Gail Fromes
Jerrold A. and Nancy M. Frost Philip and Renee Frost Harriet Fusfeld Carol Gagliardi and
David Flesher James and
Barbara Garavaglia Sandra Gasi and
Gregory Kolecki Gates Au Sable Lodge Michael Gatti and
Lisa Murray Drs. Steve Geiringer and
Karen Bantel Charles and Rita Gelman Henry and Deborah Gerst Allan Gibbard and
Beth Genne Dr. PaulW. Gikasand
Suzanne Gikas Elmer G. Gilbert and
Lois M. Verbrugge J. Martin Gillespie and
Tara Gillespie Beverly Jeanne Giltrow Maureen and David Ginsburg Tom and Ann Gladwin Ed and Mona Goldman Irwm J Goldstein and
Martha Mayo Mitch and Barb Goodkin Kathryn Goodson and
John Hieftje Enid M. Gosling Patricia Gotfredson Michael L. Gowing Phyllis Grade 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 Grisham 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 J. Halpern Michael C. Hammer Jeffrey L. Hauptman Daniel and Jane Hayes Jeanne and Michael Haynes Michele Heisler and
Jamie Tappenden Rose and John Henderson J. Lawrence Henkel and
Jacqueline Stearns Alfred and Therese Hero Donald Hicks Peter G. Hinman James and
Anne Marie Hitchcock Dr. Lisa E. Hoik Jane and Thomas Holland Ronald and Ann Holz Hooper, Hathaway. Price,
Beuche & Wallace, PC Paul Hossler and
Charlene Bignall Houghton Miffhn Company James House and
Wendy Fisher House Betty Hsiao Mabelle Hsueh Harry and Ruth Huff Alan and Karen Hunt
Eugene and Margaret Ingram
Richard and Suzette Isackson
Esther Ann Jackson
Joan L. and John H. Jackson
Joachim and Chnsta Janecke
Jerome Jelinek
Mark and Linda Johnson
Paul and Olga Johnson
Jonna Companies
Stevo Julius, MO
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 James A. Kelly and
Mariam C. Noland John Kennard, Jr. Nancy Keppelman and
Michael Smerza Kerry Family Penodontics 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 Klmgler 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 'Martha Fessler Kneg Mary Krieger Bert and Geraldme Kruse Ken and Maria Laberteaux Donald John Lochowicz 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 Myron and Bobbie Levine Lewis & Company Jacqueline H Lewis Michael and Debra Lisull Daniel Little and
Bernadette Lintz Len and Betty Lofstrom Julie M. Loftin Barbara and Michael Lott Bruce W. Loughry Drs Michael and
Jennifer Lukela Bngitte Maassen Donald and Jane MacQueen William and Jutta Malm Scott and Kris Maly Melvin and Jean Manis 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 Carmen and Jack Miller Murray H. and Yetta R Miller Myrna and Newell Miller Patricia Mooradian Mark and Lesley Mozola Terence Roche Murphy Virginia Murphy and
David Uhlmann Jeffrey L. Myers and
Eileen McMyler Ors. Louis and
Julie Jaffee Nagel Gerry and Joanne Navarre Kay and Gayl Ness John and Ann Nicklas Susan and Richard Nisbett Eugene Nissen Laura Nitzberg 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 Katherme Paltndge 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 Benslav 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 Jonathan and Anala Rodgers Dr. Susan M. Rose Stephen and Tanis Rosoff Rosemarie Haag Rowney Carol Rugg and
Richard Montmorency Oman 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 Ananda Sen and
Mousumi Banerjee Matthew Shapiro and
Susan Garetz
David and Elvera Shappino Cliff and Ingrid Sheldon Bill and Chris Shell Judith and Ivan Sherick Patrick and Carol Sherry Jean and Thomas Shope Bruce M. Siegan Scott and Joan Singer Jiirgen Skoppek Anthony L. Smith Carl and Jan 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 Carolyn R. Spencer Doris and Larry Sperling Gretta Spier and
Jonathan Rubin Jeff Spindler Katherine R. Spindler David and Ann Staiger William J. and
Roberta G. Stapleton 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 Sam and Eva Taylor Stephanie Teasley and
Thomas Finholt Mark and Patricia Tessler Textron Denise Thai and
David Scobey Bette M. Thompson Nigel and Jane Thompson Patricia and Ternl Tompkins Hitomi Tonomura Janet E and Randall C. Tor no Alison and Matthew Uzieblo Hugo and Karla Vandersypen Thomas and
Mary Wakefield David C. and
Elizabeth A. Walker Jack and Carolyn Wallace C. Glen and Edite B.Walter Enid Wasserman Richard and
Madelon Weber Deborah Webster and
George Miller Jack and Jerry Weidenbach Jack and Carol Weigel Mary Ann Whipple James B. and Mary F. White Nancy Wiernik Lawrence and Mary Wise Charlotte A. Wolfe Stan and Pns Woollams World Kitchen, LLC Frances A. Wright Mayer and Joan Zald 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 Endowment Fund
Catherine S. Arcure Endowment Fund
Catherine S. ArcureHerbert E. Sloan Endowment Fund
Carl and Isabelle Brauer Endowment Fund
Hal and Ann Davis Endowment Fund
Doris Duke Charitable Foundation Endowment Fund
Epstein Endowment Fund
llene H. Forsyth Endowment Fund
Norman and Debbie Herbert Endowment Fund
David and Phyllis Herzig Endowment Fund
JazzNet Endowment Fund
William R. Kinney Endowment Fund
Frances Mauney Lohr Choral Union Endowment Fund
Natalie Matovinovic Endowment Fund
Medical Community Endowment Fund
NEA Matching Fund
Ottmar Eberbach Funds
Palmer Endowment Fund
Mary R. Romig-deYoung Music Appreciation Fund
Prudence and Amnon Rosenthal K-12 Education
Endowment Fund Charles A. Sink 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
TTie 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 Benton and Robert Brown
Linda and Maurice Binkow
Elizabeth S. Bishop
Mr. and Mrs. W. Howard Bond
Mr. and Mrs. Pal E. Borondy
Carl and Isabelle Brauer
Barbara Everitt Bryant
Pat and George Chatas
Mr. and Mrs. John Alden Clark
Mary C. Crichton
H. Michael and Judith L. Endres
Dr. James F. Filgas
Ken and Penny Fischer
Ms. Susan Ruth Fisher
Meredith L. and Neal Foster
Beverley and Gerson Geltner
Paul and Anne Glendon
Debbie and Norman Herbert
Rita and Peter Heydon
John and Martha Hicks
Mr. and Mrs. Richard Ives
Marilyn G. Jeffs
Thomas C. and Constance M. Kinnear
Diane Kirkpatrick
Frank Legacki and Alicia Torres
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:
Bonnie Ackley 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 James Garavaglia 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 Dorothy A. Lapp 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 Gail W. Rector Steffi Reiss Bruce J. Rogers Margaret E. Rothstein
Eric H. Rothstein Prof. Kenneth Rowe Nona R. Schneider Edith Marie Snow John C. Stegeman Katherine Terrell Svejnar Charles R. Tieman Shirley Verrett 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:
Michael Allemang
Dr. Minor J. "Jud" Coon
Ken and Penny Fischer
Susan R. Fisher
Maxine and Stuart Frankel
Walt and Charlene Hancock
Anne Herrmann
David Herzig
Michael Kondziolka
Ian Krieg
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 Jewelry
Gem Gallery Ann Arbor Civic Theatre Ann Arbor District Library Ann Arbor Fire Station H 1 Ann Arbor Symphony Orchestra Anonymous
Sandy and Charlie Aquino Phil and Lorie Arbour Ayse's Turkish Cafe Barbara B. Bach Pat Bamle
Barnes Ace Hardware Kathy Benton and
Robert Brown Kathryn Bieda Linda and Maurice Binkow Dr. DJ and Dieter Boehm Jim Botsford and
Janice Stevens Botsford Robert and Victoria Buckler Lou and Janet Callaway Casa Marbella J. Wehrleyand
Patricia Chapman Cheryl and Brian Clarkson Comerica Bank The Common Grill Wendy and Mark Comstock Delta Air Lines Ric and Donna DeVore Jon Desenberg Junia Doan DTE Energy
The Earle Restaurant
David and Jo-Anna Featherman
Sara and Bill Fink
Susan A. Fisher
Susan R. Fisher and
John Waidley Maxine and Stuart Frankel Gates Au Sable Lodge Mark Gjukich Tom and Ann Gladwin Anne and Paul Glendon The Grand Hotel Scott Haebich Idelle Hammond-Sass Walt and Charlene Hancock Gregory and Shelia Harden Alice and Clifford Hart Debbie and Norman Herbert David and Phyllis Herzig Hotel Bougainvillea Hitch Holdings, Inc. JOURNEYS International Jean and Arnold Kluge Jim and Carolyn Knaggs La Pita Fresh Marci Raver Lash and
Robert Lash Logan
Robert and Pearson Macek Martin and Jane Maehr Mainstreet Ventures Michael and Melanie Mandell Fran and Irwin Martin Barbara Meadows
Mercy's Restaurant
Liz and Art Messiter
Robin and Victor Miese!
Harry and Natalie Mobley
Morgan & York
THE MOSAIC FOUNDATION
(of R. & P. Heydon) Mike Mouradian Bonita Neighbors M. Haskell and Jan Barney
Newman Nicola's Books Dan and Sarah Nicoli Gilbert Omenn and
Martha Darling Steve and Betty Palms Performance Network Theatre Ruth Petit
The Quarter Bistro and Tavern Quest Productions Red Hawk Bar & Grill John and Dot Reed Revive + Replenish Stephen and Tanis Rosoff Doug and Sharon Rothwell Linda Samuelson and
Joel Howell David Sarns and
Agnes Moy Sams Maya Savarino Sava's State Street Cafe Schakolad Chocolate Factory Paul and Penny Schreiber Tom and Ann Schriber
Jane and Edward Schulak SeloShevel Gallery Dennis and Ellie Serras George and Gladys Shirley Silvio's Organic Ristorante
and Pizzeria Anthony Smith Cheryl Soper
Becki Spangler and Peyton Bland Sparrow Meats James and Nancy Stanley Cynthia Straub Karen and David Stutz Ted and Eileen Thacker Terry B's Janet Torno Louise Townley Susan B. Ullrich Vinology Wine Bar
and Restaurant Ron and Eileen Wetser The West End Grill Whole Foods Market Ann and Clayton Wilhite Larry and Andi Wolf

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