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UMS Concert Program, October 20, 2012 - November 17, 2012 - Murray Perahia; Mariinsky Orchestra; Belcea Quartet; Gilberto Gil

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Kldd Pivot: Th., Tempest Replica Natlonal The31re Uve: The Curious IncidGnt of tho Dog in thQ Night-Tim. Chla80 Symphony Orchestra - Riccardo Muti, conductor Suzhou Kun Opfl"a Theater of Jiangsu Province
Bllslanl Aspen 5,,"'4 Fe Ballet Jerusalem Quartet TheAtre de La Ville: lonesco's RhinocWos MurrllY Perahla. plano Marllnsky Orchestra of St. PetersbUfl! - Valery Gergiev, conductor National Theatre Uve: Last of th" Houssmons
Belcea Quartet
GUberto Gil HoiLand Big Band
National Theatre Un: Timon ofAthQIIs Handel's Messloh
Olanne Reeves Quartet with specialguesl Raul Midon
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Detroit Symphony Orchestra - Leonard Slatkin, conductor Gabriel Kahane & Friends From Coss Corridor to thQ World: A TributQ to OQtroit's Musical GoIdQnAgQ Martha Graham Dance Company Mariachi Vargas de Tecalitlan Jazz at Lincoln Center Orchestra with Wyntan Marsalis
Angelique Kidjo New Century Chamber Orchestra - Nadja Salerno-Sonnenberl!, violin and leader Berlin Philharmonic Woodwind Quintet with Martin Katz, piano National Theatre Live: ThQ MogistrotQ The King's Singers Kodo Amjad Ali Khan with Amaan Ali Khan and Ayaan Ali Khan, sarods The English Concert with David Daniels, countertenor: Handel's Rodamisto Propeller: Shakespeare's T_/fth Night and ThQ Toming ofthQ ShrQw New York Philharmonic - Alan Gilbert, conductor
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SPECIAL CELEBRATION DINNER Chicago Symphony Orchestra Thursday, September 27, 5:30 pm Speaker: Ken Fischer, UMS President
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New York Philharmonic Saturday. February 23, 5:30 pm Speaker: Mark Clague, Associate Professor of Music, U- M School of Music, Theatre & Dance
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Saturday Evening. October 20. 2012 at 8:00 HilI Auditorium · Ann Arbor
15th Performance of the 134th Annual Season 134th Annual Choral Union Series
Franz Joseph Haydn
Sonata in D Major, H XVI:24
Allegro Adagio Finale (Presto)
Franz Schubert
Moments musicaux, D. 780, Op. 94
Moderato in C Major Andantino in A-flat Major Allegro moderato in f minor Moderato in c-sharp minor Allegro vivace in f minor Allegretto in A-flat Major
Ludwig van Beethoven Sonata No. 14 in c-sharp minor, Op. 27/2 ("Moonlight")
Adagio sostenuto Allegretto Presto agitato
Robert Schumann Faschingsschwank aus Wien, Op. 26
Allegro (Sehr lebhaft) Romanze (Ziemlich langsam) Scherzino Intermezzo (Mit groi?ter energie) Finale (H&hst lebhaft)
Frederic Chopin Impromptu No.2 in F-sharp Major, Op. 36
Scherzo No.1 in b minor, Op. 20
This evenins's recital is sponsored by the University of Michigan Health System. Additional support is provided by Donald l. Morelock, Natalie Matovinovic, Robertand Marina Whitman, and
Ann and Clayton Wilhite,
Media partnership is provided byWGTE 91.3 FM, WRq 90,9 FM, and Drooft}wnsh NQWS.
TheSteinway piano used in this evening's recital is made possible byWilliam and Mary Palmer,
Special thanks to Tom Thorrpson of Tom Thompson Flowers, Ann MOO!', for his generous contribution of floral art for this eYenirll!'s recitaL
Special thanks to Steven Ball for coordinating the pre-concert music on the Charles Baird Carillon, Mr, Perahia appears by arranGement with IM GArtists, New York, NY,
Why Hi1i100?
The stars are ageless, aren't they? - Norma Desmond from Sunset Boulevard
Norma Desmond was, of course, referring to movie stars, but her belief in the stars' enduring impact on our memory holds true for stars of the classical music world, as well. We love them. And no classical music stars shine their light more brightly across the galaxy than those of the solo concert pianist. Murray Perahia's point of light is an important and established part of today's constellation and his music making has become cherished not only in Ann Arbor but in every important international music capital. He first appeared in Ann Arbor on October 27, 1977 and has matured as an artist in front of our very eyes over 35 years. Upon reflection, his continued presence in Hill Auditorium over the course of his career echoes that of many great concert pianists who came before him. Indeed. his concert tonight stands as an icon for the extraordinary history of solo pianists on stage in Hill.
Immediately upon Hill's opening to the public, UMS invited the day's most important concert pianists to perform here, quickly establishing Ann Arbor as a community where concert-going was taken "very seriously." It is hard to imagine that within the first decade of Hill's concert life, the roster of pianists included Ignace Jan Paderewski (1914, 1916, 1923), Ferruccio Busoni (1915), Ossip Gabrilowitsch (1915), Ethel Leginska (1916)', Sergei Prokofiev (1918), Josef Hofmann (1920), Josef Lhevinne (1920), Sergei Rachmaninoff (1920), Percy Grainger (1920), and Alfred Cortot (1922), to name but a few. That impressive early history was strengthened over the years to support long relationships with other very gifted superstars: Van Cliburn
(first UMS recital in 1960), Dame Myra Hess (1928- 1958), Vladimir Horowitz (1928- 1978), Arthur Rubinstein (1938- 1971), Artur Schnabel (1935- 46), and Rudolf Serkin (1939- 1978), most notably.
To this day we hear from patrons who were actually at some of these early concerts. They wax. nostalgic at the memory of these treasured musical moments. The stars continue to cast their light...
'Ethel was a pioneer of women's opportunity in music performance and conductinll. ln addition to a full performance schedule, she founded the National Women's Symphony Orchestra in New York and served as director of the Chicago Women's Symphony Orchestra.
Pianists are very fortunate indeed to have so much great music written for their instrument And concert-goers are fortunate wheneYer they go to a great redtal, to be treated to a veritable smorgasbord of masterworks.
For tonight's program, Mr. Perahia has brought together five composers whose work spans one of the most glorious periods in musk history. a period encompassing what are commonly knoNn as the "Classical" and "Romantic" eras. Keyboard music underwent a most spectacular evolution during those years, as did the instrument itself. Between the 1770sand the 18405. the harpsichord of Haydn's day - a sensitiYe and delicate instrument - evolved into the fortepiano and then into the po.verful modern piano.
Partly in response to these developments, and partly inspiring and encouraging them, the music written for the piano also changed significantly. Haydn's sonatas were written for cultivated amateurs (mostly women) who played at home for themselves, or for very small social gatherings. By the early 19th century, public recitals became more and more frequent in many important European cities and, as the technical demands grew by leaps and bounds, the music increasingly required professional virtuosos who achieved true celebrity status. Some composers, like Beetholen and Chopin, were themselYes outstanding pianists (performing mostly in aristocratic salons); Schumann, too, aspired for a virtuoso career until his dreams were shattered by a hand injury. Others, like Haydn and Schubert, were no more than competent players, which didn't stop them from writing highly challenging keyboard music for others to perform.
Although 18th-century composers did write shorter works for piano, the predominant keyboard genre of the Classical era was the sonata, which had more than one mo.rement (usually three but sometimes two or four), with the objective of creating a perfect balance among its opposing moods and tempos. The 19th century, by contrast, was the heyday of the "character piece"; the impromptu that sought to capture the immediacy of improvisation in notated music; various dance forms that allowed for an enormous range of emotional expression while adhering to a single rhythmic pattern; or cy.::les of short movements arranged according toa logic that often went counter to classical ideas of balance. While Schubert, Schumann, and Chopin also composed sonatas in which they took up the challenge of the classics, they explored the character piece in multifarious ways, expressing their cmn unique personaHties and, at the same time, a new aesthetic for a new century.
Sonata in D Major, H XVI:24 (1773) Franz Joseph Haydn
Born March 31, 1732 in Rohrau, Lower Austria Died May 31, 1809 in Vienna
, The Boston Tea Party (December 16) , The 17-year-old Mozart writes a set of six string quartets (K. 168-73), influenced
by Haydn's Op. 20 cycle. (Not to be confused with the six later quartets dedicated
to Haydn!) , Birth of Foreign Minister Prince Klemens von Metternich, who gave his name to the
repressive regime in Austria after 1815, under which both Beethoven and Schubert lived ' Captain James Cook crosses the Antarctic Circle , Major rebellion of peasants and Cossacks in Russia,led by Yemelyan Pugachov
This sonata, and its five companions, were the very first music that Haydn, at the age of 41, submitted to a music publisher. (Other works had been printed earlier in what were essentially "pirated" editions in Paris, London, or Amsterdam - too far away for Haydn to have any input in the publication.) However, when Joseph Kurzb&k of Vienna brought out "Six Sonatas for the Harpsichord Dedicated to His Most Serene Highness of the Holy Roman
Empire. Prince Nikolaus Esterhazy of Gatanta: the composer himself was surely behind the venture. carefully choosing the works and their order in the volume. And of course. the dedicatee was none other than his employer whom he served faithfully for almost 30 years.
Some commentators have called the six "Esterh.izy" sonatas "conservative" works because they don't display some of the daring innovations and proto-Romantic turbulences present in many Haydn works written just prior to this set Yet they certainly couldn't have been written 10 or 20 years earlier. either by Haydn or anyone else. In his seminal book on the Haydn sonatas. Lilszl6 Somfai uses the term "court style" to characterize this group of works: there is certainly something "official" in them as Haydn pays homage to his patron. yet the composer's original genius is evident at every turn. He follows an already established pattern for the multi-movement sonata. yet he does it differently in every piece; we know where we are headed, but we never know how we are going to get there.
The O-Major work comes fourth in the set of six sonatas. Like all the other works except one, it is in three movements: fast-slow-fast. By 1773. Haydn used a more "modern" type of sonata form, with a rather lengthy development section in which the opening materials undergo extensive and often surprising transformations. The alternation between lyrical melodies in a sparse two-part texture on one hand and toccata-like figurations on the other ensures a great variety of expression as we move from one section to the next. The slow movement, which Somfai calls "remarkably beautiful: revisits Haydn's "proto-Romantic" style with its heartfelt minor-mode melody that acquires some lavish ornamentations as the movement progresses. Then the music abruptly stops on a half-cadence (without closure in the home key). and the final movement ensues without a break. "A bold experiment" (Somfai), this movement combines elements of the rondo (in which a main theme returns periodically. in an unchanged form) and the variation. in which the theme is altered in significant ways. Here Haydn does both and, in typically Haydnesque fashion, reserves some surprising harmonic events for the very end.
Moments musicaux, D, 780, Op, 94 (1823-28) Franz Schubert
Born January 31, 1797 in Himmelpfortgrund (now part of Vienna) Died November 19, 1828 in Vienna
• Noah Webster publishes his American Dictionary of the English Language • Felix Mendelssohn writes his overture Calm Sea and Prosperous Voyage • Thomas Cole paints The Garden of Eden • Hungarian inventor Anyos Jedlik builds the world's first electric motor
• War between Russia and Turkey
The keyboard music of the Classical composers was almost entirely dominated by the multi- movement sonata. With the exception of the fantasy, most other shorter piano works (rondos, variations) could be considered to be potential sonata movements. The short. independent character piece is a 19th-century invention. Its first master-after a few lesser figures preparing the way-was Franz Schubert. with his two sets of impromptus. his magnificent Three Piano Pieces. and the popular Moments musicaux.
The six "musical moments" were written over a period of five years. and pubUshed in Vienna in 1828. the year of Schubert's death, with the faulty French title Momens musicals. Two of the pieces. however. had been printed separately earlier: NO.3 under the titleAt russe in 1823, and NO.6 as. surprisingly. Les Plaintes d'un Troubadour(The Lament of a Troubadour) in 1824. Neither of these titles appear to have been given by Schubert, but they are an interesting indication of how 19th-century ears heard this music.
With the exception of No.5, these short works are really "double-character" pieces, as each has a trio (middle section) that contrasts with the opening. (In No.3. this contrast is not very pronounced.) In the first piece, music that constantly changes is contrasted with music that stays the same. The opening material shifts back and forth between unaccompanied and
accompanied melody, and between major and minor keys. while the trio isa single continuous melody with a constant (well. almost constant) accompaniment in triplets. The intensely lyrical second movement follows an ABABA scheme - that is. each section is repeated one extra time. Each repeat. moreover. is varied: the "A" melody is significantly expanded, and the "S" section grows from pianissimo to forte. The conclusion of each section, however, is invariably soft and subdued.
NO.3 is probably the best known (and also the shortest) piece in the set. A simple and uniform dance rhythm is heard throughout, and the "A" and "S" sections. as well as the concluding coda. follow one another in a completely seamless fashion. The unique charm of the piece is greatly enhanced by a typical Schubertian alternation between major and minor sonorities, which gives the little dance tunea somewhat wistful coloring.
NO.4 opens as a kind of toccata, a perpetual motion with an uninterrupted series of fast 16th-notes in a minor key. For his "S" section. Schubert turns to a syncopated dance melody in the major. After the recapitulation, the composer reminds us once more. ever so briefly. of the trio section, before the final closure.
NO.5 turns Schubert's fa\Ql'ite dactyUc rhythm (long-short-short) into a galloping "Allegro vivace." This pattern changes only slightly in the course of the piece. which is kept in the minor mode throughout, except for the very end.
NO.6 is, in many ways, the most extraordinary piece in the set. Its deep melancholy and its numerous harmonic irregularities prompted musicologist Edward T. Cone to advance a bold hypothesis that can be neither proved nor disproved. Cone showed how in this work. whose main tonality is A-flat Major. the foreign note 'E' at first appears almost as an "aside." only to grow gradually in importance before it finally makes a jarring appearance in fortissimo that completely disrupts the flow of the harmony. (Thewhole procedure is repeated without any changes after the brief respite offered by the quiet,lyrical trio.) In Cone's words:
As Iapprehend the work, it dramatizes the injection of a strange, unsettling element into an otherwise peaceful situation. At first ignored or suppressed, that element persistently returns. It not only makes itself at home but even takes over the direction of events in order to reveal unsuspected possibilities. When the normal state of affairs eventually returns, the originally foreign element seems to have been completely assimilated. But that appearance is deceptive. The element has not been tamed: it bursts out with even greater force. revealing itself as basically inimical to its surroundings. which it proceeds to demolish.
From here, it is only a small step to realize that Schubert wrote this piece shortly after he found out that he had contracted syphilis. Can there be a connection, conscious or subconscious. between a "foreign element" invading the piece and the then-incurable disease invading the composer's body?
Sonata No. 14 in c-sharp minor, Op. 27/ 2 ("Moonlight") (1801) Ludwig van Beethoven
Born December IS or 16, 1770 in Bonn, Germany Died March 26, 1827 in Vienna
, Thomas Jefferson becomes President of the US ' Toussaint LouYerture promulgates the new constitution of Saint-Domingue (the
modern Haiti) ' Leading German Romantic poet Novalis diesat the age of 28 ' Haydn's oratorio The Seasons premieres in Vienna ' English scientist John Dalton discovers an important law governing the pressure of gases
The old story. according to which a blind girl said to BeethoYen that the first movement of the c-sharp minor sonata told her what moonHght must be like, is totally apocryphal, yet it was almost inevitable that of all of the sonata movement. this one would have such a romantic story attached to it. For what other work begins with such an emotional "Adagio; replacing the usual "ARegro" in sonata form? BeethoYen himself called this work Sonata quasi una fantasia and published it together with another "sonata-fantasy" that also opens in a "dreamy" sort
of way. Yet the companion work never acquired a nickname. The right hand's peacefu~ equal broken chords in triple motion. the long, quiet melodic phrases and the occasional deHghtful dissonances create a uniquely magical effect in the c-sharp minor sonata whose power has not diminished in more than 200 years.
In the second and third movements. moonlight gives way to sunshine and then to a ferocious storm. The gentle scherzo is kept simple melodically and harmonically. with the syncopated rhythms providing the element of irregularity that is such an important part of the scherzo genre. The trio, or middle section. continues the syncopated idea; instead of the contrast that usuaRy exists between the scherzo proper and its trio. in this case the relationship is more one of organic extension.
It is in the final movement that the storm breaks out. The arpeggios of the first mo.rement turn into cascading torrents of sound. erupting in chords stressed on the "wrong" part of the measure (the fourth and last beat, which is supposed to be the weakest). A second theme, while more melodic, is no less fiery; the tension is not relieved until the very end of the sonata.
The "Moonlight" isa work of uncommon emotional intensity. Although its recipient was not bHnd, it was definitely someone who brought out the romantic in Beethoven. Countess Giulietta Guicciardi had taken piano lessons from the composer, and it seems that she returned his feelings - but she belonged to a different social classand in 1803 married a count with whom she moved to Italy.
Faschingsschwank aus Wien, Op. 26 (Carnival Scenes from Vienna) (1839)
Robert Schumann Born june B, 1B10 in Zwickau, Saxony
Died july 29, 1B56 in Endenich, near Bonn, Germarry
• Berlioz's dramatic symphony Romeo et juliette, and Verdi's first opera. Oberto. receive their premieres
• Michael Faraday publishes his epoch-making Experimental Researches in Electricity • Edgar Allan Poe writes The Fa/I of the House 0{ Usher • Mutiny on the Amistad • Louis Daguerre patents the first camera
Robert Schumann lived in Vienna for a period of six months between October 1838 and April 1839. He had arriYed from Leipzig (the trip took six days by mail coach), with the goal of establishing himself in the Imperial capital, as Beetho.'en had done before him and Brahms would do a quarter of a century later. Forcibly separated from his fiancee Clara Wieck (her father was vehemently opposed to the marriage). Schumann tried everything in his power to place his career on a solid financial footing. But whereas Beethoven and Brahms succeeded in putting down roots in Vienna, Schumann did not. After all, he could no longer pursue the career of a virtuoso pianist, having permanently injured his hand. And he failed to find a Viennese publisher for his NeueZeitschri!t fOr Musik Oournal of New Music), which he had founded in 1834.
Yet Schumann's Viennese sojourn was extremely fruitful in other ways. In addition to soaking up all that the big city could offer culturally (to say nothing of his discovery of many unpublished Schubert manuscripts. including that of the Great C-Major Symphony), he wrote a lot of music during those six months - all for piano solo, since at this time he had yet to
confront other musical genres. The one composition to have the word Vienna in its title. the Faschingssctrwank aus Wien (Carnival Scenes from Vienna) was actuaRy begun in Leipzig. before the trip, but was completed in Schubert"s city.
The Faschingsschwank is one of Schumann's major cyclical piano works from his earlier years, alongside the CarnCNOi or Kreisleriana; some analysts have even called it the most "ambitious" among those works. (The original title of CarnCNOi had been Fasching: Schwanke auf vier Noten or "Carnival: Jest on four notes.") Schumann referred to his new work variously as "a great romantic sonata" or "a romantic showpiece."
Thecompositiondoes.infact,resembleasonatainsomeways- aslightlyexpanded one, to be sure, as there are five movements: fast-slow-scherzo-slow-fast. But the opening movement is not in the expected sonata form that would emphasize transforming materials and being constantly on the move from point A to point B and beyond. Here we have. instead. a rondo (almost never used in the opening movement of a sonata). with a robust central theme alternating with no fewer than five more lyrical episodes. Commentators have heard echoes of works by Chopin, Mendelssohn. Schubert, and Beetho.'en in these episodes (as if these masters appeared, one after the other. at this imaginary carnival). The only direct and unmistakable quote in the movement, hCONever, is from the Marseillaise. a tune Schumann was particularly fond of (he quoted it three more times in later works). One should not forget that at the time, it was forbidden to sing the Marseillaise in post-Napoleonic Vienna.
A plaintive "Romanze" and a brief and playful "Scherzino" are followed by an intensely passionate ··lntermezzo." whose effusive melody seems to call for a singing \Qice (the year following the completion of the Faschingssctrwank, 1840, would be Schumann's "year of the songn. Then, the composer crCONned the work with an effervescent finale that completes the fuR trajectory of sonata form. with a brilliant coda at the end.
Impromptu No. 2 in F-sharp Major, Op. 36 (1839) Scherzo No. 1 in b minor, Op. 20 (1831)
Frederic Chopin Born March I, 1810 in telazowa Wo/a. near Warsaw. Po/and
Died October 17. 1849 in Paris
•The 21-year-old Robert Schumann publishes his first music review in the Allgemeine Musika/ische Zeitung (General Music Journal). It is about Chopin. born the same year as Schumann. and contains the famous words: ""Hats off, gentlemen, a genius!"
• Nat Turner"s slave rebellion in Virginia • Charles Darwin embarks on his historic journey on the HMS Beagle • Victor Hugo completes his novel The Hunchback of Notre Dame •Vincenzo Bellini"s operas Norma and La sonnambu/a both have their premieres
Chopin published three works for solo piano under the title '1mpromptu." The three do not form a set but are. rather, three separate compositions. written at different times - unlike the Schubert impromptus. which came in two groups of four. A fourth Chopin impromptu. the so- called "Fantaisie-impromptu," was published posthumously.
The word '1mpromptu" does not designate a specific musical form; it stands for a short work carried by a steady rhythmic motion and - in three of the four Chopin impromptus - in ABA form. The present piece is an exception, as the unfolding of its musical material does not seem to follow any set formula but is truly '1mprovisatory." (Some critics have seen this as a flaw.) A song-like first melody. with a characteristic chordal tag at the end, leads toa "B" section in a new key, but instead of a regular recapitulation in the home tonality. the music continues with a varied restatement of the first theme in anothernew key. The original key is eventually re-established. but then the melody loses itself in a cascade of rapid 32nd notes. Only the appearance of the chordal tag at the end of the piece balances out the form. The sketches show that Chopin hesitated somewhat over the conclusion; he finally opted for a
simple yet highly effectiYe solution. Before Chopin, the word scherzo (Hterally. "joke") referred to a movement in a longer
symphonic or chamber work, replacing the 18th-century minuet as a fast piece before the concluding mOYement. It was always in ABA form and almost always in 3/4 time; it also abounded in harmonic surprises and other playful effects. In his four scherzi written between 1831 and 1843, Chopin gave the term a whole new meaning; these works are free-standing, independent pieces that retain the outHne of the scherzo form yet are more serious than playful in tone (with the possible exception of No.4).
Scherzo No. I rn b mrnorwas written in 1831, soon after Chopin left his native Poland. The "theme" of the work is sheer virtuosic brilliancy, though with a keen sense of harmonic adventure that already characterized Chopin at age 21. The middle section - much slower than the opening - quotes an old Polish Christmas song. Upon its return. the fiery "A" section is capped by an eYen more exuberant coda.
Program notes by PEterLaki ARTIST
In the more than 35 years he has been performing on the concert stage. American pianist MURRAY PERAHlA has become one of the most sought-after and cherished pianists of our time. performing in all of the major international music centers and with fiNery leading
orchestra. He is the Principal Guest Conductor of the Academy of st. Martin in the Fields. Born in New York, Mr. Perahia started playing piano at the age of four. and later
attended Mannes College where he majored in conducting and composition. His summers were spent at the Marlboro Festival, where he collaborated with such musicians as Rudolf Serkin, Pablo Casals. and the members of the Budapest String Quartet. He also studied at the time with Mieczyslaw Horszowski. In subsequent years, he developed a close friendship with Vladimir Horowitz. whose perspectiYe and personality were an abiding inspiration. In 1972, Mr. Perahia won the Leeds International Piano Competition and in 1973 he gave his first concert at the Aldeburgh Festival, where he worked closely with Benjamin Britten and Peter Pears, accompanying the latter in many lieder recitals. Mr. Perahia was co-artistic director of the Festival from 1981 to 1989.
Mr. Perahia has a wide and varied discography. His most recent release. Brahms: Handel VcrraDons. has been called "one of the most rewarding Brahms recitals currently available." Sony Classical released a S-CD boxed set of his Chopin recordings, including both concerti. the Etudes, Op. 12and Op. 25, the Ba//ades, the Preludes. Op. 28. and various shorter
works. Some of his previous solo recordings feature Bach's Partitas. Nos. I, 5. and 6. and Beetho,len's Piano Sonatas. Opp. 14.26, and 28. He is the recipient of two Grammy Awards. for his recordings of Chopin's complete Etudes and Bach's Engish Suites. Nos. I, 3, and 6, and numerous Grammy nominations. Mr. Perahia hasalso won several Gramophone Awards.
Mr. Perahia is an honorary fellON of the Royal College of Music and the Royal Academy of Music. and he holds honorary doctorates from Leeds UniYersity and Duke University. In 2004. he was awarded an honorary KBE by Her Majesty The Queen. in recognition of his outstanding service to music.
This evening's recital marks Murray Perahia's 12th appearance under UMS auspices. Mr. Perahia made his UMS debut in October 1977 in a recital at Rackham Auditorium. Mr. Perahia's most recent appearance in Ann Arbor was in a March 2007 recital of Beethoven. Bach, Brahms, and Chopin at Hill Auditorium.
ORCHESTRA~~~_ Valery Gergiev
Music Director and Conductor Denis Matsuev
Saturday Evening, October 27, 2012 at 8:00 Hill Auditorium · Ann Arbor
16th Performance of the 134th Annual Season 134th Annual Choral Union Series
Photo: Portrait oll~OI Stravln,ky by Jean Codeau, created do.xln~ ,enearoallor 1I'Ie Rtre ofSpring.
Richard Strauss Ein HeldenLeben (A Hero's Life), Op. 40
The Hero- The Hero's Adversaries- The Hero's Companion - The Hero at Battle - The Hero's Works of Peace- The Hero's Retirement from this World and Consummation
All movements performed attacca, without pause. Dmitri Shostakovich
Piano Concerto No.1 in c minor, Op. 35
Allegro moderato Lento Moderato- Allegro con brio
Mr. Matsuev Timur Martynov, Trumpet
Igor Stravinsky Le sacre du printemps (The Rite of Spring)
Part I: The Adoration ofthe Earth Introduction - The Augurs of Spring (Dances of the Young Girls) - Game of the Abduction - Spring Rounds - Games of the Rival Tribes - Procession of the Sage - Kiss of the Earth - Dance of the Earth
Part II: The Sacrifice Introduction - Mystic Circle of the Young Girls - Glorification of the Chosen One- Evocation of the Ancestors - Ritual of the Ancestors - Sacrificial Dance (The Chosen One)
Tonight's performance is supported by the Renegade Ventures Fund, a multi-year challenge grant created by Maxine and Stuart Frankel to support unique, creative, and transformative performing arts experiences within the UMS season.
Tonight's performance is hosted by Mainstreet Ventures, and presented with support from the Catherine S. Arcure Endowment Fund.
UMS Night School and other HilllOO Education & Community Engagement events are funded in part by a grant from Michigan Humanities Council, an affiliate of the National Endowment for the Humanities.
Special thanks to lnna Naroditskaya, associate professor of musicology, Bienen School of Music, Northwestern University. for speaking at this evening's Prelude Dinner.
Media partnership is provided by WGTE 91.3 FM, WDET 101.9 FM, WRCj 90,9 FM, and Detroit Jewish News,
The Steinway piano used in this evening's performance is made possible by William and Mary Palmer,
Spe5{>nted with SUPPQft from WlilHim R. Kinney Endowment Fund.Media partnef WGTE 91.3 FM.
Tickets on Sale Now For lTIOfe information, visit www.ums.orgorcall 734.764.2538.
Corlna Belcea, Violin Axel Schacher, Violin Krzysztof Chorzelski, Vida Antoine Lederlin, Cello
Sunday Afternoon, November 11. 2012 at 4:00 Rackham Auditorium · Ann Arbor
17th Performance of the 134th Annual Season 50th Annual Chamber Arts Sefles
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Ludwig van Beethoven
String Quartet in E-flat Major, Op. 127
Maestoso - Allegro Adagio, rna non troppa e molto cantabile Scherzando vivace Finale
String Quartet in B-flat Major, Op. 130
Adagio, rna non troppa; Allegro Presto Andante con mota, rna non troppa Alia danza tedesca: Allegro assai Cavatina: Adagio molto espressivo Grosse Fuge, Op. 133
Overtura Fuga: Allegro - Meno masse e moderato - Allegro molto e con brio - Meno masse e moderato - Allegro molto e con brio
This afternoon's performance is sponsored by Retirement Income Solutions. Media partnership is provided by WGTE 91.3.
Special thanks to Steven Ball for coordinating the pre-concert music on the Charles Baird Carillon.
Belcea Quartet records for EMI Classics. Belcea Quartet appears by arrangement with Arts Management Group, Inc" New York, NY,
As confrontational and even brutal as Beethoven's Grosse Fuge seems to us today, it is hard to imagine the effect it must have had at time of composition. Stravinsky was fond of saying of this piece that it will forever be contemporary. This is perhaps only partly true. The unforgiving. jagged texture of much of the piece brings it close to sounds not heard again for a century hence, and the piece has an energy which will never be blunted. Its surface texture in parts could easily be taken out of context as representative of music of our own time. Still, we presently live in the age of quantum mechanics, which takes the physical world out of the realm of the completely measurable, and of GOdel's Incompleteness Theorem, which tells us that no logical system will ever be powerful enough to prove all statements we know to be true. Our faith in the invincibility of human reason and perception for explaining our world has been severely shaken. Much of the art of our era has been devoted to feelings of pessimism and despair. This is not Beethoven's world. He shares our recognition of the vulnerable fragility of man, the inadequacy of the mind to fully ponder all the enigmas of our world. And yet, his view is one which encompasses hope, and the possibility of triumph, a victorious human spirit. The turn to clarity and optimism happens late in the Grosse Fuge, and quickly, but it is unmistakable, regretless, and moving beyond words.
String Quartet in E-flat Major, Op. 127 (1825) Ludwig van Beethoven
Born December 15 or 16, 1770 in Bonn, Germany Died March 26, 1827 in Vienna
•The 16-year-old FeUx Mendelssohn writes his first masterpiece, Octetfor Strings (Cp. 20) in Berlin
• Greece is in the middle of its eight-year War of Independence against Turkey •The world's first modern railv-lay, the Stockton and Darlington Railv-lay, opens in England •The Erie Canal opens, connecting the Qeat Lakes to the Atlantic Ocean • Alexander Pushkin writes his drama Boris GodunCYII in internal exile in Russia •Johann Strauss Jr., the future Waltz King, is born in Vienna
In 1822, the Russian prince Nikolas Galitzin had been greatly impressed by a performance of Carl Maria von Weber's new opera, Der FreischOtz, and contemplated having a score made for his own use. However, the violist of the St. Petersburg String Quartet (the ensemble in which the Prince himself played cello) convinced Galitzin that the money might be put to better use by commissioning a new work from the great Beethoven, thus providing something from which the whole world might profit. Thus, Galitzin approached the aging, ailing composer with a commission for three new string quartets. It had been 12 years since Beethoven had composed his last quartet (Op. 95. in 1810). but he was eager to return to the genre and accepted the Prince·s commission.
The years between Beethoven·s Op. 95 and Op. 127 quartets were difficult ones for the composer. Success had turned into creative paralysis and financial despair; happiness was replaced with sorrow and loneliness. while the frustrations of his deafness continued to plague him. But he started work on Op. 127 at a time when his creative powers had begun to return with renewed vitality. especially in the larger, ""public" forms. He had just completed the Missa Solemnis. Symphony No.9, and the Diabe/Ii Variations, and had also talked of a Requiem and a Tenth Symphony. His return to the string quartet genre at this time signaled another creative re-awakening. expressed through a more private and intimate ensemble. However. the composer never completed the rest of the larger ··public" compositions, intensifying the scrutiny under which his last quartets have been placed. These works, more than the grand choral! symphonic utterances, have come to represent not only the height of Beethoven's genius, but the ··summa of instrumental music" universally.
String Quartet in E-flat Major is usually considered the most approachable of the five late quartets. in that the listener must come to terms not with extreme complexity. but with dazzling simplicity. Still illuminated by the radiant optimism of the ··Ode to Joy." it is thought by some to be the most serene and harmonious of all of Beethoven·s quartets.
Although E-f1at Major was, for Beethoven, a key of broad gestures (as in the ""Eroica" Symphony and the Piano Concerto No.5). the ""Maestoso" introduction to the first movement is brief and harmonically naIve. Yet it is not insignificant, as its return throughout the movement is crucial to the overall structure. The themes in the wistful and alarmingly concise "Allegro" are not so much contrasted as drawn together. and, true to Beethoven's late style in general, the formal markers are deliberately obscured; there is no repeat of the exposition and the recapitulation sneaks in unobtrusively. The ""Maestoso" passage returns at the beginning of the development section (in G Major). and when it returns again in C Major mid-way though the development. the composer exploits the ringing resonance of open strings by marking it fortissimo.
Beethoven takes the final low E-flat from the cello and from it builds a new chord - a dominant-seventh of 'A-flat' - for the start of the slow movement. the aesthetic centerpiece of the whole quartet. The theme in this variation movement is a sublime melodic arch of 18 measures, in a slow 12/8, so exquisite in itself that one wonders how the composer will vary it without detracting from the beauty of the original. The first variation simply adorns the theme. while the second transforms it into a carefree dance. The profoundly contemplative third variation (Adagio moHo espressivo) is in the distant, mysterious key of E Major. arrived at not by modulation, but by simply lifting a ·C to ·C-sharp· and on up until the new tonic is reached. The gently pulsing fourth variation returns to A-flat, again without modulation. A stern and lonely interlude touches on c-sharp minor before a chain of trills in the first violin leads back to the tonic for the final. peace-filled variation.
Gentle pizzicato chords signal the transition to the scherzo in E-f1at. It is a study in contrasts, characterized by a hopping figure in the cello, cross rhythms. unexpected silences, and interruptions of meter and speed. The Trio quickens the tempo into a presto whirlwind that eventually runs out of steam and quietly elides into a repeat of the scherzo. Just when it sounds like there may another go-round, it's abruptly cut off by a short coda (a device similar to that used in the scherzo of Symphorry No. 7).
Beethoven omitted a tempo indication for the "Finale." leaving it to the discretion of the players. The movement is full of dancing rhythms. gaiety. charm, and an untroubled peasant innocence. mostly at a gentle dynamic level. The Allegro con moto coda is an
aviary of trills and tremolos. majestically concluded by the simplest of musical gestures, an unadorned authentic cadence.
Program note fyy Luke Howard. String Quartet in B-flat Major, Op. 130, with Grosse Fugue,
Op. 133 (1825) Beethoven
At the premiere of Beethoven's String Quartet in B-flat Major, Op. 130, on March 21, 1826, the composer decided not to attend the performance in person. and waited in a nearby tavern. When Karl Holz. the second violinist in the Schuppanzigh Quartet came to him to report on the work's reception. he told the composer that the audience insisted on encores for the second and fourth movements. Beethoven replied, "Yes. these delicacies! But why not the fugue?" The Quartet's fugal finale had proven inscrutable to the performers and audience alike. Later. the publisher asked Beethoven to compose another finale more suited to the rest of the Quartet. He agreed. and the Quartet was published with this new finale the following year. The original ending was later published separately as the Grosse Fuge (Great Fugue). Op. 133. But in the process. Beethoven's original concept had been compromised. Separately. the revised Quartet and the Grosse Fug€ are still monumental achievements, but when re-combined as the composer originally intended, they take on an even more impressive significance.
The Op. 130 quartet is the last of the three quartets written for Prince Galitzin, though it was the second published. The two earlier quartets for Galitzin (Op. 127 and Op. 132) also had passages of fugal writing. so it's not surprising that the composer should have included a fugue in the last one. No one expected, though, that it would be so long and relentlessly complex, or that it would come after an extra scherzo and slow movement had already been added to the quartet. The audience's lack of enthusiasm for the fugue at the work's premiere may simply have been a lack of patience. But the work has subsequently earned a reputation for requiring some extra effort or particular insight in order to be understood. While patience does help. Beethoven never intended his music to be intentionally difficult, and neither the Quartet nor the Fugue are beyond the comprehension of those willing to listen.
The first movement opens with an "Adagio," but it is not a slow introduction as such. Just after the "Allegro" proper begins. the "Adagio" returns. and the juxtaposition of two contrasting tempi (rather than contrasting motifs or keys) prove to be an essential aspect of the movement's musical argument. The tempo variations are especially prominent in the development section and the coda.
The "Presto" that follows is extremely short. though still a fully-fledged scherzo and Trio in form, complete with a somewhat leisurely re-transition to the scherzo. It shows Beethoven's wit and charm. and his facility for constructing cheerful dance-like music from repetitions of short melodic cells.
The third movement "Andante; neither slow nor fast, smoothly elides melancholy with naIve mirth. Though the pulse is leisurely. the rhythms trip along lightly. This movement avoids the depths of emotion in which the composer occasionally indulged in his slow movements.
The second scherzo - a brief "Alia danza tedesca" (in the style of a German dance) - is a swaying. rhythmic U:ind/er, with a central section that continues the rustic flavor. Originally intended for the Op. 132 quartet, it was transposed to G for this Quartet: a key somewhat related to the tonic B-flat, but curiously distant from the D-flat of the preceding "Andante: At the return of the opening section, the melody is gradually fragmented measure by measure. but is quickly reconstituted before the final cadence.
The "Cavatina" is an example of Beethoven's "interior music": intense. taciturn. but filled with an eloquence that verges on the spiritual. Karl Holz wrote of this movement. "Never did his music breathe of so heartfelt an inspiration. and even the memory of this movement brought tears to his eyes."
Beethoven composed the Grosse Fuge in 1825 as the final movement of his Op. 130. His publisher later asked Beethoven to substitute another last movement, to which he agreed. and the Grosse Fuge was issued posthumously. in May 1827. as a separate piece. Op. 133. Performance practices today differ. Most quartets perform Op. 130 with the substitute last movement and play the Grosse Fuge independently: a few. though, play the Grosse Fuge as Beethoven originally intended. as we will hear this afternoon.
The intense and often frenzied Grosse Fuge baffles many listeners with its giant leaps, clashing dissonances, and overwhelming rhythmic drive. Most analysts are stirred by its rage and vehemence and are awestruck by its grand proportions and symphonic elements. It is a brilliant paradigm of various fugal techniques. some harking back to the polyphony of Bach, others looking ahead to the advanced musical thinking of Liszt and Wagner.
The brief opening section. marked ·'Overtura" by Beethoven, resembles the introduction to an opera. but instead of presenting tunes from the opera it sets out four different statements of the main fugal subject. It is first presented in broad, loud. accented tones: the next statement is much faster and rhythmically altered. The tempo then slows for a quiet, smooth. legato statement of the same theme. A final presentation. first violin alone. reveals the melody in note-by-note fragmentation.
The "Overtura" is followed by the ··Fuga." the fugue proper, which starts with the violin flinging out a subsidiary subject, an angular, leaping melody against which the viola pounds out the fragmented main subject. For over 125 measures of the fugue Beethoven does not drop below a relentless fortissimo dynamic level, with accents to add even more power to the wild music. Then suddenly the music quiets. the key changes. and another fugal episode, based on the subsidiary theme and the main subject ensues. all pianissimo. The third episode, faster in tempo, is based on a rhythmic transformation of the main theme. Varied sections follow, all growing from the same material though reworked and refashioned into an amazing variety of shapes and forms. The coda offers fleeting glimpses of the different subjects in a similar manner to the "Overtura" and then builds to still another climax and an abrupt ending.
Program note by Luke Howard and Melvin Berger. ARTISTS
Established at the Royal College of Music in 1994. the BELCEA QUARTET was swiftly recognized as an outstanding ensemble by Wigmore Hall (London), where they were resident quartet from 2001 to 2006 and with which they continue to enjoy a close relationship. and by EMI Classics, with whom they recorded exclusively for many years. The Belcea Quartet is currently Quartet-in-Residence at the Guildhall School of Music and Drama (London) and has been Ensemble-in-Residenceat the Vienna
Konzerthaus since the 2010-11 season. The Belcea Quartet's international engagements regularly take them to the
Laeiszhalle (Hamburg). Konserthus Stockholm. Concertgebouw Amsterdam. Palais des Beaux Arts (Brussels). Gulbenkian Auditorium (Lisbon), Carnegie Hall and Alice Tully Hall (New York). and Herbst Theater (San Francisco). They also appear frequently in the Edinburgh, Aldeburgh, Bath, Cheltenham, and Salzburg festivals as well as in the Schubertiade Schwarzenberg. They made their debut at the BBC Late Night Proms in 2011 with a performance of Schuberfs String Quintet with Valentin Erben. Other leading artists with whom they have collaborated include Thomas Ades, Piotr Anderszewski, Imogen Cooper. Paul Lewis, Michael Collins. Martin FrOst, Anne Sofie von Otter. Angelika Kirchschlager, and Ian Bostridge. They are committed to contemporary music and in recent years have given world premieres of works by Thomas Larcher. Mark Anthony Turnage, and Huw Watkins.
Last season. the Belcea embarked on an ambitious survey of Beethoven·s string quartets. In the UK, the complete cycle was presented at Wigmore Hall, St. George·s Hall Liverpool, The Sage Gateshead. and Aldeburgh, where the concerts were recorded
live with Volume I due for release this fall. The project was also presented in full in the Laeiszhalle Hamburg, Vienna Konzerthaus (where the concerts were filmed live for DVD), and at the Schubertiade Schwarzenberg, The project will be taken to Italy, Switzerland, and Sweden,
Highlights of the Belcea Quartet's current season include a 10-city tour of the US (with three concerts of Beethoven's late string quartets at Carnegie Hall), performances of Haydn's Seven Last Words with Thomas Quasthoff as narrator, Shostakovich's Piano Quintet with Menahem Pressler, Dvorak's Piano Quintet with Till Fellner, and Strauss's Metamorphosen with Nicolas Bone, Eckart Runge, and Alois Posch to launch their 2012/13 Vienna Konzerthaus season,
The Belcea Quartet's discography for EMI includes a recording of the late Schubert Quartets and the String Quintet with Valentin Erben; Brahms's String Quartet, Op, 51, No, I and the String Quintet, No, 2 with Thomas Kakuska; Faure's La Bonne Chanson with Ian Bostridge; Schubert's "Trout" Quintet with Thomas Ades and Corin Long; Britten's string quartets; Mozart's "Dissonance" and "Hoffmeister" quartets; and the complete Bartok quartets, Awards they have received include a Gramophone Award for "Best Debut Recording," Diapason d'Or, a MIDEM Cannes Award, and an Echo Kassik Award for "Chamber Music Ensemble of the Year,"
For further information, please visit
This afternoon's performance marks the Belcea Quartet's third appearance under UMS auspices. The Quartet made its UMS debut in March 2006 in a UMS Chamber Arts Series concert at Lydia Mendelssohn Theatre featuring tenor Ian Bostridge and pianist Julius Drake, The Belcea Quartet most recently appeared in Ann Arbor in October 2009 in a program featuring Haydn, Shostakovich, Schubert, and Britten.
Gilberto Gil. Vocals and Guitar Sergla Chlavazzoll, Guitars Arthur Mala, Boss Guitar Jorge Gomes, Zabu'nbo/ Tonlnho Ferragunl, Accordion Gustavo dl Dalva, Ptlrcuss/on Nlcho{as Krasslk. Violin/ Rab«a
Saturday Evenins. November 16, 2012 at 8:00 Hili Auditorium' Ann Arbor
18th Performance of the 134th Annual Season Global Music Series
For All Tonight's program will be announced from the stage by the artists and wfll be
performed wfthout intermission.
Tonight's performance is supported by the Renegade Ventures Fund, a multi-year challenge grant created by Maxine and Stuart Frankel to support unique, creative, and transformative performing arts experiences within the UMS season.
Tonight's performance is hosted by Gary Boren. Media partnership is provided by Ann Arbor's 1070ne and WEMU 89.1 FM.
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loMond Dot Reed AntIlOnyL _ e lls CI\arIe5 R~ntIartCOIr(>I.... RsItcn Dr. and M n. Nathaniel H. ~ SWanna and Alan SalIktt SusanM SmIthandRa-tH.Gdng and noll services, the Beilonina d4o"re PIlleIt DuYI>moy ~Gos"'tt KIm and Darlene Eaete Bart>.Ya Ekt1mun..r ~ene Fast
Mar~aret and)otln F_...... carolFl"""""" ClareM FlnIler(e DaW! FInk and MariN Mata Harold and BlUe Fl5d'ief !.au'el FI5her and Robert FabrlIate Factory )otIn).I-I. Schwarz, MD. E'" and carol Sen M-Ichael and)anet st>atu~ Mualad and Aida S h I _ SlvIo'. Or\lanlc RI,torante and
carl P. SImon and Bobbl Low DIdeeo; F\orl'n(e S. wat/.....
Ulna and Bob waIIn )oAnnYiald Harvey and RobIn Wax
Arbor Area Cornn>.JnIIy FoI..ndatIon Ann Arbor FIre station # 1 -_. ArmenCIe......,..,
Mrs. Gardner C. Quarton
Frank). Asdone Pemy and Arttu Ashe )otIn and Linda Acre Ralph W. and Barbara L. Babb l.a"l'n(e R and Barbara It Baker Usa and ~m Bak.... ReI! and Pat Baker Barbara and DanIel Balbach Nan Barba. and)onatt>an SUIIar DavId and Moo.,.. Barera Frank and LIndsay l'yas Bateman Astrid B. Beef Renate Gerr\e Bullen LetltlaJ. Byrd Amy and)lm Byrne SU...n and OlIver\e carey Thoma. and Colleen Carey Barbara Mattison Carr ,~~ Marlara and MkhaI'l Kratctman Kresile Foundation l.a PltaFresh jane Fryman LaIrd
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Nillel and)ilne Thompson Pel....cameandErrvnaThrom ,~~
Lau:\e McC....1ey and " " ' " Grtzzle W.)osephMcCuneand~
Fr. LewIs W. Towlell )ilrT1es and Gall ~
Mary jean and)ohn YabIonI Mary Denvie'I and )a" " " Corbell Of. and Mrs. Ron OKeanne Navarre )ohnandAM Nkld"" Kathleen Nolan and Dou~
Thomas P. Non1s and Sa"""ne _.
WlIIam). and Roberta G. Stapleton ""~-
Brad and Kar"" Thompson
Ia Gareth and Lauren William:.Ya Pr1nc:e Harold It RatSIemj RoserbeI't! HasIour ErlcandNancy~ )1mandst~Austln RobBtLBaIrd
BanIerts Helen V. Ber\l
Robert .........t Berry The el~ PIcture Partners LLC Sara BlllmaM and)el!rey IWra.s )on and Kathy Bltslrorn WlIIam and Ilene BlrI1l' )my and Oody Blild.Ya Murphy
)ame5F. Eder
RIchard and MYfna Ed~ar
GlorIa). Edwards
Alan S. Elser
Char"" and )ulle Elts
)can and David Evan.
Of. and Mrs. S.M. Farhat _ and Rad"oaeI Fayrolan
)oe Fazio and Usa PalreU PhIl and Ph){lUs Fellin )ames and Flora F...,.ara jean Fine
Sara and Em FInk
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IV&"PIan Zaid Gal and DavId ZUk
The donors listed below have provided significant support to UMS over a number ofyears. We recognize those whose cumulative giving to UMS totals $500,000 or more.
Linda and Mau'ke Blnl::ow Commu:'llty Foundation torSoutheast Mlc:tM~an DorIs DuIre Charitable FU:'>CIatlon Ford Motor Company Fund and Community Serv\c", F"""tHealthSeMe", Rkt\a,d and Lllian Iv", Trust The ArOfffl W. Metlon FU:'>CIatlon Mkt1l~ Coo..ndl tor Art, and Cullu'al Allal,,;
National Endowment lor the Art, Pi'll..... Inc. Randall and Mary Pittman Phil and Kathy Pow«
The Pow« Foundallon Estate at Mary Roml~-deYoun~ l-lerbert E. Sloan. Jr. M.D. The Wallace Foundallon
The future success of UMS is secured in part by income from UMS's endowment funds. We extend our deepest appreciation to the many donors who have established and/or contributed to the following funds:
H. Gardner and Bonnie Ackley Endowment Fund Hert>ert S. and Carol Amster Endowment Fund catherine S. Ar«"e Endowment Fund (a(1 and lsabetle Brauer Endowment Fund
Hal and Ann Davis Endowment Fund DorIsDuIreCharitableFU:'>CIatlonEndowmentFund Epstein Endowment Fund Ilene H. Foro;yth Endowment Fund SUs.1n and Rkhard Gutow R"""1lade Venlu'es
Endowment Fund Norman and DebbIe Herb«t Endowment Fund DavId and PhyI"' ~ Endowment Fund )anNet Endowment Fund
WlWam R Kinney Endowment Fund Franc", Mauney LoIv Choral Union Endowment Fund
Natalie Matovlnor.>it Endowment Fund Medeal Commu:'llty Endowment Fund NEA Mat{t1I~ Fund ottmar Eberbac:t1 Funds
The arts unite us all.
The power of the arts is to unite commlllrlies. givirP;J usa rush of emotion we want to share wrth others. At lklrted Bar;; &Trust. we're unrted in oor mission to acti'A'lyshow oor support for the arts. and for the manyvibranl communities we seM'.l.efscomJKIsesollllions together.
Solutions Together
3990 JACKSON ROAD, ANN ARBOR, MI 48103 (73 4 I 668-6100
We are grateful to the following donors for including UMS in their estate pians. These gifts will provide financial support to UMS for generations to come.
Bel and Judith LEnd,,·, Ken and Pemy FIKher SUs.1n Ruth Fisher Mefedth L. and Neal Fosleert E. Sloan ArtandEllzabethSolomon Roy and)oAn Wetzel Ann and Clayton WUHle Mr. and Mrs. ROMId G. loll...
carol and Herb Am,teara and LiIU'ara Everttt Bryant Pat and Geor~e Chata, Mr. and Mrs.johnAldenCIalt Mary C. Crichton
DIane K1rkpatrkl§ St..ley V...,ell Mar~a,el HoweU Wekt1 ,-~ BarbaraWyk...
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§(lone Dr. Mel Barclay
Raymond 8eme1' Dorothy Denhart C'ai~ Jean Coulter Crump Mart K. Culotta )olin S. Dobson Barbara F...~ )on T. F...rIef Dr. James F. Al~as
Mkt\aet Alleman~ Jean W. campbell Dr. Mlnor)."Ml" Coon Ken and Pemy FI§(her S-Usa-n R.Fisher Kathy and Tom GoIdberil Wall and Charlene Hancock
Ian KrIe~ Sha,on Anne M'>InI'IIc: Deara Meadows Mercy" R",tao.xant Robin and VIctor Mk>seI. Harry and Natalie Mobley MorIIan & YorIor£e Hardware Bebe'. Nalls and Spa Kathy Benton and Robert Brown KaltM'yn BIeda Linda and Mau'lc:e Blnkcw Blue Nile Restaurant OJ and Dieter Boehm Jim BoI_Ioan and Melvyn Le,,;tsky ~ An Aml'IIcan Rl>sI....anl (M'les and Judith Luca. Robert and Pearson Mal Frank Maxine and Stuart Frankel Gat... Iw Sable ~ Mart GjulE.\RTIi"
2268 S. Main St. Localed by Busch·s (In the oomer (If S. Main St. and Ann Arbor-Saline Rd.
734-998-1245 www.irisdrycleaners.oom
Carol Austad, MD Carol Barbour, PhD Ronald Benson, MD Meryl Berlin, PhD Peter Bios. Jr.. MD Linda BrakeL MD Robert Cohen. PhD Susan Cutler, PhD Joshua Ehrlich, PhD Lena Ehrlich, PsyO Harvey Falit, MO Richard Hertel, PhD Erika Homann, PhD Bernadette Kovach, PhD Alan Krohn, PhD Howard Lerner, PhD Barry Miller, MO Giovanni Minonne, PhD Julie NageL PhD Jean-Paul Pegeron,MD Dwarakanath Rao, MD Ivan Sherick. PhD Merton Shill, PhD Michael Shulman. PhD Michael Singer, PhD Jonathan Sugar, MO MarieThompson,MD Dushya n t Trived!. MD Jeffrey Urist, PhD
Gail van Langen.PhD MargaretWalsh. PhD Elisabeth Weins1llln. M ) Mark Ziegler, PhD
UMS Ticket Office Michigan League 911 North University Avenue Mon-Fri: 9am-Spm Sat: 10am-lpm
Venue ticket offices open 90 minutes before each performance for in-person sales only.
(Outside the 734 area code, call toll-free 800.221.1229)
UMS TIcket Office Burton Memorial Tower 881 North University Avenue Ann Arbor, MI 48109-1011
If you are unable to use your tickets, please return them to us on or before the performance date (accepted until the published performance time). A receipt will be issued by mail for tax purposes. Please consult your tax advisor. Ticket returns count towards UMS giving levels.
All UMS venues are accessible for persons with disabilities. For information on access at specific UMS venues, call the Ticket Office at 734.764.2538. Ushers are available for assistance.
For hearing-impaired persons, Hill Auditorium, Power Center, and Rackham Auditorium are equipped with assistive listening devices. Earphones may be obtained upon arrival. Please ask an usher for assistance. For events with high sound volume, ask your usher for complimentary earplugs.
For items lost at Hill Auditorium, Lydia Mendelssohn Theatre, Power Center, Rackham Auditorium, or Arthur Miller Theatre, please call University Productions at 734.763.5213. For the Michigan Theater, call 734.668.8397. For St. Francis of Assisi Catholic Church, ca1l734.821.2111.
Refreshments are available in the lobby during intermissions at events in the Power Center, in the lower lobby of Hill Auditorium, and in the Michigan Theater. Refreshments are not allowed in seating areas.
If you want to make parks greener, improve neighborhoods, even support the arts, the Community Foundation for Southeast Michigan can help. And keep your donation giving for generations to come.
Visit or call1-888-WE-ENDOW to find out more. for more information on how we can help.
Scan the QR Code
We know that parking in downtown Ann Arbor can be difficult and can sometimes take longer than expected. Please allow plenty of time to park. Parking is available in the Church Street, Maynard Street, Thayer Street, Fletcher Street, and Liberty Square structures for a minimal fee.
UMS donors at the Patron level and above ($1,000) receive 10 complimentary parking passes for use at the Thayer or Fletcher Street structures in Ann Arbor. Valet parking is available for all Hill Auditorium performances on the Choral Union Series for a fee ($20 per car). Cars may be dropped off in front of Hill Auditorium beginning one hour prior to the performance. UMS donors at the Virtuoso level ($10.000 annually) and above are invited to use the valet parking service at no charge.
As of July 1, 2011, the smoking of tobacco is not permitted on the grounds of the University of Michigan, including the exteriors of U-M theaters and concert halls. Smoking is allowed on sidewalks adjacent to public roads.
Subscribers may exchange tickets free of charge up until48 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 person) at least 48 hours prior to the performance. You may send your torn tickets to us by mail, fax a photocopy of them to 734.647.1171, or email a scanned copy to Lost or misplaced tickets cannot be exchanged.
We will accept ticket exchanges within 48 hours of the performance for a $10 per ticket exchange fee (applies to both subscribers and single ticket buyers). Tickets must be exchanged at least one hour before the published performance time. Tickets received less than one hour before the performance will be returned as a donation.
Children of all ages are welcome to attend UMS Family 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 throughout the performance. Children unable to do so, along with the adult accompanying them. may be asked by an usher to leave the auditorium. UMS has posted age recommendations for most performances at Please use discretion in choosing to bring a child. Remember, everyone must have a ticket regardless of age.
Discover AmI Arbor's Best Kept Cultural Secret
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For more detailed information on how to get involved with UMS, please visit
Internships with UMS provide valuable experiences in all areas of arts management, including performing arts production, education, administration, ticket sales, programming. development, and marketing. For more information about available positions and how to apply, please visit
The UMS Student Committee is an official U-M student organization dedicated to keeping the campus community connected to the performing arts. For more information on how to join, please email
Usher orientation sessions are held twice annually for new and returning ushers. You must attend an orientation to be eligible for ushering. Information about upcoming sessions is available at www.ums.or8lushersassessionsarescheduled. For more information, contact Kate Gorman at 734.615.9398 or
Open to singers of all ages, the 170-voice UMS Choral Union performs choral music of every genre in presentations throughout the region. Participation in the UMS Choral Union is open to all by audition. Auditions are held in the spring and the fall of each year. To learn more, please contact Kathy Operhall at or 734.763.8997.
If you are passionate about arts advocacy. are looking for ways to spend time volunteering, and have a desire to connect with our organization on a deeper level the UMS Advisory Committee may be a great match for you. To learn more, please contact Cindy Straub at cstraub@umich.eduor734.647.8009.
54 Academy of Early Music 42 Alumni Association of the
University of Michigan 48 Ann Arbor Public Schools
Educational Foundation 34 Ann Arbor Symphony
Orchestra 24 Bank of Ann Arbor 36 Bellanina Day Spa 46 Center for Plastic and
Reconstructive Surgery 26 Charles Reinhart Co.
Realtors 12 Community Foundation
4 Honigman Miller Schwartz and Cohn. LLP
48 Iris Dry Cleaners 56 Jaffe, Raitt, Heuer & Weiss
PC 42 Kensington Court 54 Key8ank 56 Kumon 36 Mark Gjukich
Photography 34 Maryanne Telese, Realtor 38 McMullen Properties IFC Michigan Economic
38 44 26 32 38
54 32 22 26 44 38
Rotary Club of Ann Arbor Sesi Motors Sheraton Ann Arbor Silver Maples of Chelsea Smith Haughey Rice & Roegge
The Gilmore Tom Thompson Flowers Toyota UMS Prelude Dinners United Bank and Trust University of Michigan Credit Union University of Michigan Health System University of Michigan Museum of Art
for Southeast Michigan 52 Community Foundation 50
for Southeast Michigan 28 Confucius Institute at the 22 University of Michigan 40
36 Donaldson & Guenther 24 Edward Surovell Realtors 48 2 Ford Motor Company 48
Fund and Community Services 28
Development Corporation Michigan Psychoanalytic Institute and Society Michigan Radio Miller, Canfield, Paddock and Stone, p,Le Real Estate One Red Hawk and Revive

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