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UMS Concert Program, September 14 - October 12, 2014: Itzhak Perlman; Emerson String Quartet; Kiss & Cry, Charleroi Danses

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FALL 2014


Be Present.
UMS unleashes the power of the performing arts in order to engage, educate, transform, and connect individuals with uncommon experiences. The 2014 2015 season is full of exceptional, world-class, and truly inspiring performances.

Your body is your instrument.

Keep it in tune.

Center for Plastic & Reconstructive Surgery
Paul Izenberg, MD . David Hing, MD . Richard Beil, MD . Daniel Sherick, MD . Ian Lytle, MD . Rachel Streu, MD



ÒOne of the many treasures of the University of Michigan that Monica and I look forward to experiencing is UMS. With its rich legacy of bringing to our community the very best in the performing arts from around the world, UMS has brought great distinction to the University. Equally distinctive are UMSÕs outstanding educational programs that animate the performances and provide added value to our students, faculty, alumni, and regional community. Thank you for being part of this remarkable 136-year-old tradition.Ó

President, University of Michigan

ÒThank you so much for joining us at this performance. As we welcome President Mark Schlissel and Monica Schwebs to the University and to UMS performances, we celebrate UMSÕs deepened engagement with U-M academic units through our new course, Engaging Performance; the Mellon Faculty Institute; Medical Arts Program; and other initiatives serving U-M students and faculty. You can learn about these initiatives at On our site you can also learn about our Emmy Award-winning documentary on Hill Auditorium, link to our online archive UMS Rewind, and share your views about this performance. We are proud to bring audiences and artists together in uncommon and engaging experiences.Ó

UMS President

ÒUMS is beginning its 136th season as an arts presenter, the oldest university-based arts presenting organization in the US. I am extremely honored to be starting my second year as Chair of the UMS Board of Directors. In partnership with an outstanding staff, the UMS Board seeks to assure that UMS will be as strong and vital in the future as it is today. We invite you to join us in our Victors for UMS campaign, focusing on the goals of Access and Inclusiveness, Engaged Learning Through the Arts, and Bold Artistic Leadership. With your help, we can be the Leaders and Best in presenting arts and culture to our community.Ó

Chair, UMS Board of Directors

As a long-time patron of the arts, Honigman is a proud partner of UMS. We wish to thank our colleagues for their leadership and support, including David N. Parsigian, member of the UMS Board of Directors and Treasurer, and Maurice S. Binkow, Carl W. Herstein and Leonard M. Niehoff, members of the UMS Senate.
Honigman and its Ann Arbor lawyers are proud to support UMS.
Fernando Alberdi Carl Herstein Cyril Moscow
Jennifer Anderson Richard Hoeg Leonard Niehoff
Christopher Ballard Ann Hollenbeck David Parsigian
Maurice Binkow J. Michael Huget James Stewart
Cindy Bott Barbara Kaye Bea Swedlow
Anna Budde Tara Mahoney Bill Winsten
Thomas Forster Joseph Morrison

For more information, please contact David Parsigian at 734.418.4250 or







2014 2015 SEASON CALEND AR. F ALL 2014 UMS
14 Itzhak Perlman, violin
21 Royal Shakespeare Company Live in HD:

ShakespeareÕs The Two Gentlemen of Verona 27 Emerson String Quartet 28 National Theatre Live: EuripidesÕ Medea
10-12 Kiss & Cry
Charleroi Danses, Belgium 15 Gregory Porter 16 Chris Thile & Edgar Meyer 18 Belcea Quartet 24-25 ThŽ‰tre de la Ville
Pirandello's Six Characters in Search of an Author 31-1 superposition | Ryoji Ikeda
1 The Big Squeeze: An Accordion Summit 6 ApolloÕs Fire & ApolloÕs Singers
MonteverdiÕs Vespers of 1610 9 Quatuor ƒbne 13-14 San Francisco Symphony
Michael Tilson Thomas, music director Gil Shaham, violin (11/14) 15 Bob James 19 Jake Shimabukuro, ukulele 23 Yuja Wang, piano Leonidas Kavakos, violin
6-7 HandelÕs Messiah UMS Choral Union & Ann Arbor Symphony Orchestra Jerry Blackstone, conductor
RossiniÕs William Tell Teatro Regio Torino Orchestra & Chorus Gianandrea Noseda, conductor

Artists, programs, and dates are subject to change.
Please visit for an up-to-date season calendar.

To learn more, see video previews, get in-depth performance descriptions,

and buy tickets, visit
7-10 Helen & Edgar 17 eighth blackbird 23 Compagnie Marie Chouinard 24-25 Mariinsky Orchestra
Valery Gergiev, music director
Behzod Abduraimov, piano (1/24)
Denis Matsuev, piano (1/25)
Ford Honors Program (1/25)

31 Dawn of Midi: Dysnomia
5 Tomasz Sta.ko, trumpet 6 Jennifer Koh, violin 14 MendelssohnÕs Elijah
UMS Choral Union & Ann Arbor Symphony Orchestra Jerry Blackstone, conductor 14-21 Compagnie Non Nova
Prelude to the Afternoon of a Foehn
15 Jazz at Lincoln Center Orchestra with Wynton Marsalis 19 Rotterdam Philharmonic Orchestra Yannick NŽzet-SŽguin, conductor
HŽlne Grimaud, piano 20 The Campbell Brothers: A Sacred Steel Love Supreme 21-22 Trisha Brown Dance Company
1 2-13 A Bill Frisell Americana Celebration 1 3-14 Kyle Abraham
Abraham.In.Motion 22 Chicago Symphony Winds 25 Academy of St. Martin in the Fields
Jeremy Denk, piano
4 Gilberto Gil 9 Max Raabe and the Palast Orchester 16 Herbie Hancock and Chick Corea 17 Oliver Mtukudzi and the Black Spirits 19 Artemis Quartet 23 Seoul Philharmonic Orchestra
Myung-Whun Chung, conductor Sunwook Kim, piano 24-26 Lyon Opera Ballet
26 Richard Goode, piano
Photo: Oliver Mtukudzi

Ann Arbor Symphony Orchestra
Music in the Key of A2¨
Beethoven Festival with AndrŽ Watts
September 13
Made in the USA
October 11
Tchaikovsky & Friends
November 15
Holiday Pops
December 12
First-time subscribers: buy one series, get one free!

At UMS, our mission goes beyond performance. We want you to create, to explore, and to experience extraordinary new things. That is why we offer a fascinating lineup of artist Q&As, conversations, workshops, and interactive experiences, each designed to bring you closer to performance and creation, and expand your comfort zone. If you want to experience something new, different, highly engaging, and eye-opening, we welcome you to be present.
Photo: Compagnie Kaf•g You Can Dance at the Ann Arbor Y; photographer: Mark Gjukich.

At UMS, we believe it can. In our 136th season, we continue to showcase traditional performances alongside contemporary artists for an offering that is unlike anything available in the Midwest. UMS grew from a group of local members of the University and townspeople in the 1870s who gathered together for the study of HandelÕs Messiah. Led by Professor Henry Simmons Frieze and conducted by Professor Calvin Cady, the group assumed the name The Choral Union. Many Choral Union members were also affiliated with the University, and the University Musical Society was established soon after in December 1880.
Since that first season, UMS has expanded greatly and we now present the very best from a wide spectrum of the performing arts: internationally renowned recitalists and orchestras, dance and chamber ensembles, jazz and global music performers, and contemporary stagework and classical theater. Through educational programming, the commissioning of new works, youth programs, artist residencies, and collaborative projects, we continue to strengthen our reputation for artistic distinction and innovation.
Photo: Hill Auditorium in 1928.


UMS believes in exceptional stewardship of the performing arts, a responsibility shared by many in our community. In the following pages, youÕll meet some of the individuals and organizations that help bring our season to the stage.

The following individuals have made gift commitments of $50,000 or more for the 2013Ð14 and/or 2014Ð15 seasons, or have established a permanent endowment of $100,000 or more as a part of the Victors for Michigan Campaign.

ÒThe arts have made a significant difference in my life and my daughterÕs life. I want every U-M student to have the opportunity to experience the impact of the performing arts at UMS. This is why I am offering
every first and second year student one free ticket
Ñ BertÕs Ticket Ñ to introduce them to a cultural experience at Michigan.Ó

ÒI want to help chamber music flourish in Ann Arbor. My support for the series began with its inception in 1963 and I continue to believe that these concerts help nurture our intellectual life as they stimulate and refresh us.Ó

ÒWe are proud to support UMS and the many programs they offer University students. It is great to know that students will have access to the greatest performing artists from around the world. The arts are an important part of a Michigan education.Ó

Maxine and Stuart Frankel
ÒWe are delighted to partner with UMS for the fourth year on the Renegade Series. Supporting Renegade programming allows UMS to provide experiences for the curious, adventurous, and experimental audience member Ñ allowing us to challenge our existing beliefs and push our own boundaries.Ó

ÒThe arts are a vital part of oneÕs education, encouraging one to appreciate complexity, to be creative, and to be inspired by excellence. Therefore, I established an endowment fund at UMS to guarantee that current and future generations of students are able to experience the arts.Ó

ÒUMS has enriched our lives for many years. In addition to benefiting us, it has enabled the University to recruit and retain talented faculty and students, making a valuable contribution to the quality of life in our community. We are delighted to have established an endowment fund to support a Chamber Arts performance at UMS each year to help preserve this treasure for future generations.Ó

ÒDon't you agree that it is virtually impossible to find someone whose day hasn't been made better by a UMS music, theater, or dance performance? It could also be true that devoting more of your time, treasure, and talent to UMS will help you to live longer. From personal experience, you can count on us as believers. Come join us. See a performance, volunteer to help, write a check, bring a friend. We look forward to seeing you!Ó

The following businesses have made commitments of $5,000 or more for the 2014Ð15 season.

President and CEO, Bank of Ann Arbor
ÒWe take seriously our role as a community bank to invest in our community and Bank of Ann Arbor is pleased to once again support the University Musical Society as a sponsor during the 2014Ð15 season. We are firm believers that the arts are vital to the vibrancy of our cities, both culturally and economically. While there have been sizable cuts in arts funding over the years by both the private and public sectors, Bank of Ann Arbor is delighted to continue to sponsor UMS year after year.Ó

Ann Arbor and South Central Michigan Regional Bank President, Comerica Bank
ÒComerica is proud to support UMS. UMS continues to enrich the local community by bringing the finest performing arts to Ann Arbor, and weÕre pleased to continue to support this longstanding tradition.Ó

Ann Arbor Office Managing Partner, Honigman Miller Schwartz and Cohn LLP
ÒIn our firmÕs tradition of supporting major cultural institutions, Honigman has been a long-time supporter of UMS. 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.Ó

Director, Issa Foundation
ÒThe 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.Ó

Vice President, Corporate Affairs and Chair, Masco Corporation Foundation
ÒMasco recognizes and appreciates the value the performing arts bring to the region and to our young people. We applaud the efforts of UMS for its diverse learning opportunities and the impact its programs have on our communities and the cultural leaders of tomorrow.Ó


Principal, Miller, Canfield, Paddock and Stone, P.L.C.
ÒMiller Canfield proudly supports UMS for enhancing our quality of life by bringing the unfiltered immediacy of live performing

Detroit and Southeast Michigan Regional President, PNC Bank
ÒPNC Bank is proud to support the efforts of UMS and the Ann Arbor community.Ó

Managing Partner, Retirement Income Solutions, Inc.
ÒWith strong roots in the community for more than 30 years, our team of investment advisors is proud to support UMS. We recognize and appreciate UMSÕs successful history and applaud the organizationÕs ongoing commitment to presenting authentic, world-renowned artists to the Ann Arbor community.Ó

President, Sesi Lincoln Volvo Mazda
ÒUMS is an important cultural asset for our community. The Sesi Lincoln Volvo Mazda team is delighted to sponsor such a fine organization.Ó

President, Stout Systems
ÒSupporting UMS is really a labor of love Ñ love of music and the performing arts and love of arts advocacy and education. Everyone at Stout Systems knows we cannot truly be successful without helping to make our community a better place. It is an honor to be part of the UMS family.Ó
President, Toyota Motor Engineering & Manufacturing North
America, Inc.
ÒToyota 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.Ó
President, University of Michigan Credit Union
ÒThank you to UMS for enriching our lives. The University of
Michigan Credit Union is proud to be a part of another great
season of performing arts.Ó
President, University of Michigan
ÒThe arts are a critical part of a complete education. The
University of Michigan is proud to support UMS, which brings
outstanding artists to our campus and provides unique
educational opportunities for our students.Ó

UMS gratefully acknowledges the support of the following private foundations, government agencies, and University of Michigan units:
$500,000 AND ABOVE
The Andrew W. Mellon Foundation
Anonymous Charles H. Gershenson Trust University of Michigan Office of the Vice President for Research University of Michigan Office of the Senior Vice Provost for Academic Affairs
The Seattle Foundation University of Michigan Third Century Initiative
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Park early, dine with fellow patrons, and enjoy a delicious meal while learning more about the evening's concert from our guest speakers at UMS Prelude Dinners. $75 per person. For further information and reservations, please call Rachelle Lesko at 734.764.9489
San Francisco Symphony
Thursday, November 13, 5:30 pm U-M Alumni Center


ÒGrimaud doesnÕt sound like most pianists: she isÑa re-inventor of phrasings, a taker of chances.Ó
ÑThe New Yorker
SEPTEMBER 19, 2014, 8 PM

ÒBrilliantly colored and conveyed with dazzling speed and control, É an irresistible invitation to the dance.Ó
ÑLos Angeles Times
MARCH 18, 2015, 8 PM

Turn off cell phones and electronic devices. We all know how terrible it is when a phone rings during a performance. It breaks that special bond between a performer and the audience. Illuminated screens on phones are also a visual distraction in a darkened theater.
Our volunteer ushers are invaluable. They will show you to your seat, give you a program, help solve any problems, answer questions, and welcome you to the experience. Please do not hesitate to ask them for help.
Wear what you want to the performance Ñ this is Ann Arbor, after all! If you feel inspired to dress in some way related to the show, go for it. Express your own creativity.
Unwrapping candies and cough drops before the performance begins cuts down on disruptive noise while the performance is in progress.
Think about whether it is necessary to wear your favorite perfume to the performance. Chances are that the folks sitting around you may appreciate an unscented experience.
The Good News: most of our performance spaces have world-class acoustics. The Bad News: that means that when you cough or sneeze you make an especially clear statement to fellow audience members and performers alike. Feel free to ask an usher for cough drops when you arrive at a UMS Choral Union Series event and please consider bringing cough drops with you to our other events. ItÕs noisy even if you cover your mouth!
Thankfully, we manage to keep last-minute changes to a minimum, but please remember that all artists and programs are subject to change at a momentÕs notice.
Programs with larger print are available. Ask an usher.
We make every effort to begin performances on time. The actual start time of a performance always reflects a combination of considerations. Late seating is not guaranteed. If you arrive after a performance has begun, we will seat you if there is an appropriate late seating break in the program. We work together with the artists to determine late seating breaks that will not disrupt their performance or the experience of the audience.

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Sunday, September 14, 6:00 pm
Hill Auditorium
Saturday, September 27, 8:00 pm
Rackham Auditorium
23 KISS & CRY CHARLEROI DANSES, BELGIUM Friday, October 10, 8:00 pm Saturday, October 11, 8:00 pm Sunday, October 12, 2:00 pm Power Center
We want this program book to engage you in a conversation that deepens your experience and connection to the performance both inside the theater and after you leave it. We are always conserving resources at UMS. If you are coming to multiple performances within a program book edition, please keep your book and return with it.

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J. S. Bach
Sonata for Violin and Keyboard in G Major, BWV 1019

CŽsar Franck

Sonata for Violin and Piano in A Major
Allegretto ben moderato
Recitativo Ñ Fantasia
Allegretto poco mosso

Maurice Ravel

Sonata for Violin and Piano No. 2 in G Major
Blues: Moderato
Perpetuum mobile: Allegro

Additional works will be announced by Mr. Perlman.
This eveningÕs performance is sponsored by KeyBank.

This eveningÕs performance is supported by Drs. Max Wicha and Sheila Crowley, by Richard and Susan
Gutow, and by Tom and Debby McMullen and McMullen Properties.
Media partnership is provided by WGTE 91.3 FM and WRCJ 90.9 FM.
The Steinway piano used in this eveningÕs recital is made possible by the William and Mary Palmer

Endowment Fund.

Special thanks to Tom Thompson of Tom Thompson Flowers, Ann Arbor, for his generous contribution of
floral art for this eveningÕs recital.
Mr. Perlman records for Sony Classical/Sony Music Entertainment; Warner Classics and Erato Classics/

Warner Music; Deutsche Grammophon and Decca/Universal Music Group; and Telarc.
Mr. Perlman appears by arrangement with IMG Artists, LLC.


The sonatas of Franck and Ravel Ñ two of the most beloved works in the French violin repertory Ñ are a study in contrasts. They were written 40 years apart, so if you were born in Paris in the 1860s, you might conceivably have attended both world premieres, in 1886 and 1927, respectively. However, a lot had happened in those four decades (a world war, among other things), and the Romantic passion of Franck is light-years away from RavelÕs blues.
In general, Ravel was no great fan of FranckÕs. Perhaps the only thing they would have agreed on was the universality of Johann Sebastian Bach. Therefore it is fitting for the recital to open with a sonata by Bach Ñ not that an excuse is necessary.
Sonata for Violin and Keyboard in G Major, BWV 1019 (ca. 1725)
J. S. Bach Born March 21, 1685 in Eisenach, Germany Died July 28, 1750 in Leipzig
UMS premiere: This sonata has never been performed on UMS recital.
Catherine I becomes Empress of Russia on the death of her husband, Peter the Great

The Treaty of Hanover is signed between Great Britain, France, and Prussia

The Black Watch is founded in Scotland

Second performance of J.S. BachÕs St. John Passion, BWV 245 at St. Thomas Church, Leipzig

BachÕs six sona tas for violin and harpsichord (BWV 1014Ð1019) are the earliest duo sonatas in the true sense of the word, where both instruments are fully equal in importance. We donÕt know exactly when they were composed; the earliest manuscript source we have dates from around 1725, two years after Bach moved to Leipzig. It is possible, however, that the sonatas go back to the Kšthen period (1717Ð1723).
The first five sonatas in the set were all in four movements, but Bach wanted to try something different in the last piece, challenging himself with a problem that took him some time to resolve to his own satisfaction. The sonata exists in no fewer than three different versions that differ significantly from one another: Bach deleted or replaced entire movements in the course of a revision process over a period of several years (the definitive version may not have been completed until some time in the 1740s). The first version had as many as six movements, two of them in dance rhythms Ñ effectively combining the sonata with the suite. Later Bach deleted the dance movements and devised a symmetrical five-movement form, but the last movement was identical to the first. Finally, he wrote two brand-new movements for the definitive version (movements 3 and 5), one of which Ñ the central ÒAllegroÓ Ñ is, most surprisingly, scored for harpsichord alone.
The five movements of the sonata are arranged in a pattern. The opening ÒAllegroÓ is a perpetual motion where all three voices (violin, keyboard right hand, and left hand) are exceptionally agile in the manner of a three-part Òsuper-invention.Ó A brief ÒLargoÓ in a characteristic dotted rhythm leads directly into the keyboard solo, whose structural outline comes very close to a classical sonata form. After an ÒAdagioÓ Ñ another three-part invention with a lavishly embellished melodic line
Ñ the piece concludes with a playful romp that combines fugal structure with A-B-A form. In short, this is an exceptional work by any standard, in which Bach displayed all his compositional virtuosity.
In 1774, C.P.E. Bach sent his copy of the sonatas to Johann Nikolaus Forkel, who was working on the first biography of Johann

Sebastian at the time. The package was accompanied by these remarkable words:
[They] are among the best works of my dear departed father. They still sound excellent and give me much joy, though they date back more than 50 years. They contain some Adagii that could not be written in a more singable manner today. Since they are badly worn, you will be so kind as to use them with great care.

Sonata for Violin and Piano in A Major (1886)
CŽsar Franck Born December 10, 1822 in Liege, Belgium Died November 8, 1890 in Paris
UMS premiere: Fritz Kreisler, January 1922 in Hill Auditorium
The Treaty of Bucharest ends the Serbo-Bulgarian War in the Balkans

Emile Berliner starts work that leads to the invention of the gramophone

Extremely harsh Winter of 1886Ð87 begins, killing tens of thousands of cattle on the Great Plains of North America

Heinrich Hertz verifies at the University of Karlsruhe the existence of electromagnetic waves

American pharmacist Dr. John Stith Pemberton invents a carbonated beverage that will be named Coca-Cola

For many years, CŽsar Franck worked as an organist at Sainte-Clotilde, which was not one of ParisÕs most prestigious churches. His father had destined him for the career of a traveling piano virtuoso ˆ la Franz Liszt. These dreams, however, did not come true, and Franck had to settle for a less than glamorous existence. His first major break did not come until he was 50; in 1872, he was appointed to the Paris Conservatoire as a professor of organ. But even that did not necessarily mean success as a composer. His large-scale oratorios and other sacred works failed to make an impression. It was only during the last decade of his life that he wrote the series of masterpieces (including the Violin Sonata, the Symphony, and the String Quartet) for which he is remembered to this day.
The Violin Sonata was written in 1886, as a wedding present for the great violinist Eugne YsaØe (1858Ð1931), like Franck a native of Liege, Belgium. The first public performance was given by YsaØe and pianist LŽontine Bordes-Pne in Brussels on December 16, 1886, at a concert devoted to FranckÕs works. The Sonata had an enormous success. The director of the Brussels Conservatoire congratulated the composer with the words: ÒYou have transformed chamber music: thanks to you a new vision of the future has been revealed to our eyes.Ó
The director was not exaggerating. FranckÕs only contribution to the solo violin literature was also a unique achievement in that it introduced into chamber music certain techniques never previously used in that medium. Inspired by LisztÕs symphonic poems, Franck linked the four movements of the Sonata together by a network of thematic recurrences. The characters of the themes are sometimes fundamentally transformed in this process. Franck also used counterpoint more extensively than most Romantic composers Ñ in part because, as an organ player, he was deeply immersed in the music of J.S. Bach. Moreover, Franck had been touched by the style of Richard Wagner, who had died in 1883 but was still the most controversial modern composer in Europe. In the Violin Sonata, Franck repeatedly used a variant of the famous ÒTristanÓ chord. He combined all these influences, however, with a boundless melodic invention all his own.
T h e S o n a t a h a s a n u n u s u a l movement sequence. In most sonatas, the longest and weightiest movement comes at the beginning. In the Franck Sonata, this movement stands in second place, preceded by a dreamy ÒAllegretto ben moderate.Ó The passionate second movement is in the key of d minor that was often used to depict tempestuous emotions. The third movement is a ÒRecitativo-FantasiaÓ that, in what was an extraordinary move in 1886, entirely dispenses with the idea of a main tonal center. The key changes constantly as the violin plays two unaccompanied cadenzas, separated by a nostalgic recollection of the first movementÕs opening melody on the piano. The movement continues with an ÒariaÓ for violin that is in turn lyrical and dramatic, with a molto lento e mesto (very slow and sad) ending. Finally, the fourth movement crowns the Sonata with a, real tour de force: its initial melody is played by the two instruments in canon Ñ that is, the melodic lines are the same, with the violin starting one measure after the piano. The remaining themes come from the third movement, turning the ÒariaÓ into a major dramatic outburst. A recapitulation of the canon theme and a short, exuberant coda ends this great sonata.

Sonata for Violin and Piano No. 2 in G Major(1927)
Maurice Ravel
Born March 7, 1875 in Ciboure, Basses-PyrŽnŽes,

France Died December 28, 1937 in Paris
UMS premiere: Zino Francescatti, March 1955 in Hill Auditorium
A military rebellion is crushed in Lisbon, Portugal

The first transatlantic telephone call is made via radio from New York City to London

Fritz LangÕs culturally influential film Metropolis premieres in Germany

The first Volvo automobile rolled off the production line in Gothenburg, Sweden

It is not universally known that Ravel wrote not one but two violin sonatas. An early sonata in one movement, from RavelÕs student days, was long forgotten and published for the first time in 1975, the centenary year of the composerÕs birth. Yet although this work has now been available for a quarter of a century, most everyone still refers to the familiar masterpiece from 1927 as ÒtheÓ Ravel sonata for violin and piano.
Incidentally, these two works mark the beginning and the end, respectively, of RavelÕs chamber-music output. They were also played for the first time by the same violinist, Georges Enescu Ñ in 1897 a 16-year-old prodigy and RavelÕs fellow student at the Paris Conservatoire, and in 1927 a celebrated violinist and composer dividing his time between his native Romania and the French capital.
EnescuÕs most famous violin student, Yehudi Menuhin, was present as a boy of 11 when Ravel first showed Enescu his new sonata in 1927. As Menuhin later recalled in his autobiography Unfinished Journey, he was having a lesson with his teacher when,
Maurice Ravel suddenly burst into our midst, the ink still drying on a piano.and-violin sonata which he had brought along.É Enescu, chivalrous man as he was, craved my indulgence...then, with Ravel at the piano, sight-read the complex work, pausing now and then for elucidation. Ravel would have let matters rest there, but Enescu suggested that they have one more run-through, whereupon he laid the manuscript aside and played the entire work from memory.
The sonata became universally famous (and, in some quarters, infamous) for its central movement, ÒBlues.Ó Certainly no one had ever included a blues in a violin sonata before, and Ravel didnÕt endear himself to conservative critics by this move. Yet he had been fascinated by jazz and blues for the better part of a decade and, unlike the conservative critics, he did not think that American vernacular music was incompatible with the European classical tradition. A few years before the sonata, he had composed the opera LÕenfant et les sortilges (The Child and the Enchantments), in which the teapot sang a ragtime and the china cup a foxtrot. In the ÒBluesÓ movement of the sonata, Ravel gave a perfect rendition of the typical melodic and harmonic turns of the blues, while at the same time remaining French through and through Ñ a real stylistic miracle.
But the jazz influence is by no means restricted to this movement. The opening ÒAllegretto,Ó which opens a graceful melody played by the pianoÕs right hand, without accompaniment, contains a second motif, in which a single note is repeated in a striking rhythmic pattern. One commentator described this as Òa mischievously percussive little figure from the same ragtime background as
DebussyÕs Minstrels.Ó The development of these two distinct musical ideas is kept fairly simple throughout. Towards the end of the movement a soaring violin melody is superimposed on the materials heard previously, to help return the music to the idyllic state of the beginning.
On the other side of the ÒBluesÓ movement is a finale in perpetual motion that brings back some motifs from earlier movements such as the ragtime-like figure from the ÒAllegrettoÓ and one of the characteristic licks from the ÒBlues.Ó The uninterrupted 16th-notes of the violin start in a restricted melodic range, but they soon expand to include wider and wider arpeggios and higher and higher positions on the instrument. The energy constantly increases all the way to the end.
Program notes by Peter Laki.
ndeniably the reigning virtuoso of the violin, ITZHAK PERLMAN enjoys superstar status rarely afforded a classical musician. Beloved for his charm and humanity as well as his talent, he is treasured by audiences throughout the world who respond not only to his remarkable artistry, but also to his irrepressible joy for making music.
Born in Israel in 1945, Mr. Perlman was propelled to national recognition with an appearance on the Ed Sullivan Show in 1958. He won the prestigious Leventritt Competition in 1964, which led to a burgeoning worldwide career. Since then, Itzhak Perlman has appeared as violin soloist with every major orchestra and in recitals and festivals around the world.
Mr. Perlman has further delighted a udiences thro ugh his frequen t appearances on the conductorÕs podium. He has performed as conductor with the New York Philharmonic, Chicago Symphony, Philadelphia Orchestra, Boston Symphony, National Symphony, San Francisco Symphony, Los Angeles Philharmonic, and the sym phony orchestras of St. Louis, Detroit, Dallas, Houston, Pittsburgh, Seattle, Montreal, and Toronto, as well as at the Ravinia and Tanglewood festivals. Internationally, Mr. Perlman has conducted the Berlin Philharmonic, Royal Concertgebouw Orchestra, London Philharmonic, English Chamber Orchestra, and the Israel Philharmonic.
The current season takes Mr. Perlman to both new and familiar major centers around the world. This fall, he performs opening-gala concerts with the Los Angeles Philharmonic and Gustavo

Dudamel in a tribute to John Williams, with the National Arts Centre Orchestra of Ottawa and Pinchas Zukerman, and with the Dallas Symphony Orchestra and Jaap van Zweden. Mr. Perlman continues to celebrate the rich tradition of Jewish and klezmer music this season with a 20th-anniversary return of his popular In the FiddlerÕs House program in a much-anticipated appearance at Carnegie Hall in March 2015.
Further to his engagements as violinist and conductor, Mr. Perlman is increasingly making more speaking appearances. Recent and upcoming e n g a g e m e n t s i n c l u d i n g t h e S a l k Institute in San Diego on the centennial anniversary of Dr. SalkÕs birth, Orlando at Rollins College, Greensboro at Guilford College, Palm Beach at the Society of the Four Arts, and Chicago with the Jewish United Fund.
In 2003, the John F. Kennedy C e n t e r f o r t h e P e r f o r m i n g A r t s granted Mr. Perlman a Kennedy Center Honor celebrating his distinguished achievements and contributions to the cultural and educational life of the US. He has performed multiple times at the White House, most recently in 2012 for Israeli President and Presidential Medal of Freedom honoree Shimon Peres; and at a State Dinner in 2007 for Her Majesty The Queen and His Royal Highness The Duke of Edinburgh. Mr. Perlman was honored to take part in the Inauguration of President Obama in 2009, premiering a piece written for the occasion by John Williams alongside cellist Yo-Yo Ma, clarinetist Anthony McGill, and pianist Gabriela Montero.
He proudly possesses four Emmy Awards and 15 Grammy Awards. He performed at the 2006 Academy Awards and at The Juilliard School Centennial gala, broadcast nationally on Live from Lincoln Center. One of Mr. PerlmanÕs proudest achievements is his collaboration with film score composer John Williams in Steven SpielbergÕs Academy Award-winning film SchindlerÕs List, in which he performed the violin solos.
Mr. Perlman devotes considerable time to education, both in his participation each summer in the Perlman Music Program and his teaching at the Juilliard School, where he holds the Dorothy Richard Starling Foundation Chair. He was awarded an honorary doctorate and a centennial medal on the occasion of JuilliardÕs 100th commencement ceremony in 2005.
JOHN ROOT is curren tly the

collaborative pianist for the studio of Itzhak Perlman at The Juilliard School. Mr. Root also works as a freelance artist in
the New York area. He began his studies at age nine, entered the North Carolina School of the Arts at 15, and four years later moved to Philadelphia to study with Yoheved Kaplinsky, continuing with Ms. Kaplinsky at the Peabody Institute and then at Juilliard where he received his masterÕs degree in 1995. He won the Juilliard Concerto Competition in 1993 and went on to perform the Prokofiev Piano Concerto No. 2 with the Juilliard Symphony at Alice Tully Hall in April 1994. He has also been awarded fellowships to the Tanglewood Music Center for the summers of 1992 and 1993.
In addition to performing the standard classical and roman tic repertoire, John Root has a special affinity for contemporary music and has featured works of Schoenberg, Messiaen, and Berio on his programs. In the summer of 1996 he gave two recitals of modern French works on the Museum of Modern ArtÕs Summergarden series. During the 1996Ð97 season he joined the Carnegie-Mellon Philharmonic for performances of MessiaenÕs Turangalila Symphony in Pittsburgh and Boston and appeared with New YorkÕs Riverside Symphony at Alice Tully Hall for the Schoenberg Piano Concerto. Mr. Root was also the piano soloist for the Juilliard OrchestraÕs November 1998 performance of the Turangalila Symphony conducted by David Robertson at Avery Fisher Hall. In 1999 his season included a debut recital tour of Japan, performances with the Stamford Symphony, the Orchestra of St. LukeÕs, and a recital at RaviniaÕs Rising Star series.
From 1997 through 2005 Mr. Root was on the faculty of the Bowdoin International Music Festival. He was a member of the adjunct faculty at Princeton University from 1997 through 2001 and is currently on the faculty of the Perlman Music Program.


This eveningÕs recital marks Itzhak PerlmanÕs 11th appearance under UMS auspices. Mr. Perlman made his UMS debut in April 1970 as violin soloist in ProkofievÕs Violin Concerto No. 2 with the Philadelphia Orchestra under the baton of Maestro Thor Johnson during the 1970 May Festival at Hill Auditorium. Mr. Perlman most recently appeared in Ann Arbor in September 2009 in recital at Hill Auditorium. UMS welcomes pianist John Root who makes his UMS debut this evening.


Ludwig van Beethoven

String Quartet No. 11, Op. 95
Allegro con brio Allegretto ma non troppo Allegro assai vivace ma serioso Ñ Piœ Allegro Larghetto espressivo Ñ Allegretto agitato Ñ Allegro
Mr. Setzer, First Violin
Lowell Liebermann

String Quartet No. 5, Op. 126
Mr. Drucker, First Violin
World Premiere, UMS co-commission
Dmitri Shostakovich

String Quartet No. 3 in F Major, Op. 73
Moderato con moto
Allegro non troppo

Adagio Ñ Moderato
Mr. Setzer, First Violin
TonightÕs performance is made possible by endowed support from the Ilene H. Forsyth Chamber Arts
Endowment Fund, which supports an annual presentation on the UMS Chamber Arts series in perpetuity.
Media partnership is provided by WGTE 91.3 FM.
Lowell LiebermannÕs String Quartet No. 5 was commissioned by Music Accord for the Emerson String Quartet.
Emerson String Quartet records exclusively for Sony Classical.
Emerson String Quartet appears by arrangement with IMG Artists, LLC.

String Quartet No. 11 in f minor, Op. 95 (ÒSeriosoÓ) (1810)
Ludwig van Beethoven Born December 15 or 16, 1770 in Bonn, Germany Died March 26, 1827 in Vienna
UMS premiere: Detroit Philharmonic Club, March 1893 in Newberry Hall (current home of the Francis W. Kelsey Museum of Archaeology.)
Napoleon annexes the Kingdom of Holland

English actress Sarah Booth debuts at the Theatre Royal, Covent Garden in London

Johann Wolfgang von Goethe publishes his

Theory of Colours
The US annexes the Republic of West Florida

The first steamboat sails on the Ohio River

The String Quartet in f minor, Op. 95 (or ÒQuartetto serioso,Ó as Beethoven himself called it) was written at the end of BeethovenÕs extremely prolific Òsecond period.Ó It was his last string quartet before the magnificent set of late quartets written in the last years of his life. It sums up, in extremely concise form, most of the qualities of the ÒheroicÓ second period: robust force, melodic poignancy, formal concentration, abrupt interruptions, bold key changes, and an irresistible rhythmic drive.
All four movements of the Quartet in f minor are built of melodic gestures of an astonishing simplicity Ñ one might almost call it bluntness. The unison figure that opens the piece Ñ repeated, in typical Beethovenian fashion, a half-step higher Ñ is only one of many examples. That dramatic gesture sets the stage for a first movement of uncommon emotional intensity. The second movement is in D Major, a key very distant from the original f minor Ñ Beethoven never chose a more remote key relationship between movements than he did here. Starting with a mysterious, unaccompanied scale, the movement continues with a lyrical melody followed by a fugue, and has an open ending leading directly into the scherzo. The latter is based on a single motif consisting of a scale, heard both in descending and ascending form. The slow movementÕs D Major is revisited in the quiet and expressive Trio, which moves in equal long notes with accompanying flourishes in the first violin. The finale proceeds from an introductory ÒLarghetto espressivoÓ through a passionate ÒAllegretto agitatoÓ to the extremely fast coda, in which the tonality suddenly changes from f minor to F Major and the ÒseriosoÓ character gives way to cheerfulness, even humor, for the few remaining moments. (The sequence of events in this last movement runs remarkably parallel to BeethovenÕs "Egmont" Overture, written in the same year 1810, and also consisting of a slow introduction and passionate "Allegro" in f minor, followed by an exultant coda in F Major.)
Program note by Peter Laki.

String Quartet No. 5, Op. 126 (2014)
Lowell Liebermann Born February 22, 1961 in New York City
World Premiere
String Quartet No. 5, Op. 126 was commissioned by Music Accord for the Emerson String Quartet, to whom the work is dedicated. It is such an honor (and not an unintimidating one!) to write for an ensemble that has been, through their many recordings, such an iconic presence in my own musical development.
This Quartet, like much of my instrumental music, has no extra-musical program Ñ it is as absolute and abstract as music can be Ñ yet, at the same time, I have no doubt that my mindset while composing the piece and its resultant overriding elegiac tone was at least partly influenced by any number of depressing/ terrifying events of the kind with which we are all bombarded daily, in what seems more and more like a world gone mad.
The workÕs mysterious opening, marked Limpido (still), introduces a number of motives which are heard and developed throughout the Quartet. Structurally, the Quartet is in one arc-like symmetrical movement consisting of two mostly slow sections flanking a fast section whose structure is, in and of itself, symmetrical. If we think of that central fast section as being akin to a scherzo and trio, then the reprise of the scherzo section is actually an intervallic inversion of its first statement, while the trio section divides at its midpoint, the second half being a mirror image of the first half.
Program note by Lowell Liebermann.

MS is especially proud to co-commission and present this eveningÕs world premiere of Lowell LiebermannÕs String Quartet No. 5, written specifically for the Emerson Quartet. UMSÕs commitment to the commissioning of new work is an important part of its history and mission. Independently as well as through partnerships with peer and industry organizations including Music Accord, a commissioning consortium comprised of top classical music presenting organizations throughout the US, UMS has commissioned 67 new works since 1989. Music AccordÕs goal is to create a significant number of new works and to ensure presentation of these works in venues throughout the US as well as internationally.
Since its formation in 1997, Music Accord has commissioned more than 20 new works through its collaboration with composers including William Bolcom, Elliott Carter, Mario Davidovsky, David Del Tredici, Gabriela Lena Frank, Lukas Foss, Osvaldo Golijov, Steven Mackey, Augusta Read Thomas, Kevin Puts, Roberto Sierra, Bright Sheng, and performing artists and ensembles including Jeremy Denk, Stephanie Blythe, Borromeo String Quartet, Brentano Quartet, Chanticleer, Thomas Hampson, eighth blackbird, St. Lawrence Quartet, Frederica von Stade, and Tokyo String Quartet.
Music Accord Partners are:
The Chamber Music Society of Lincoln Center Center for the Performing Arts at Penn State University Hancher Auditorium at University of Iowa Celebrity Series of Boston Krannert Center Marquee Series at University of Illinois Library of Congress Mondavi Center for the Performing Arts San Francisco Performances Tanglewood Festival/Boston Symphony Orchestra UMS at the University of Michigan


String Quartet No. 3 in F Major,
Op. 73 (1946) Dmitri Shostakovich Born September 25, 1906 in St. Petersburg, Russia Died August 9, 1975 in Moscow
UMS premiere: Borodin String Quartet, February 1967 in Rackham Auditorium
A tornado on the Detroit River kills 17 people

Eugene OÕNeill writes The Iceman Cometh

Igor StravinskyÕs Symphony in Three Movements is first performed

Major famine in the Soviet Union: an estimated one million people die

Benjamin SpockÕs The Common Sense Book of Baby and Child Care is published

ShostakovichÕs Third Quartet was written in 1946, one year after the end of World War II. It begins with a humorous, almost flippant melody that sets the tone for a light-hearted movement full of wit and charm, although not devoid of a few slightly harsher accents, especially in the strongly contrapuntal development section. The real clouds donÕt start gathering until the second movement. The simple broken triads of the viola, in unchanging quarter-notes, sound rather menacing from the outset, as the accompaniment to a chromatic theme in the first violin. By the time all four instruments have entered, the mood is one of intense nervousness, manifested by the second theme that grows out of a palpitating staccato motif, played extremely softly by the entire group.
The third movement is one of ShostakovichÕs ÒbrutalÓ scherzos; its melodic material unfolds over a set of ÒangryÓ rhythmic ostinatos (repeated figures). A more playful second theme, introduced by the viola, functions as the trio (middle section). The recapitulation is intensified by added contrapuntal imitation and harmonies that are even more astringent that they were the first time.
The fourth movement is a deeply tragic ÒAdagio,Ó written in the form of a passacaglia (variations upon an unchanging bass theme). Its pathos-filled melody is first presented in a powerful unison by second violin, viola, and cello; it is later repeated by the first violin, softly, like a lament. With the final repeat of the theme, played by the viola with only the sparsest of accompaniments in the cello, we reach the lowest depths of despair.
The finale is the longest and most complex movement of the quartet. It opens with an enigmatic cello melody punctuated by the pizzicato (plucked) notes of the viola. This theme Ñ gently lilting but filled with chromatic tension
Ñ is developed at length, joined by a beautifully singing second melody and a humorous third one, which recalls the first movement. Yet at the climactic point the tragic lament melody of the fourth movement returns with devastating power. After this outburst, the humorous theme reappears, but in the minor mode instead of major, losing much of its cheerfulness. And the lilting first theme ends up as a solitary adagio melody for first violin, reaching the instrumentÕs highest register in a subdued pianissimo as the other instruments play a single F Major chord held for a full 26 measures.
In the Third Quartet, Shostakovich managed to reverse completely the traditional Òdarkness-to-lightÓ sequence so often found in classical music. Moving from a cheerful opening to four movements of increasing seriousness and drama, the work strongly suggests that for Shostakovich in 1946, happiness was a very fragile emotion. Even though the war was over, the memory of past suffering was not about to go away easily, and laughter could turn into tears at any moment.
Program note by Peter Laki.

he EMERSON STRING QUARTET has an unparalleled list of achievements over three decades: more than 30 acclaimed recordings, nine Grammys (including two for ÒBest Classical AlbumÓ), three Gramophone Awards, the Avery Fisher Prize, Musical AmericaÕs ÒEnsemble of the YearÓ and collaborations with many of the greatest artists of our time.
The arrival of Paul Watkins in 2013 has had a profound effect on the Emerson Quartet. Mr. Watkins, a distinguished soloist, award-winning conductor, and devoted chamber musician, joined the ensemble in its 37th season, and his dedication and enthusiasm have infused the Quartet with a warm, rich tone and a palpable joy in the collaborative process. The reconfigured group has been greeted with impressive critical and public accolades.
The QuartetÕs summer 2014 season began with engagements in Colombia, Ecuador, Peru, and a pair of concerts in Rio de Janeiro, Brazil. Following a tour of Japan, the Quartet performed at the Ravinia, Tanglewood, Chamber Music Northwest, Aspen, Domaine Forget, Toronto, Austin, Norfolk, Cape Cod, and Mostly Mozart festivals. In a season of over 80 quartet performances, mingled with the Quartet membersÕ individual artistic commitments, Emerson highlights feature numerous concerts on both coasts and throughout North America. In October, Paul Watkins performs with the Emerson Quartet for the first time in Carnegie Hall. The program includes the Schumann Piano Quintet with acclaimed pianist and colleague Yefim Bronfman. Multiple tours of Europe comprise dates in Austria, Ireland, Switzerland, France, Germany, and the UK. The Quartet continues its series at the Smithsonian Institution in Washington, DC for its 35th season, and, in May, is presented by colleagues David Finckel and Wu Han for the two final season concerts at Chamber Music Society of Lincoln Center in Alice Tully Hall. Guest artists Colin Carr and Paul Neubauer join the Emerson in a program that also includes the New York premiere of Lowell LiebermannÕs String Quartet No. 5, commissioned by a consortium of presenters, including UMS, through Music Accord.
As an exclusive artist for Sony Classical, the Emerson recently released Journeys, its second CD on that label, featuring TchaikovskyÕs Souvenir de Florence and SchoenbergÕs Verklaerte Nacht. Future recordings are planned with Mr. Watkins.
Formed in 1976 and based in New York City, the Emerson was one of the first quartets formed with two violinists alternating in the first chair position. In 2002, the Quartet began to stand for most of its concerts, with the cellist seated on a riser.
The Emerson Quartet took its name from the American poet and philosopher Ralph Waldo Emerson and is at Stony Brook University. In January of 2015, the Quartet will receive the Richard J. Bogomolny National Service Award, Chamber Music AmericaÕs highest honor, in recognition of its significant and lasting contribution to the chamber music field.


This eveningÕs performance marks the Emerson String QuartetÕs 16th appearance under UMS auspices. The Emerson Quartet made their UMS debut in March 1989 in a program featuring works by Mozart, Jan‡cÿek, and Brahms at Rackham Auditorium. The Quartet most recently appeared in Ann Arbor in September 2011 in a program of MozartÕs Late Quartets at Rackham Auditorium. UMS welcomes Emerson Quartet cellist Paul Watkins,who makes his UMS debut this evening.

Michael Tilson Thomas, music director Gil Shaham, violin (Friday) UMS Choral Union (Friday) Thursday, November 13, 7:30 pm Friday, November 14, 8 pm Hill Auditorium
Program (Thursday 11/13)
Mahler Symphony No. 7 (ÒSong of the NightÓ)
Program (Friday 11/14)
Liszt Mephisto Waltz, No. 1 Prokofiev Violin Concerto No. 2 in g minor, Op. 63 Ravel Daphnis and Chloe Suite No. 2

Essel and Menakka Bailey Endowment Fund
National Endowment for the Arts
WGTE 91.3 FM, WRCJ 90.9 FM, and Ann ArborÕs 107one
Tickets on Sale Now
For more information, visit or call 734.764.2538.




Stage Design
Jaco Van Dormael
Thomas Gunzig
Thomas Gunzig, Jaco Van Dormael
Lighting Design
Nicolas Olivier
Julien Lambert
Camera Assistant
AurŽlie Leporcq
Set Design
Sylvie OlivŽ assisted by Amalgame: Elisabeth Houtart and Michel Vinck
Stage Design Assistants
Beno”t Joveneau, Caroline Hacq
Sound Design
Dominique Warnier
Boris Cekevda
Stage Manipulation
Bruno Olivier, Gabriella Iacono, Pierrot Garnier
Construction and Props
Walter Gonzales, Amalgame: Elisabeth Houtart and Michel Vinck
Conception, Second Set
Anne Masset, Vanina Bogaert, Sophie Ferro
Set Management
Nicolas Olivier
Gilles Brulard, Pierrot Garnier, Bruno Olivier
George Frideric Handel, Antonio Vivaldi,
Arvo PŠrt, Gottfried Michael Koenig,
John Cage, Carlos Paredes, Pyotr Illyich
Tchaikovsky, Jacques PrŽvert,
Gyšrgy Ligeti, Henryk G—recki,
George Gershwin

Jaco Van Dormael (French)
Valentijn Dhaenens (Flemish)
Yvan Fox Hernandez (Spanish)
Toby Regbo (English)
Marcus Himbert (German)
Angelo Bison (Italy)
Yu Jin Tae (Korean)
Dimitris Mastoros (Greek)

These performances are supported by the Renegade Ventures Fund, established by Maxine and Stuart Frankel.
Additional support by David and Phyllis Herzig.
Endowed support for Friday eveningÕs performance provided by the Herbert S. and Carol L. Amster Fund, in

memory of Herb Amster.
Endowed support also provided by the Doris Duke Charitable Foundation Endowment Fund.
The Saturday evening performance is hosted by the Susan and Richard Gutow Endowment to support

Renegade Performances.


Kiss & Cry is approximately 90 minutes in duration and is performed without intermission.

Please join UMS at a Tune In on Friday evening at 7:30 pm in the Michigan League Henderson Room, Third Floor.

Following Friday eveningÕs performance, please feel free to remain in your seats and join us for a post-performance Q&A with members of the company.
Media partnership is provided by WDET 101.9 FM.
Special thanks to Clare Croft for her participation in events surrounding this residency by Charleroi Danses, Belgium.
Michle Anne De Mey is associate artist at Charleroi Danses, the Choreographic Centre of the Wallonia-

Brussels Federation.
Charleroi Danses, Belgium appears by arrangement with Menno Plukker Theatre Agency.


Harry Cleven
The Dancers
Michle Anne De Mey Frauke Mari‘n and Gregory Grosjean
Julien Lambert
Camera Assistant
AurŽlie Leporcq
Bruno Olivier / Thomas Beni
Set and Props
Stefano Serra, Jackie Delevoye, and Florencia Demestri
Boris Cekevda
Technical Coordinator
Thomas Beni
Artistic Coordinator
GrŽgory Grosjean
Production: Charleroi Danses / le mange.mons Ñ Centre Dramatique
Co-production: Les ThŽ‰tres de la Ville de Luxembourg
With the support of the FŽdŽration Wallonie Bruxelles

Scan for nano-dancing! UMS is hosting a nano-dance competition. Check out the photo and video submissions, or add your own.
Download a free QR code reader app on your smart phone, point your camera at the code, and scan to see multimedia content; or visit to find these stories..

bout 10 years ago, after a week of improvisation and filming hands dancing on a table, the form and language of Kiss & Cry came to life. We created a short scene for a cabaret evening. From this starting point came the idea to develop the piece into a full-length performance that would combine our two worlds: dance and cinema.
Ten y ears la ter w e star ted improvising once again, working with friends from dance and movies, creating a collective experience to which everyone contributed their own special skills. There were three, four, five of us Ñ then more.
The challenge was: is it possible to make a feature film on the kitchen table? And is it possible to create a dance performance with just a couple of hands? In the beginning we worked on the table, using anything we could find in the house: our childrenÕs toys, dollsÕ houses, tiny plastic figurines, sand, earth, water, milk, our tortoise, cotton wool, cardboard boxes, sticky tape, and two bare hands. With these miscellaneous items we came up with a series of short, unrelated scenes. We carried on experimenting, ending up with a stage littered with tracks, cables, pulleys and projectors, just like a miniature film studio. The camera shows on the screen what is too small to be seen by the human eye and, conversely, the eye sees what the camera cannot see, the hors-champ Ñ that is, what is off-camera or out of range.
Hands became the storyÕs main protagonists, and the story Ñ written by Jaco Van Dormael and novelist Thomas Gunzig Ñ alongside the ongoing improvisation work, gradually became the bittersweet tale of Gisle and her five lovers (like the five fingers of a human hand), a story of love, loss, disappearance, regret, and recovery.
Depending on where we play, the interpretation and resonance is very different. In Santiago de Chile, Beirut, and Seoul itÕs been seen almost as a political piece, referring to the victims of war and totalitarian regimes in which people have vanished without trace. In other places the audience is simply touched by the notions of true love, loneliness, and regret. Kiss & Cry tells a story, and at the same time reveals the mechanics of how the story is brought to life. Strangely, the more we show that all is fake, the more the spectator believes and the deeper the emotion.
Ñ Michle Anne De Mey and Jaco Van Dormael

(Brussels, 1959) is a Belgian
choreographer who studied at Mudra, the school founded by Maurice BŽjart in Brussels, from 1976Ð1979. She took contemporary dance in a new direction with her early choreographies: PassŽ Simple (1981) and the duets Ballatum (1984), and Face ˆ Face (1986). At the same time, she worked with Anne Teresa de Keersmaeker for six years on the creation and interpretation of several of her choreographies, namely Fase (1982), Rosas danst Rosas (1983), ElenaÕs Aria (1984), and Ottone, ottone (1988).
Although special consideration is always given to the relationship between dance and music, the choreographic structure of Michle Anne De MeyÕs creations cultivates a strong theatrical content and places the dancer in a specific and innovative relationship between the stage and the audience. In 1990, she founded her own company and created Sinfonia Eroica. Fifteen more creations followed which met with international acclaim, among them Raining Dogs (2002), Utopie (2001), Katamenia (1997), Pulcinella (1994), Love Sonnets (1994), Ch‰teaux en Espagne (1991), and Cahier (1995). Her teaching contributions have also been significant (in Amsterdam, at INSAS in Brussels, CNDC in Angers, and ƒcole en Couleurs).
For three years, she worked with the children at ƒcole en Couleurs on the elaboration of Sacre en Couleurs, a creation presented on the occasion of Br ux elles/Br ussel 2000. Her choreographic work has been the starting point for several films, such as Love Sonnets and 21 ƒtudes ˆ danser by Thierry de Mey and Face ˆ Face by Eric Pauwels. Using the power of music to create her choreographic universe, she has worked with renowned composers Thierry de Mey, Robert Wyatt, and Jonathan Harvey. For several years, she has been working in close collaboration with artists including Simon Siegmann, StŽphane Olivier, and GrŽgory Grosjean.
In June 2006 she recreated one of her seminal pieces from the 1990s Ñ Sinfonia Eroica Ñ for nine dancers. This has gone on to be performed more than 100 times across the world. In December 2007 she created P.L.U.G, a show all about the mechanics of mating. Michle Anne presented Koma, a solo for a female dancer, during the Made in Korea Festival staged by BOZAR in June 2009. This solo is one of a series of four, with the other three by Sidi Larbi Cherkaoui, Arco Renz, and Thomas Hauert. Neige opened the Charleroi Danses Biennale in November 2009 before going on tour. For the VIA festival in March 2011, she worked with Jaco Van Dormael and in a group comprising Gregory Grosjean, Thomas Gunzig, Julien Lambert, Nicolas Olivier, and Sylvie OlivŽ on Kiss & Cry, a highly original and ambitious show confronting film, dance, words, theater, and brilliant DIY. She presented her latest work Lamento in May 2012, a solo created for and performed by the dancer Gabriella Iacono based on MonteverdiÕs Lamento dÕArianna.
M ich l e An ne De M ey is n ow associate artist at Charleroi Danses, the Choreographic Centre of the Wallonia-Brussels Federation.
ACO VAN DORMAEL was born on February 9, 1957 in Ixelles, Belgium and spent part of his childhood in Germany. After studying film at Louis-Lumire in Paris and INSAS in Brussels, he
became a childrenÕs theater director and clown. He has written and directed several fictional short films and documentaries Ñ Maedeli-La-Breche (1980), Stade (1981), LÕimitateur (1982), Sortie de secours (1983), E pericoloso sporgersi (1984), and De Boot (1985) Ñ before going on to write and direct three feature-length films: Toto the Hero (1991) with Michel Bouquet, which won a CamŽra dÕor award at the Cannes Film Festival; The Eighth Day with Pascal Duquenne and Daniel Auteuil (1996), which won the ÒBest ActorÓ prize (ex aequo) at Cannes; and Mr. Nobody (2009) with Jared Leto, Sarah Polley, Diane Kruger, and Lin Dan Pham, which won a prize at the Venice Film Festival and three prizes at the Magrittes awards ceremony (ÒBest Film,Ó ÒBest Director,Ó and ÒBest Original ScreenplayÓ), as well as the Audience Prize at the European Film Awards.
Jaco Van Dormael has also directed for theater, including Est-ce quÕon ne pourrait pas sÕaimer un peu? with Eric De Staerke. In 2012 he directed his first opera, Stradella by CŽsar Franck, to mark the reopening of the OpŽra Royal de Wallonie in Lige. In the dreamy atmosphere of his productions, Jaco Van Dormael explores the power of the imagination and the contribution of childhood. In under 30 years he has developed a poetic and ambitious world of his own with non.linear narrative forms. He lives with the choreographer Michle Anne De Mey and has two daughters, Alice and Juliette. His brother Pierre Van Dormael (1952Ð2008) was a composer and jazz guitarist.
After studying at the Conservatoire National SupŽrieur de Paris, GRƒGORY GR O SJEAN ( co-choreogr a ph y, NanoDanses) pursued a career in classical dance with various companies in Spain, Belgium, Scotland, and Japan. In 2001, he joined Michle Anne De Mey, working with her on six new works as a dancer and artistic adviser. These include Utopie, Raining Dogs, and 12 easy waltzes in a duet with Michle Anne and, most recently, the collective creation Kiss & Cry.
SYLVIE OLIVƒ (set designer) is a set creator for film and stage. Her career began in theater as assistant to the stage designer Dominique Pichou in 1987, before moving to film in 1990 with sets for Christian VincentÕs film La discrte. She recently designed the sets for RŽgis RoinsartÕs first film, Populaire, earning herself a CŽsar nomination in 2013. She won the award for the best set design at the 66th Venice Film Festival in 2009 for Jaco Van DormaelÕs most recent film, Mr Nobody.
She has also worked as a set designer on the collective creation Kiss & Cry. Most recently, she created the sets for Guillaume de GallienneÕs film Les Garons et Guillaume ˆ table. Sylvie OlivŽ created the set for Neige by the choreographer Michle Anne De Mey and for the ballet Le Corsaire by Kader Belarb, as well as for the play La Fausse Suivante directed by Lambert Wilson.
Her career has taken her to New York, Montreal, Berlin, and Brussels. Alongside her established work, she has also been heavily involved in working in contemporary dance and experimental performing arts.
After studying painting at the 75 in the early 1990s, NICOLAS OLIVIER (lighting design) trained in set design and stage direction at INFAC. Meeting the stage director Daniel Scahaise in 1993 marked a crucial turning point in his career, with Mr. Scahaise steering him towards lighting. Between 1993 and 1999 he gained experience as a lighting operator, honing his skills. Notable collaborations include Pascale
Vyvere, Pierre Aucaigne (Momo), Toots Thielemans, and Stephane Steeman.
From 1999Ð2013, he was initially the lighting designer and then the stage manager at Charleroi Danses. During this period, he worked closely with FrŽdŽric Flamand, Wim Vandekeybus, Mossoux-BontŽ, Michle Anne De Mey, and Jaco Van Dormael on shows including Kiss & Cry and Neige.
Now freelance, he is part of the Groupe Entorse which creates hybrid pieces, dances, music, and lighting. Notable lighting designs include CŽsar FranckÕs opera Stradella staged by Jaco Van Dormael for the reopening of the OpŽra Royal de Wallonie.
In theater he has collaborated on David StrosbergÕs Lettre ˆ Cassandre and on Les 1001 nuits directed by Dominique Serron. In another genre entirely, his stage design and lighting are to be used on tour by Lige-based rock group My Little Cheap Dictaphone.
Nicolas OlivierÕs lighting designs are more like architectural constructions than set designs in the strict sense. He continually demonstrates his interest in the encounter between bodies, dance, voice, video, architecture, and various performing arts disciplines.
THOMAS GUNZIG (texts, script) was born in Brussels in 1970 and graduated with a degree in political science (international relations). He embarked on his writing career with a collection of short stories entitled Situation instable penchant vers le mois dÕaožt which won the City of Brussels student writerÕs prize in 1994. This was the first of many publications and literary awards. His writing has since diversified, from short stories to a novel (Mort dÕun parfait bilingue, Rossel Prize 2001) and from radio fiction to a book for young people (Nom de code: Superpouvoir, 2005), by way of musical theater (Belle ˆ mourir, staged at Le Public in 1999). He also worked with Jaco Van Dormael, Harry Clevens, and Coms on a film adaptation of the comic strip Silence in 2006. His works have been adapted for the stage in France and Belgium.
In 2008, he trod the boards himself for the first time in his own play, Les Origines de la vie, which he directed with Isabelle Wery. His Spiderman has also been adapted for the screen by Christophe PeriŽ in a Jan Kounen production. His books have been translated into several languages, including German, Russian, Italian, and Czech.
Mr. Gunzig regularly runs writing workshops and gives lectures in Belgium and abroad. He also teaches classes on literature at the Ecole Nationale SupŽrieure des Arts Visuels (La Cambre) and on storytelling at the Institut SupŽrieur Saint-Luc in Brussels. He puts a great deal of effort into supporting writers within SCAM (the Civil Society of Multimedia Authors) and was elected its vice president in 2007.
Thomas Gunzig has also become something of a media personality: he is a columnist for various newspapers and magazines, his voice has been heard for five years on RTBFÕs radio waves in Jeu des Dictionnaires, and now, on Matin Premire, he paints a picture of the dayÕs guest in his CafŽ SerrŽ.
JULIEN LAMBERT (camera) was born in 1983 in Normandy, a place that has definitely shaped his particular taste for landscapes with changing light. It is also steeped in a modern history which has left a lasting mark. The humane approach he takes to his work is associated as much with the way he collaborates with and learns from his colleagues as it is with the kind of commitment demanded by the work of a cameraman. Specializing early on in images, Mr. Lambert learned his craft at INSAS in Brussels, a place where he encountered his peers working in different art forms: fictional and documentary film, dance, the performing arts, and music. Like any good craftsman, he refined his tools by taking them apart; for him nothing could be more natural than understanding a camera down to its tiniest detail. However, for Julien, the basic essentials are elsewhere: they can be found in the journey you take getting there.
n o f f -s h o o t o f t h e f o r m e r Ballet Royal de Wallonie, the CHOREOGRAPHIC CENTRE OF THE WALL ONIA-BR U SSELS FEDERATION has taken a radical turn towards contemporary creation.
FrŽdŽric Flamand, its director from 1991Ð2004, made it a leading institution on an international scale. It has been run by Vincent Thirion, General Manager and Artistic Director, since 2006. The Centre has three associate artists: Michle Anne De Mey, Thierry De Mey, and Pierre Droulers. This new management formed the framework for an open project Ñ a broad association of artists with an interdisciplinary dimension Ñ centered on artistic work shared with choreographers and artists not only from the French-speaking community but also from the international scene, while maintaining continuous audience engagement.
While the creative work of the three associate artists/directors lies at the heart of the activity of CHARLEROI DANSES , the Centre offers custom-made residencies in accordance with the specific requirements of the artists. The activities of Charleroi Danses take place in Les ƒcuries of Charleroi and at La Raffinerie in Brussels: including the production and touring of the work of the artists/directors and residents and the programming of various events such as the dance Biennale.
Charleroi Danses offers a year-round Training Program for professional dancers in the form of classes and workshops and organizes master classes and Òlaboratory spacesÓ led by the various creative artists of the Centre. In collaboration with the schools, Charleroi Danses has also set up a program of artistic workshops under the aegis of the
D.A.S. (Dispositif dÕAccrochage Scolaire) in Brussels as well as a series of interventions for dance appreciation with the schools of the Hainaut region of Belgium.
UMS welcomes Charleroi Danses, Belgium as the company makes its UMS debut this week.
For Charleroi Danses, Belgium
Ivo Ghizzardi
Maarten Vanden Abeele
Production and Sales
Gladys Brookfield-Hampson
Production Assistant
Vanessa Spaey


for a brief pre-performance talk before select Renegade Series performances. Just 15-minutes long, each Tune In will offer interesting information and provocative questions for thinking about, listening to, and watching the performance. The Renegade Series celebrates artistic innovation, experimentation, and discovery. Tune Ins are hosted by Shannon Fitzsimons, UMS Campus Engagement Specialist and dramaturg, and UMS Guest Scholar, Garrett Schumann, who will be joined by occasional special guests.
Charleroi Danses | Kiss & Cry eighth blackbird
Friday, October, 10, 2014, 7:30 pm Saturday, January 17, 2015, 7:30 pm Michigan League Henderson Room, Location TBA, please check Third Floor
Ryoji Ikeda | superposition Trisha Brown Dance Company
Friday, October 31, 2014, 7:30 pm Saturday, February 21, 2015, 7:30 pm Michigan League Henderson Room, Michigan League Henderson Room, Third Floor Third Floor Special Guest: Justin Joque, U-M Visualization Librarian Bill Frisell
Thursday, March 12, 2015, 7 pm Apollo s Fire & Apollo s Singers Michigan League Henderson Room, Thursday, November 6, 2014, 7 pm Third Floor St. Francis of Assisi Church Parish Activities Center

Photo: Ryoji Ikeda | superposition; photographer: Kazuo Fukunaga UMS. OR G/LEARN

The UMS Senate is composed of former members of the Board of Directors who dedicate time and energy to UMS and our community. Their ongoing commitment and gracious support of UMS are greatly appreciated.
Wadad Abed Peter N. Heydon Harold T. Shapiro
Michael C. Allemang Toni Hoover George I. Shirley
Carol L. Amster Kay Hunt John O. Simpson
Gail Davis-Barnes Alice Davis Irani Timothy P. Slottow
Kathleen Benton Stuart A. Isaac Anthony L. Smith
Lynda Berg Thomas E. Kauper Carol Shalita Smokler
Richard S. Berger David B. Kennedy Jorge A. Solis
Maurice S. Binkow Gloria James Kerry Peter Sparling
DJ Boehm Thomas C. Kinnear James C. Stanley
Lee C. Bollinger Marvin Krislov Lois U. Stegeman
Charles W. Borgsdorf F. Bruce Kulp Edward D. Surovell
Janice Stevens-Botsford Leo A. Legatski James L. Telfer
Paul C. Boylan Melvin A. Lester Susan B. Ullrich
William M. Broucek Earl Lewis Michael D. VanHermert
Barbara Everitt Bryant Patrick B. Long Eileen Lappin Weiser
Robert Buckler Helen B. Love B. Joseph White
Letitia J. Byrd Cynthia MacDonald Marina v.N. Whitman
Kathleen G. Charla Robert C. Macek Clayton E. Wilhite
Mary Sue Coleman Judythe H. Maugh Iva M. Wilson
Jill A. Corr Rebecca McGowan Karen Wolff
Peter B. Corr Barbara Meadows
Ronald M. Cresswell Joetta Mial
Martha Darling Lester Monts
Hal Davis Alberto Nacif
Sally Stegeman DiCarlo Shirley C. Neuman
Robert F. DiRomualdo Jan Barney Newman
Junia Doan Roger Newton
Al Dodds Len Niehoff
James J. Duderstadt Gilbert S. Omenn
Aaron P. Dworkin Joe E. OÕNeal
David Featherman Randall Pittman
David J. Flowers Phil Power
George V. Fornero John D. Psarouthakis
Maxine J. Frankel Rossi Ray-Taylor
Patricia M. Garcia John W. Reed
Beverley B. Geltner Todd Roberts
Christopher Genteel Richard H. Rogel
Anne Glendon Prudence L. Rosenthal
Patricia Green A. Douglas Rothwell
William S. Hann Judy Dow Rumelhart
Shelia M. Harden Maya Savarino
Randy J. Harris Ann Schriber
Walter L. Harrison Edward R. Schulak
Norman G. Herbert John J.H. Schwarz
Deborah S. Herbert Erik H. Serr
Carl W. Herstein Ellie Serras
David Herzig Joseph A. Sesi

The UMS National Council is comprised of U-M alumni and performing arts enthusiasts across the country committed to supporting, promoting, and advocating for UMS with a focus on ensuring that the performing arts are an integral part of the student experience.
Bruce Tuchman Barbara Fleischman Zarin Mehta
Chair Maxine Frankel Jordan Morgan
Eugene Grant James A. Read
Andrew Bernstein Charles Hamlen Herbert Ruben
Kathleen G. Charla Katherine D. Hein James and Nancy Stanley
Jacqueline Davis David Heleniak Russell Willis Taylor
Marylene Delbourg-Delphis Patti Kenner Ann and Clayton Wilhite
John and Betty Edman Wallis C. Klein
Janet Eilber Jerry and Dale Kolins

The UMS Corporate Council is a group of regional business leaders who serve as advocates and advisors to UMS as we seek to broaden our base of corporate support throughout southeastern Michigan.
A. Douglas Rothwell Richard L. DeVore Vivian Pickard
Chair Nolan Finley Sharon Rothwell
Stephen R. Forrest Frederick E. Shell
Albert Berriz Michele Hodges Michael B. Staebler
Bruce Brownlee Mary Kramer James G. Vella
Robert Buckler Maud Lyon Stephen G. Palms,
Robert Casalou David Parsigian Ex-Officio

Students in our volunteer internship and work-study program gain valuable experience in all areas of arts management while contributing greatly to
UMSÕs continued success.
Maryam Ahmed Margaret Albrecht Megan Boczar Clare Brennan Gabrielle Carels Hannah Crisler Catherine Cypert Anna Darnell Sophia Deery* Adam DesJardins Trevor Griffin Annie Jacobson Travis Jones Scott Kloosterman Emily Kloska Caitlyn Koester Alexandra Koi Bridget Kojima Flores Komatsu* Hillary Kooistra* Brian Lee Jordan Miller Gunnar Moll Nisreen Salka Elizabeth Seidner* Marissa Solomon Haylie Stewart Rachel Stopchinski Melanie Toney Jocelyn Weberg
* 21st Century Artist Interns

WKAR thanks the University Musical Society for such high-caliber performances and an amazing schedule this season.
You can explore the arts everyday by tuning into:
and 90.5 FM

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610 Hilton Blvd|Ann Arbor, MI 48108

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Information on WKAR Support

As part of the UMS Mellon Initiative on Arts/Academic Integration, this group advises UMS staff on opportunities to integrate our programming more deeply and systematically into the academic life of the University of Michigan.
Mark Clague Marjorie Horton Lester Monts
Clare Croft Joel Howell Melody Racine
Philip J. Deloria Daniel Klionsky Sidonie Smith
Gillian Eaton Lawrence La Fountain- Emily Wilcox
Linda Gregerson Stokes

Through UMS Teacher Insight, we stay aware of trends, changing resources, and new opportunities for learning in the K-12 classroom.
Robin Bailey Cecelia Sharpe Rebeca Pietrzak
Jennifer Burton Cynthia Page Bogen Mark Salzer
Jeff Gaynor Karen McDonald
Neha Shah Melissa Poli

The UMS Advisory Committee advances the goals of UMS, champions the UMS mission through community engagement, provides and secures financial support, and assists in countless other ways as UMS ambassadors.
Pat Bantle
Louise Taylor
Vice Chair
Connie Rizzolo Brown
Jane Holland
Gail Ferguson Stout
Past Chair
Sassa Akervall Sandy Aquino Karen Bantel Gail Bendit Corry Berkooz Dennis J. Carter Judy Cohen Sheila Crowley Jon Desenberg Annemarie Kilburn Dolan Sharon Peterson Dort Julie Dunifon Gloria J. Edwards Christina Ferris Laurel Fisher Rosamund Forrest Zita Gillis Nicki Griffith Joan Grissing Stephanie Hale Debbie Jackson Carol Kaplan Nancy Karp Kendra Kerr Freddi Kilburn Kyle Klobucar Russell Larson Marci Raver Lash Jean Long Laura Machida Katie Malicke Rita Malone Valerie Roedenbeck
Maloof Melanie Mandell Ann Martin Fran Martin Terry Meerkov Amy J. Moore Barbara Mulay Magda Munteanu Deborah Nash Marjorie Oliver Liz Othman Betty Palms Karen Pancost Lisa Patrell Anna Peterson Ruth Petit Susan Pollans Anne Preston Jeff Reece Polly Ricciardo Kathy Rich Nan Richter Audrey Schwimmer William Shell Arlene P. Shy Ren Snyder Linda Spector Janet Torno Elaine Tetreault Martha Williams Sarajane Winkelman Wendy K. Zellers

The UMS Staff works hard to inspire individuals and enrich communities by connecting audiences and artists in uncommon and engaging experiences.
Kenneth C. Fischer
John B. Kennard, Jr.
Director of Administration
Kathy Brown
Executive Assistant
Jenny Graf
Tessitura Systems Administrator
Patricia Hayes
Financial Manager
John Peckham
Information Systems Manager
Margaret McKinley
Director of Development
Susan Bozell Craig
Associate Director of Development, Corporate Partnerships & Major Gifts
Rachelle Lesko
Development Coordinator
Lisa Michiko Murray
Senior Manager of Foundation & Government Relations
Marnie Reid
Associate Director of Development, Major Gifts
Cindy Straub
Manager of Volunteers & Special Events
James P. Leija
Director of Education & Community Engagement
Shannon Fitzsimons
Campus Engagement Specialist
Mary Roeder
Associate Manager of Community Engagement
Sara Billmann
Director of Marketing & Communications
Jesse Meria
Video Production Specialist
Annick Odom
Marketing Coordinator
Anna Prushinskaya
Manager of New Media & Online Initiatives
Truly Render
Press & Marketing Manager
Michael J. Kondziolka
Director of Programming
Jeffrey Beyersdorf
Production Director
Anne Grove
Artist Services Manager
Mark Jacobson
Senior Programming Manager
Katie Lantz
Production Coordinator
Liz Stover
Associate Programming Manager
Christina Bellows
Ticket Services Manager
Kate Gorman
Front-of-House Manager
Ellen Miller
Ticket Office/Front-of-House Assistant
Casey Schmidt
Sales & Promotions Coordinator
Anna Simmons
Ticket Services Coordinator
Dennis Carter, Bruce Oshaben, Brian Roddy
Head Ushers
Jerry Blackstone
Conductor & Music Director
Arianne Abela
Assistant Conductor
Kathleen Operhall
Chorus Manager
Nancy Heaton
Chorus Librarian
Jean Schneider
Scott VanOrnum

UMS excites the imagination, sparks creativity, sharpens collaboration, inspires new ways of thinking, and connects us in ways that only the arts can.
Ticket sales, however, cover less than 40% of the world-class programs that benefit our students and community.
Your gift of any size will enable UMS to deliver bold artistic leadership, to create engaged learning through the arts, and to provide access and inclusiveness.

Be a Victor for UMS.
Be a Victor for the Arts.
Be a Victor for Michigan.

Please send your gift to: UMS Development 881 N. University Ave. Ann Arbor, MI 48109-1011
For more information, please visit or call Margaret McKinley at 734.647.1177.

Great performances should stir emotion. Retirement planning should not.

Our clients sleep well at night, trusting that we are diligently and proactively caring for all of their familyÕs financial affairs.
As a locally owned, independent financial advisory firm serving the U-M community and families throughout the area for more than 30 years, we are proud to support the outstanding performances UMS brings to Ann Arbor.

© 2014 Retirement Income Solutions is an Independent Investment Advisor.

Celebrating 136 Successful Seasons

proud supporter of

P: 734.222.4776 ¥ F: 734.222.4769

To help ensure the future of UMS, the following donors have made pledges which are payable over a period of up to five years. We are grateful to these
generous donors for their commitments.
$500,000 OR MORE
Ilene H. Forsyth Maxine and Stuart Frankel Foundation The Andrew W. Mellon Foundation Candis J. and Helmut F. Stern
Anonymous Bert Askwith and Patti Askwith Kenner Emily W. Bandera Dennis Dahlmann Sharon and Dallas Dort Eugene and Emily Grant Family Foundation Susan and Richard Gutow Wallis Cherniack Klein Norma and Dick Sarns Ron and Eileen Weiser Max Wicha and Sheila Crowley Ann and Clayton Wilhite
David and Phyllis Herzig
Essel and Menakka Bailey Penny and Ken Fischer Mohamad Issa/Issa Foundation Miller, Canfield, Paddock and Stone, P.L.C. Donald L. Morelock Agnes Moy-Sarns and David Sarns and the
Sarns Family Gil Omenn and Martha Darling Sharon and Doug Rothwell Linda Samuleson and Joel Howell Jane and Edward Schulak Dennis and Ellie Serras Nancy and James Stanley Glenn E. Watkins Marina and Bob Whitman Gerald B. Zelenock
Carol Amster Cheryl Cassidy Junia Doan John R. Edman and Betty B. Edman Charles H. Gershenson Trust Anne and Paul Glendon Norman and Debbie Herbert Carl and Charlene Herstein Jerry and Dale Kolins Lois Stegeman Stout Systems Karen and David Stutz Dody Viola
Michael and Suzan Alexander Valerie and David Canter Sara and Michael Frank Wendy and Ted Lawrence
M. Haskell and Jan Barney Newman Eleanor Pollack
John and Lillian Back Karen Bantel and Steve Geiringer Suzanne A. and Frederick J. Beutler Tim and Robin Damschroder Michele Derr Ann Martin and Russ Larson Eric and Ines Storhok

The success of UMS is secured in part by income from UMS endowment funds. You may contribute to an existing endowment fund or establish a named endowment with a minimum gift of $25,000. 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 Herbert S. and Carol Amster Endowment Fund Catherine S. Arcure Endowment Fund Carl and Isabelle Brauer Endowment Fund Dahlmann Sigma Nu Endowment UMS Fund Hal and Ann Davis Endowment Fund Doris Duke Charitable Foundation
Endowment Fund John R. and Betty B. Edman Endowment Fund Epstein Endowment Fund Ilene H. Forsyth Endowment Fund Anne and Paul Glendon Endowment Fund Susan and Richard Gutow Renegade Ventures
Endowment Fund George N. and Katherine C. Hall
Endowment Fund Norman and Debbie Herbert Endowment Fund David and Phyllis Herzig Endowment Fund JazzNet Endowment Fund William R. Kinney Endowment Fund Wallis Cherniack Klein Endowment for
Student Experiences
Dr. and Mrs. Jerry Kolins Shakespearean Endowment Fund Frances Mauney Lohr Choral Union
Endowment Fund Natalie Matovinovi. Endowment Fund Medical Community Endowment Fund Dr. Robert and Janet Miller 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 Herbert E. and Doris Sloan Endowment Fund James and Nancy Stanley Endowment Fund Susan B. Ullrich Endowment Fund UMS Endowment Fund The Wallace Endowment Fund The Zelenock Family Endowment Fund
FALL 2014
We are grateful to the following donors for including UMS in their estate plans. These gifts will provide financial support to UMS for generations to come. For more information, please contact Margaret McKinley at 734.647.1177.
Anonymous Bernard and Raquel Agranoff Mike Allemang Carol and Herb Amster Neil P. Anderson Dr. and Mrs. David G. Anderson Catherine S. Arcure Barbara K. and
Laurence R. Baker Rodney and Joan Bentz Kathy Benton and
Robert Brown Linda and Maurice Binkow Elizabeth S. Bishop Mr. and Mrs. W. Howard Bond Mr. and Mrs. Pal E. Borondy Barbara Everitt Bryant Pat and George Chatas Mr. and Mrs. John Alden Clark Mary C. Crichton Alan and Bette Cotzin Penny and Ken Fischer Susan Ruth Fisher Meredith L. and Neal Foster Thomas and Barbara Gelehrter Beverley and Gerson Geltner Anne and Paul Glendon Debbie and Norman Herbert Rita and Peter Heydon John and Martha Hicks Gideon and Carol Hoffer Marilyn G. Jeffs Thomas C. and
Constance M. Kinnear Diane Kirkpatrick Dr. and Mrs. Jerry Kolins Frank Legacki and Alicia Torres Leo and Kathy Legatski Richard LeSueur Robert and Pearson Macek Susan McClanahan Joanna McNamara
M. Haskell and
Jan Barney Newman Len Niehoff Dr. and Mrs. Frederick OÕDell Mr. and Mrs. Dennis M. Powers Mr. and Mrs. Michael Radock Mr. and Mrs. Jack Ricketts Prue and Ami Rosenthal Irma J. Sklenar Art and Elizabeth Solomon Hildreth Spencer Louise Taylor Roy and JoAn Wetzel Ann and Clayton Wilhite Max Wicha and Sheila Crowley Marion Wirick Mr. and Mrs. Ronald G. Zollar

Your bank.
For community.

Proud to support the
University Musical Society.

Member FDIC 0112 069

The donors listed below have provided significant support to UMS over a number of years. We recognize those whose cumulative giving to UMS
totals $500,000 or more.
Anonymous Linda and Maurice Binkow Community Foundation for Southeast Michigan Doris Duke Charitable Foundation DTE Energy Foundation Ford Motor Company Fund and Community Services Forest Health Services Ilene H. Forsyth Maxine and Stuart Frankel Foundation Richard and Lillian Ives Trust The Andrew W. Mellon Foundation Michigan Council for Arts and Cultural Affairs Michigan Economic Development Corporation National Endowment for the Arts Pfizer, Inc. Randall and Mary Pittman Philip and Kathy Power Estate of Mary Romig-deYoung Herbert E. Sloan, Jr. M.D. Candis J. and Helmut F. Stern University of Michigan University of Michigan Health System The Wallace Foundation
UMS SUPPORT Ð JULY 1, 2013 Ð JUNE 30, 2014
The following list includes donors who made gifts to UMS between July 1, 2013 and June 30, 2014. Due to space constraints, we can only list in the UMS program book those who donated $250 or more. Donors of $1Ð$249 will be included in the online list at
. indicates the donor made a contribution to a UMS Endowment Fund
FALL 2014
Ilene H. Forsyth. Candis J. and Helmut F. Stern.
DIRECTORS ($100,000Ð$499,999)
Carl and Isabelle Brauer Fund. Ford Motor Company Fund and Community Services Maxine and Stuart Frankel
Foundation Wallis Cherniack Klein. The Andrew W. Mellon Foundation University of Michigan Health
SOLOISTS ($50,000Ð$99,999)
Anonymous Anonymous. Bert Askwith and
Patti Askwith Kenner Dance/USA Doris Duke Charitable Foundation Dallas and Sharon Dort. DTE Energy Foundation Michigan Council for Arts and
Cultural Affairs National Endowment for the Arts Ann and Clayton Wilhite
MAESTROS ($20,000Ð$49,999)
Ann Arbor Area Community Foundation
Essel and Menakka Bailey.
Emily W. Bandera
John R. Edman and Betty B. Edman.
Esperance Family Foundation
Anne and Paul Glendon.
Susan and Richard Gutow.
Masco Corporation Foundation
Montague Foundation.
Roger and Coco Newton.
PNC Foundation
Philip and Kathy Power
Sharon and Doug Rothwell.
Norma and Dick Sarns
Jane and Edward Schulak
University of Michigan Office of the Senior Vice Provost for Academic Affairs
University of Michigan Office of the Vice President for Research
Ron and Eileen Weiser
Max Wicha and Sheila Crowley
VIRTUOSOS ($10,000Ð$19,999)
Jerry and Gloria Abrams. Ann Arbor Regent Bank of Ann Arbor Bell Tower Hotel Rachel Bendit and Mark Bernstein The Dahlmann Campus Inn Alice Dobson Jim and Patsy Donahey Penny and Ken Fischer Stephen and Rosamund Forrest Charles H. Gershenson Trust David and Phyllis Herzig Joel Howell and Linda Samuelson Mohamad Issa and the Issa
Foundation The Japan Foundation Frank Legacki and Alicia Torres McKinley Associates Mrs. Robert E. Meredith Miller, Canfield, Paddock,
and Stone, P.L.C. Donald L. Morelock Agnes Moy-Sarns and David Sarns New England Foundation for the Arts Old National Bank Gil Omenn and Martha Darling Michael J. and Leslee Perlstein James Read Retirement Income Solutions RunSignUp Dennis and Ellie Serras

Joe and Yvonne Sesi Sesi Motors Irma J. Sklenar Trust Nancy and James Stanley University of Michigan Credit Union University of Michigan Third Century
Initiative Robert O. and Darragh H. Weisman Marina and Robert Whitman Gerald B. (Jay) Zelenock
CONCERTMASTERS ($5,000Ð$9,999)
Michael Allemang and Janis Bobrin Carol Amster Ann Arbor Automotive Anonymous Janet and Arnold Aronoff Arts at Michigan Aventura babo: a market by Sava Kathy Benton and Robert Brown Andrew and Lisa Bernstein Gary Boren Edward and Mary Cady Valerie and David Canter Cheryl Cassidy Mary Sue and Kenneth Coleman Comerica The Herbert & Junia Doan
Foundation David and Jo-Anna Featherman Barbara G. Fleischman Katherine and Tom Goldberg Norman and Debbie Herbert. Carl W. and Charlene R. Herstein Honigman Miller Schwartz and
Cohn LLP James A. Kelly and Mariam C. Noland David and Sally Kennedy. John S. and James L. Knight
Foundation Samuel and Marilyn Krimm Linda Langer and Paula McCracken Ted and Wendy Lawrence. Richard and Carolyn Lineback The Mardi Gras Fund Sally and Bill Martin Natalie Matovinovi. Michigan Critical Care Consultants Inc.
M. Haskell and Jan Barney Newman Virginia and Gordon Nordby Rob and Quincy Northrup Paula Novelli and Paul Lee and Pearl Eleanor Pollack. Prue and Ami Rosenthal Herbert and Ernestine Ruben SavaÕs Restaurant John W. and Gail Ferguson Stout Stout Systems Karen and David Stutz. Bruce G. Tuchman United Way of Washtenaw County Dody Viola
LEADERS ($2,500Ð$4,999)
Jim and Barbara Adams Michael and Suzan Alexander Barbara A. Anderson and Anonymous Arts Midwest Touring Fund Elizabeth R. Axelson and Donald
H. Regan John and Lillian Back Ulysses Balis and Jennifer Wyckoff Karen Bantel and Steve Geiringer Norman E. Barnett Robert and Wanda Bartlett Bradford and Lydia Bates Ronald and Linda Benson Suzanne A. and Frederick J. Beutler. Blue Nile Restaurant John and Denise Carethers Carolyn M. Carty and Thomas H. Haug Jean and Ken Casey Center for Plastic and
Reconstructive Surgery Kathy Cooney and Gary Faerber Anne and Howard Cooper Culture Source Julia Donovan Darlow and John
Corbett OÕMeara Marylene Delbourg-Delphis and
Sophie Delphis John Dryden and Diana Raimi Rosalie Edwards/Vibrant
Ann Arbor Fund of the Ann Arbor
Area Community Foundation Joan and Emil Engel Betsy Foxman and Michael Boehnke Sara and Michael Frank Prof. David M. Gates Thomas and Barbara Gelehrter Germain Honda of Ann Arbor Sid Gilman and Carol Barbour Elliott and Gayle Greenberg Richard and Linda Greene John and Helen Griffith Lynn and Martin Halbfinger Stephanie Hale and Pete Siers James and Patricia Kennedy Connie and Tom Kinnear Diane Kirkpatrick Wally and Robert Klein Philip and Kathryn Klintworth Tim and Kathy Laing Carolyn and Donald Lewis Lawrence and Rebecca Lohr Jean E. Long Jeffrey MacKie-Mason and Janet Netz Ann W. Martin and Russ Larson Ernest and Adle McCarus Erin McKean and Steve Sullivan Paul Morel and Linda Woodworth Margaret and Randolph Nesse William Nolting and Donna Parmelee Steve and Betty Palms Elizabeth and David Parsigian Tim and Sally Petersen Bertram and Elaine Pitt Jim and Bonnie Reece John W. Reed Anthony L. Reffells Corliss and Jerry Rosenberg Nathaniel and Melody Rowe Frances U. and Scott K. Simonds Susan M. Smith and Robert H. Gray Linda Spector and Peter Jacobson Eric and Ines Storhok Judy and Lewis Tann Louise Taylor Ted and Eileen Thacker Louise Townley Jim Toy
PATRONS ($1,000Ð$2,499)
Bernard and Raquel Agranoff Katherine Aldrich Richard and Mona Alonzo David G. and Joan M. Anderson Dave and Katie Andrea Anonymous Dr. and Mrs. Rudi Ansbacher Harlene and Henry Appelman Dr. Frank J. Ascione Bob and Martha Ause Jonathan Ayers and Teresa Gallagher John and Ginny Bareham Barracuda Networks Anne Beaubien and Phil Berry Cecilia Benner Dr. Rosemary R. Berardi and Dr.
Carolyn R. Zaleon Mitchell Bernstein and
Jessica Halprin John E. Billi and Sheryl Hirsch Joan Binkow Judy Bobrow and Jon Desenberg DJ and Dieter Boehm Horace and Francine Bomar Margaret and Howard Bond Charles and Linda Borgsdorf Laurence and Grace Boxer Dr. and Mrs. Ralph R. Bozell Dale E. and Nancy M. Briggs Barbara Everitt Bryant Jeannine and Robert Buchanan Lawrence and Valerie Bullen Charles and Joan Burleigh Barbara and Al Cain Lou and Janet Callaway Dan Cameron Family Foundation Jean W. Campbell Sally Camper and Bob Lyons Thomas and Marilou Capo Brent and Valerie Carey Cheng-Yang Chang MD PhD. Tsun and Siu Ying Chang Anne Chase Patricia Chatas Myung Choi Clark Hill PLC Brian and Cheryl Clarkson Ellen and Hubert Cohen Judy and Malcolm Cohen Chris Conlin Tim and Robin Damschroder. Susan T. Darrow Charles and Kathleen Davenport. Monique and Dennis Deschaine Sally and Larry DiCarlo Molly Dobson Peter and Grace Duren Barbara and Tony Eichmuller Charles and Julia Eisendrath. Johanna Epstein and Steven Katz Harvey and Elly Falit Scott and Kristine Fisher

John H. Romani Ed and Natalie Surovell Susan Fisher and John Waidley

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Ò example of what a good honest realtor should be...truly a class act!Ó Steve and Janet
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189 8 W. Stadium Blvd. Ann A rbor, MI
Esther Floyd Food Art Dan and Jill Francis Paul and Judith Freedman Leon and Marcia Friedman Bill and Boc Fulton
B. Garavaglia Tom Gasloli Chris and Dara Genteel Zita and Wayne Gillis Glen Arbor Cabin LLC Cozette Grabb Leslie and Mary Ellen Guinn Marlys Hamill Steven and Sheila Hamp Jeff Hannah and Nur Akcasu Martin D. and Connie D. Harris Clifford and Alice Hart Larry Hastie Sivana Heller Robert M. and Joan F. Howe Eileen and Saul Hymans Keki and Alice Irani Jean Jacobson Janet and Wallie Jeffries Kent and Mary Johnson. Timothy and Jo Wiese Johnson. Key Hope Foundation Elise K. Kirk Carolyn and Jim Knake Michael J. Kondziolka and Mathias-
Philippe Badin Barbara and Ronald Kramer Donald J. and Jeanne L. Kunz Jerry and Marion Lawrence John K. Lawrence and

Jeanine A. DeLay. Leo and Kathy Legatski Richard LeSueur Joan and Melvyn Levitsky Carolyn and Paul Lichter Fran Lyman Lisa and Tim Lynch Robert and Pearson Macek John and Cheryl MacKrell Edwin and Cathy Marcus.
W. Harry Marsden Irwin and Fran Martin Mary M. Matthews Judythe and Roger Maugh Jerry A. and Deborah Orr May. Susan McClanahan and
Bill Zimmerman
W. Joseph McCune and Georgiana
M. Sanders Griff and Pat McDonald Lyn McHie and John Anderson Margaret McKinley Semyon and Terry Meerkov Melange Bistro Harry and Natalie Mobley Lester and Jeanne Monts THE MOSAIC FOUNDATION
(of R. & P. Heydon) Moscow Philanthropic Fund Dana Muir and Tracy Grogan Mullick Foundation Dan and Sarah Nicoli Susan and Mark Orringer. Judith A. Pavitt Lisa Payne Lisa and John Peterson Pfizer Foundation Juliet S. Pierson Susan Pollans and Alan Levy Stephen and Bettina Pollock Rick and Mary Price Ray and Ginny Reilly Charles Reinhart Company Realtors Malverne Reinhart Richard and Edie Rosenfeld Craig and Jan Ruff Karem and Lena Sakallah Alan and Swanna Saltiel Maya Savarino Ann and Tom Schriber John J.H. Schwarz Erik and Carol Serr Janet Shatusky Bill and Chris Shell Carl Simon and Bobbi Low Nancy and Brooks Sitterley Michael Sivak and Enid Wasserman Dr. Rodney Smith and Janet Kemink Ren and Susan Snyder Becki Spangler and Peyton Bland Ted St. Antoine Michael B. Staebler and
Jennifer R. Poteat Gary and Diane Stahle Lois Stegeman Virginia E. Stein


Dalia and Stan Strasius Jon Cohn and Daniela Wittmann Don and Sue Kaul
DJ and Kate Sullivan Conlin Travel Christopher Kendall and
Charlotte B. Sundelson Connie and Jim Cook Susan Schilperoort
Elaine and Jim Tetreault Arnold and Susan Coran Rhea K. Kish
Keturah Thunder-Haab Katherine and Clifford Cox Paul and Dana Kissner
Jeff and Lisa Tulin-Silver Mac and Nita Cox Jean and Arnold Kluge
Marianne Udow-Phillips and Clifford and Laura Craig. Regan Knapp and John Scudder
Bill Phillips John and Mary Curtis Joseph and Marilynn Kokoszka
Susan B. Ullrich. Joseph R. Custer MD Dr. Melvyn Korobkin and
Jack and Marilyn van der Velde Roderick and Mary Ann Daane Linda Korobkin
Florence S. Wagner Christopher Dahl and Ruth Rowse Mary L. Kramer.
Bob and Liina Wallin Dennis Dahlmann and Paul Krutko and Ellya Jeffries
Shaomeng Wang and Ju-Yun Li. Patricia Garcia Ken and Maria Laberteaux
Joyce Watson and Marty Warshaw Elena and Nicholas Delbanco Jane Fryman Laird
Harvey and Robin Wax David and Nancy Deromedi David Lampe and Susan Rosegrant
Karl and Karen Weick Michele Derr Henry M. Lederman
Steven Werns MD Macdonald and Carolin Dick Derick and Diane Lenters.
W. Scott Westerman, Jr. Linda Dintenfass and Ken Wisinski Sue Leong
Roy and JoAn Wetzel. Andrzej and Cynthia Dlugosz Jennifer Lewis and Marc Bernstein
Lauren and Gareth Williams Heather and Stuart Dombey Rod and Robin Little
Beth and I. W. Winsten Julie and Bruce Dunlap E. Daniel and Kay Long
Max and Mary Wisgerhof Dr. and Mrs. W. Duvernoy Marilyn and Frode Maaseidvaag
Charles Witke and Aileen Gatten Dykema Brigitte and Paul Maassen
The Worsham Family Foundation Alan S. Eiser Martin and Jane Maehr
David Engelke and Alexandra Krikos Melvin and Jean Manis
BENEFACTORS Ernst & Young Foundation Betsy Yvonne Mark
($500Ð$999) Etymotic Research, Inc. Geri and Sheldon Markel
Jan and Sassa Akervall Michael and Michaelene Farrell Howard L. Mason
Roger Albin and Nili Tannenbaum Margaret and John Faulkner Olivia Maynard and Olof Karlstrom
Gordon and Carol Allardyce. Carol Finerman Martha Mayo and Irwin Goldstein
Neil P. Anderson George W. Ford Margaret E. McCarthy
Ann Arbor Area Convention and David Fox and Paula Bockenstedt Thomas and Deborah McMullen
Visitors Bureau Otto W. and Helga B. Freitag Joanna McNamara and Mel Guyer
Ann Arbor Optometry Philip and RenŽe Woodten Frost Bernice and Herman Merte
Anonymous Carol Gagliardi and David Flesher Lee Meyer
Sandy and Charlie Aquino Luis and April Gago Gene and Lois Miller
Penny and Arthur Ashe Janet and Charles Garvin Candice and Andrew Mitchell
Stephany and Jim Austin Bob and Julie Gates Bert and Kathy Moberg
Laurence R. and Barbara K. Baker David and Maureen Ginsburg Olga Ann Moir
Lisa and Jim Baker Meidee Goh and David Fry. Kara and Lewis Morgenstern
Reg and Pat Baker Mr. and Mrs. Charles Drs. Louis and Julie Jaffee Nagel
Bank of America Charitable and Janet Goss. Erika Nelson and David Wagener
Foundation Marla Gousseff John and Ann Nicklas
Pat Bantle Christopher and Elaine Graham. Len Niehoff, Lisa Rudgers, and
Nancy Barbas and Jonathan Sugar Martha and Larry Gray J.J. Niehoff
Rosalyn, Joshua, and Beth Barclay Dr. and Mrs. Robert A. Green Arthur S. Nusbaum
David and Monika Barera Linda and Roger Grekin Constance and David Osler
Frank and Lindsay Tyas Bateman Raymond Grew Marysia Ostafin and George Smillie
Astrid B. Beck Werner H. Grilk M. Joseph and Zoe Pearson
The Benevity Community Ken and Margaret Guire Jack and Jean Peirce
Impact Fund Arthur W. Gulick Wesen and William Peterson
Merete Blšndal Bengtsson Talbot and Jan Hack Joyce Plummer
Kathleen G. Benua Dr. Don P. Haefner and Diana and Bill Pratt
Helen V. Berg Dr. Cynthia J. Stewart Wallace and Barbara Prince
L. S. Berlin and Jean McPhail Helen C. Hall Quest Productions
Maria and Terry Bertram Alan Harnik and Professor Gillian Doug and Nancy Roosa
Sara Billmann and Jeffrey Kuras Feeley-Harnik Nancy Rugani
William and Ilene Birge Dan and Jane Hayes Ashish and Norma Sarkar
John Blankley and Maureen Foley Katherine D. Hein MD David W. Schmidt
R.M. Bradley and C.M. Mistretta Diane S. Hoff Matthew Shapiro and Susan Garetz
David and Sharon Brooks Jane and Thomas Holland John Shultz Photography
Pamela Brown Kay Holsinger and Douglas C. Wood Bruce M. Siegan
Sean Burton and Ronald and Ann Holz Sandy and Dick Simon
Dr. Jennifer Scott-Burton Mabelle Hsueh Sue and Don Sinta
Susan and Oliver Cameron Jim and Colleen Hume JŸrgen Skoppek
Campus Realty Ann D. Hungerman Cheryl Soper
Janet and Bill Cassebaum Isciences, L.L.C. Robbie and Bill Stapleton
Albert C. Cattell Debbie Jackson Allan and Marcia Stillwagon
John and Camilla Chiapuris Elizabeth Jahn Sandy Talbott and Mark Lindley
Alice S. Cohen Mark and Madolyn Kaminski

Stephanie Teasley and
Thomas Finholt Doris H. Terwilliger Brad Thompson Nigel and Jane Thompson Peter, Carrie, and Emma Throm. Jonathan Trobe and
Joan Lowenstein. Claire Turcotte Joyce Urba and David Kinsella Douglas and Andrea Van Houweling Brad L. Vincent Barbara and Thomas Wagner Elizabeth A. and David C. Walker Arthur and Renata Wasserman Richard and Madelon Weber. Deborah Webster and George Miller Lyndon Welch Kathy White. Iris and Fred Whitehouse Mac and Rosanne Whitehouse. Tabb and Deanna Wile, Birmingham
Wealth Management Group at
Morgan Stanley Dr. Kay Wilson and Dan Barry Thomas K. Wilson Lawrence and Mary Wise Mary Jean and John Yablonky Karen Yamada and Gary Dolce Linda Yohn Ron and Deb Yonkoski Thomas and Karen Zelnik
ASSOCIATES ($250Ð$499)
Judith Abrams Dr. Diane M. Agresta Roy Albert Helen and David Aminoff Catherine M. Andrea Anonymous Ralph and Elaine Anthony Phil and Lorie Arbour Eric and Nancy Aupperle Brian and Elizabeth Bachynski Robert and Mary Baird Barbara and Daniel Balbach Barbara Barclay Alex and Gloria Barends Kenneth and Eileen Behmer Christina Bellows and Joe Alberts Christy and Barney Bentgen William and Patricia Berlin Sheldon and Barbara Berry Elizabeth S. Bishop Mary E. Black Jerry and Dody Blackstone Mr. Mark D. Bomia Joel Bregman and Elaine Pomeranz Christie Brown and Jerry Davis Morton B. and Raya Brown Tom and Lori Buiteweg Jonathan and Trudy Bulkley Tony and Jane Burton Jennifer L. Caplis Thomas and Colleen Carey Barbara Mattison Carr Susie Carter John and Marsha Chamberlin Prof. J. Wehrley Chapman and Samuel and Roberta Chappell Joan and Mark Chesler Reginald and Beverly Ciokajlo Mark Clague and Laura Jackson Janice A. Clark Wayne and Melinda Colquitt Anne and Edward Comeau Minor J. and Susan L. Coon Mrs. Katharine Cosovich Roger Craig Susan Bozell Craig Mrs. C. Merle Crawford Jean Cunningham and
Fawwaz Ulaby Marylee Dalton and Lynn Drickamer Connie DÕAmato Sunil and Merial Das Art and Lyn Powrie Davidge Ed and Ellie Davidson Linda Davis and Bob Richter Norma and Peter Davis Elizabeth Duell Bill and Julie Dunifon Don and Kathy Duquette Ed and Mary Durfee Swati Dutta Dworkin Foundation Gavin Eadie and Barbara Murphy David Eden Productions, Ltd James F. Eder Richard and Myrna Edgar Gloria J. Edwards Morgan and Sally Edwards James Ellis and Jean Lawton Julie and Charles Ellis Thomas A. Fabiszewski Claudine Farrand and
Daniel Moerman Joseph Fazio and Lisa Patrell Phillip and Phyllis Fellin James and Flora Ferrara Herschel and Adrienne Fink
C. Peter and Beverly Fischer Harold and Billie Fischer Arnold Fleischmann Jessica Fogel and Lawrence Weiner Scott and Janet Fogler Lucia and Doug Freeth Stephanie and Tim Freeth Tavi Fulkerson and Bill Hampton Harriet Fusfeld Enid Galler Sandra Gast and Greg Kolecki Michael Gatti and Lisa Murray Beverley and Gerson Geltner Dr. Renate V. Gerulaitis Dr. Allan Gibbard and
Dr. Beth Genne
J. Martin Gillespie and Tara Gillespie Edie Goldenberg Edward and Mona Goldman Michael L. Gowing Jenny Graf Jerry M. and Mary K. Gray Jeffrey B. Green Milton and Susan Gross Susan C. Guszynski and
Gregory F. Mazure Lawrence Hack George and Mary Haddad Susan R. Harris Dorothy J. Hastings Gabrielle Hecht Wendel and Nancy Heers Rose and John Henderson
J. Lawrence Henkel and
Jacqueline Stearns Elaine Hockman Gideon and Carol Hoffer James S. and Wendy Fisher House Drs. Maha Hussain and Sal Jafar Hank and Karen Jallos Mark and Linda Johnson Paul and Olga Johnson Monica and Fritz Kaenzig Angela Kane Dr. Herbert and Mrs. Jane Kaufer. Deborah Keller-Cohen and
Evan Cohen Nancy Keppelman and
Michael Smerza Dan and Freddi Kilburn Paul and Leah Kileny Web and Betty Kirksey Shira and Steve Klein Michael Koen Brenda Krachenberg Gary and Barbara Krenz Mary Krieger Bert and Geraldine Kruse Donald J. Lachowicz Lucy and Kenneth Langa Neal and Anne Laurance John and Theresa Lee James Leija and Eric Knuth Anne and Harvey Leo Rachelle Lesko Gloria Kitto Lewis Jacqueline Lewis Marty and Marilyn Lindenauer. Arthur and Karen Lindenberg Ann Marie Lipinski Michael and Debra Lisull Daniel Little and Bernadette Lintz Dr. Len and Betty Lofstrom Julie Loftin William and Lois Lovejoy Roger E. Lyons Dr. Donald and Jane MacQueen William and Jutta Malm Tom Marini Margaret and Harris McClamroch Frances McSparran Gerlinda Melchiori Warren and Hilda Merchant Fei Fei and John Metzler Robin and Victor Miesel Jack and Carmen Miller Louise Miller John and Sally Mitani Gordon and Kimberly Mobley Mei-ying Moy Mark and Lesley Mozola Tom and Hedi Mulford Drs. George and Kerry Mychaliska. Gerry and Joanne Navarre Glenn Nelson and Margaret Dewar Thomas J. Nelson Kay and Gayl Ness Sarah Winans Newman
FALL 2014
Mrs. Patricia Chapman Michael Halpern Richard and Susan Nisbett

Laura Nitzberg Christer and Outi Nordman Robert and Elizabeth Oneal Elizabeth Ong Mohammad and J. Elizabeth
Othman David and Andrea Page Karen Pancost Kathy Panoff Karen Park and John Beranek Sara Jane Peth Ruth S. Petit Robert and Mary Ann Pierce Donald and Evonne Plantinga Irena and Patrick Politano Pat Pooley Thomas S. Porter Anne Preston Ann Preuss Karen and Berislav Primorac John Psarouthakis and
Anitigoni Kefalogiannis The Quarter Bistro Stephen and Agnes Reading Jeff Reece Marnie Reid Anne and Fred Remley Carrol K. Robertsen Susan M. Rose, D.O. Drs. Stephen Rosenblum and
Rosalyn Sarver Dr. Daria Rothe Ms. Rosemarie Haag Rowney Carol Rugg and Richard
Montmorency Mitchell and Carole Rycus Linda and Leonard Sahn Amy Saldinger and Robert Axelrod Irv and Trudy Salmeen Ina and Terry Sandalow Michael and Kimm Sarosi Joseph M. Saul and Lisa
Leutheuser Albert J. and Jane L. Sayed Jochen and Helga Schacht Dick Scheer Ananda Sen and Mousumi
Banerjee Fred Shapiro David and Elvera Shappirio Jamie Sharkey Patrick and Carol Sherry Janet and David Shier George and Gladys Shirley Jean and Thomas Shope Hollis and Martha A. Showalter Douglas and Barbara Siders Edward and Kathy Silver Terry M. Silver Robert and Elaine Sims Scott and Joan Singer John and Anne Griffin Sloan Robert Sloan and Ellen Byerlein Carl and Jari Smith David and Renate Smith Robert W. Smith Hanna Song and Peter Toogood Cynthia Sorensen Doris and Larry Sperling Jim Spevak Jeff Spindler David and Ann Staiger Jeff and Kate Stanley James L. Stoddard Cynthia Straub Roger Stutesman Brian and Lee Talbot May Ling Tang Stephan Taylor and Elizabeth
Stumbo Textron Denise Thal and David Scobey Tom and Judy Thompson William J. Thornton Patricia and Terril Tompkins Hitomi Tonomura John G. Topliss Donald Tujaka Alvan and Katharine Uhle David Uhlmann and Virginia
Murphy Alison and Matthew Uzieblo Karla and Hugo Vandersypen Village Corner, Inc. Maureen and John Voorhees Charles R. and Barbara H. Wallgren MaryLinda and Larry Webster Jack and Jerry Weidenbach Mr. and Mrs. Richard Weiermiller Jack and Carol Weigel Neal and Susan Weinberg Mary Ann Whipple James B. White and Mary F. White Nancy Wiernik Nancy P. Williams Pat and John Wilson Sarajane Winkelman Steven and Helen Woghin Charlotte A. Wolfe Drs. Margo and Douglas R. Woll. Gail and David Zuk
Gifts have been given in memory of the following people:.
Mel Barclay MD Erling Blšndal Bengtsson Bharat Bhushan Joan Boyle Carl Brauer Donald Bryant Brian Callahan Ralph Carey Leon Cohan Flip Connell Ellwood Derr Jim Garavaglia Daphne Grew Warren L. Hallock Lloyd and Edith Herrold Kenneth G. Holmes Ronald R. Humphrey Roger E. Hunt Ian Krieg Barbara Ann Lipinski Josip Matovinovi. MD Paul and Ruth McCracken Valerie D. Meyer Yetta Miller Emerson and Gwendolyn Powrie Henry J. Pratt Gail Rector Dot Reed Steffi Reiss Stanley Rontal Nona Schneider Tom Schneider Marvin Sharon Sidney Silber Irma Sklenar Beverly Slater Dr. Herbert Sloan Barry Sloat Lloyd St. Antoine Joan C. Susskind Charles Tieman Neil Van Riper Douglas O. Wayland Angela Welch Barbara R. Wykes
Gifts have been given in honor of the following people:
The 2013-14 UMS Advisory Judy Cohen Sharon Anne McAllister
Executive Committee Mary Sue Coleman Susan McClanahan
Nancy L. Ascione Kenneth C. Fischer Ann Meredith
Rachel Bendit Heather Gates John Reed
Sara Billmann Jenny Graf Dianne Widzinski
Jean W. Campbell Susan and Dick Gutow Ann and Clayton Wilhite
Beverly Carlisle Emanuel Joshua Bai Xianyong

Pat Chapman Michael Kondziolka

General Info.
We believe in the energy that comes with being present. Therefore, we want to ensure that you have all of the information you need to fully enjoy your experience. Look through this section to learn more about tickets, policies, accessibility, and opportunities to become more involved with UMS.


UMS Ticket Office Michigan League 911 North University Avenue MonÐFri: 9 amÐ5 pm Sat: 10 amÐ1 pm
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 have barrier-free entrances for persons with disabilities. For information on access at specific UMS venues, call the Ticket Office at 734.764.2538 or visit There is no elevator access to Power Center, Michigan Theater, or Lydia Mendelssohn Theatre balconies. Ushers are available for assistance.
Assistive listening devices are available in Hill Auditorium, Rackham Auditorium, Lydia Mendelssohn Theatre, Arthur Miller Theatre, and the Power Center. Earphones may be obtained upon arrival. Please ask an usher for assistance.
For items lost at Hill Auditorium, Rackham Auditorium, Power Center, Lydia Mendelssohn Theatre, or Arthur Miller Theatre, please visit the University Productions office in the Michigan League on weekdays from 9:00 am to 5:00 pm. For St. Francis of Assisi Catholic Church, call 734.821.2111. For Skyline High School, call 734.994.6515. For Trinosophes, call 313.737.6606.
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.

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.
Valet parking is complimentary for UMS donors at the Virtuoso level ($10,000 or more annually) for Choral Union Series performances at Hill Auditorium and HandelÕs Messiah. Valet parking is also available for a fee ($20 per car) until 30 minutes prior to the concert, and then subject to availability. Cars may be dropped off in front of Hill Auditorium beginning one hour prior to the performance.

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 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 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 until the published start time.
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. Learn more about budget-friendly family concertgoing at


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 as sessions are scheduled. For more information, contact Kate Gorman at 734.615.9398 or
Open to singers of all ages, the 175-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 the arts, 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 or 734.647.8009.


8 Ann Arbor Symphony Orchestra
22 Bank of Ann Arbor 2 Center for Plastic and Reconstructive Surgery
32 Charles Reinhart Co. Realtors
36 Donaldson & Guenther Dentistry
36 Dykema
22 Gilmore International Keyboard Festival 4 Honigman Miller Schwartz and Cohn LLP
20 Howard Hanna Real Estate Services
28 Iris Dry Cleaners
32 Jaffe, Raitt, Heuer & Weiss PC
20 Jewish Family Services
28 Kensington Court
28 Knight's
22 Mainstreet Ventures 8 Mark Gjukich Photography
39 Maryanne Telese, Realtor
34 Michigan Psychoanalytic Institute
and Society
8 Michigan Radio
36 Old National Bank
34 Real Estate One
48 Red Hawk and Revive + Replenish
32 Retirement Income Solutions
24 Silver Maples of Chelsea
34 Smith Haughey Rice & Roegge
48 Tom Thompson Flowers
44 U-M Alumni Association
20 UMS Prelude Dinners

IBC = Inside back cover

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cafŽ w
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market w beer á wine á essential groceries
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