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UMS Concert Program, October 31 - November 9, 2014: Ryoji Ikeda; The Big Squeeze; Apollo's Fire/Apollo's Singers; Quatuor Ebène

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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
Expanded Professional Counseling Services

H elping You B alanc e Lif eÕs Challenges
Professional ¥ Trusted ¥ Safe ¥ Accessible ¥ Personalized ¥ Convenient
Most insurance plans accepted

Jewish Family Services
of Washtenaw County 2245 S. State Street ¥ Ann Arbor, MI 48104

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.

Classical Music

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WGLE 90.7 Lima
WGBE 90.9 Bryan
WGDE 91.9 Defiance


Friday, October 31, 8:00 pm
Saturday, November 1, 8:00 pm
Power Center

Saturday, November 1, 8:00 pm
Hill Auditorium
Thursday, November 6, 7:30 pm
St. Francis of Assisi Catholic Church
Sunday, November 9, 4:00 pm
Rackham Auditorium
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.




Concept, direction, and music by
Ryoji Ikeda
Friday Evening, October 31, 2014 at 8:00 Saturday Evening, November 1, 2014 at 8:00 Power Center ¥ Ann Arbor
11th and 12th Performances of the 136th Annual Season International Theater Series
Photo: superposition, 2012; photographer: ©Kazuo Fukunaga/Kyoto Experiment in Kyoto Art Theater, Shunjuza.


Concept, Direction, and Music
Ryoji Ikeda
StŽphane Garin AmŽlie Grould
Programming, Graphics, and Computer System
Tomonaga Tokuyama Norimichi Hirakawa Yoshito Onishi
Optical Devices
Norimichi Hirakawa
Stage Manager
Simon MacColl
Technical Manager
Tomonaga Tokuyama
Production Assistant
Daisuke Sekine
superposition is approximately 65 minutes in duration and will be performed without intermission.
These performances are supported by the Renegade Ventures Fund, established by Maxine and
Stuart Frankel.
Endowment support provided by the Doris Duke Charitable Foundation Endowment Fund.
Funded in part by the Japan Foundation through the Performing Arts JAPAN program.

Media partnership is provided by WDET 101.9 FM.
Special thanks to Fred Adams, Myron Campbell, Carol Rabuck, and the U-M Saturday Morning Physics
Program; Chrisstina Hamilton and the U-M Penny W. Stamps Distinguished Speaker Series; and Justin
Joque for their participation in events surrounding the performances of superposition.


The new project superposition explores a new notion of information: quantum information.
The language of classical information is BIT (binary digits) Ñ 0 or 1, which is the most fundamental building block of our judgment and logical thoughts.
The language of quantum information is QUBIT (quantum binary digits) Ñ 0 and 1 superposed at the same time, which is a new way for us to capture the truth of nature at an extremely small sub-atomic scale Ñ such as behaviors of photons or electrons.
When we try to observe a sub-atomic particle we cannot know both its position and its speed at the same time. Once we observe the position, we understand the information of the position but lose that of the speed. Before we observed the position, the single sub-atomic particle was actually located at all possible positions simultaneously, which is the so-called Òsuperposition stateÓ.
In short, our observation fixes the position. It is unbelievably counterintuitive and is beyond our human comprehension. No one can know the very nature of nature. On such an extremely small scale, we can know only a single value of a single parameter from the infinite facets of nature.
BIT is digital. QUBIT is analog Ñ analogous to nature. BIT is discrete. QUBIT is continuous Ñ a continuum. Quantum computing is to read how sub-atomic particles behave by means of the language of QUBIT; i.e. Nature computes. We decipher it.
Nature is always here and there. We forcefully try to understand and demystify the nature of nature by means of our scientific knowledge, but weÕre also part of nature, nature is unthinkably vast Ñ from an atom to the universe. Some esoteric codes will remain secret and beyond human comprehension, perhaps forever.
superposition is inspired by all these thoughts and is foolhardily and quixotically aiming to explore the new kind of information through art.
Ñ Ryoji lkeda

Quantum superposition is a principle of quantum theory that describes a challenging concept about the nature and behavior of matter and forces at the sub-atomic level. The principle of superposition claims that while we do not know what the state of any object is, it is actually in all possible states simultaneously. According to ErwinÕs Schršdinger equation, which is linear, a solution that takes into account all possible states will be a linear combination of the solutions for each individual state.
The principle of superposition claims that if the world can be in any configuration, i.e. any possible arrangement of particles or fields, but can also be in another configuration, then the world can be found in a state of superposition of the two configurations, where the amount of each configuration in the superposition is specified by a complex number.
Quantum computing enables us to understand the quantum behaviors of nature on an atomic scale. The language of quantum computing is Quantum Bit = Qubit. Bit is the basic unit of information in computing and telecommunications information. Bit equals 0 or 1, true or false, on or off.
In quantum computing, a quantum bit is a quantum system that can exist in superposition of two bit values: 0 and 1, true and false, on and off. Once we measure the position or speed of an atomic particle, al l superposed states are reduced to a specific state. In other words, one cannot assign exact simultaneous values to the position and speed of an atomic particle. This is called the Uncertainty Principle. Quantum computing uses this principle alongside quantum entanglement and superposition.
After almost a decade of research on the discrete and the continuous, mathematical beauty and sublimation, Ryoji Ikeda has finally found a space where all mathematical concepts find an explanation in the notion of qubit, an infinite grey area between 0 and 1 in which probability and uncertainty
coexist. As opposed to the arithmetical continuum of real numbers, the grey area of qubit expands to the notion of complex projective line in projective geometry.
(In quantum mechanics, the Bloch sphere is a geometrical representation of the pure state space of a two-level quantum mechanical system. The points

on the surface of the sphere represent the pure states of a single qubit, the in terior of the sphere represents the mixed states.)
Graphic: Bloch Sphere
apanÕs leading electronic composer and visual artist RYOJI IKEDA (concept, direction, music) focuses on the essential characteristics of sound itself and that of visuals as light by means of both mathematical precision and mathematical aesthetics. Born in Gifu, Japan and now living and working in Paris, Mr. Ikeda has gained a reputation as one of the few international artists working convincingly across both visual and sonic media. He elaborately orchestrates sound, visuals, materials, physical phenomena, and mathematical notions into immersive live performances and installations. Alongside of pure musical activity, Mr. Ikeda has been working on several long-term projects: datamatics (2006Ð present) consists of various forms such as moving image, sculptural, sound, and new media works that explore oneÕs potentials to perceive the invisible multi-substance of data that permeates our world. The project test pattern (2008Ðpresent) has developed a system that converts any
type of data Ñ text, sounds, photos, and movies into barcode patterns and binary patterns of 0s and 1s, which examines the relationship between critical points of device performance and the threshold of human perception. The series spectra (2001Ðpresent) is large-scale installations employing intense white light as a sculptural material and so transforming public locations in Amsterdam, Paris, Barcelona, and Nagoya where versions have been installed. Mr. Ikeda works on a collaborative project with Carsten Nicolai entitled cyclo. (2000Ðpresent), which examines error structures and repetitive loops in software and computer programmed music, with audiovisual modules for real-time sound visualization, through live performance, CDs, and books (Raster-Noton, 2001, 2011).
Mr. Ikeda has performed and exhibited worldwide at venues including the Australian Centre for the Moving Image, Melbourne; MIT, Boston; Centre Pompidou, Paris; S—nar Festival Barcelona; Tate
Modern, London; Irish Museum of Modern Art, Dublin; Auditorium Parco della Musica, Roma; lCC, Tokyo; Art Beijing; Gšteborg Biennale; Elektra Festival Montreal; Le Fresnoy, Tourcoing; Yamaguchi Center for Arts and Media; Le Laboratoire, Paris; Museum of Contemporary Art Tokyo; Ikon Gallery, Birmingham; Singapore Art Museum; Crossing the Line Festival, New York; Ars Electronica Center, Linz; Grec Festival, Barcelona; Aichi Triennale, Nagoya; Palazzo Grassi, Venezia; Armory Park Avenue, New York; Barbican Center, London; Museo de Arte, Bogota; Hamburger Bahnhof, Berlin; Laboral, Gijon; Festival dÕAutomne, Paris; as well as electronic music festivals and small DJ clubs.
His albums +/-(1996), 0¡C (1998), matrix (2000), dataplex (2005), and test pattern (2008) pioneered a new minimal world of electronic music through his razor-sharp technique and aesthetics.
STƒPHANE GARIN (performer) has performed with groups including Ensemble Intercontemporain (EIC), Les Sicles Orchestre, and the Brussels Philharmonic, under conductors including Pierre Boulez, PŽter Eštvšs, and Franois-Xavier Roth, and with musicians, dancers, performers, and directors including Pascal Battus, Olivier Bernet (recording of the soundtrack of the film Persepolis), Carl Craig, Pascal Comelade, Mathias Delplanque, Pierre-Yves MacŽ, Stephan Mathieu, Thierry Madiot, Moritz von Oswald (of Basic Channel), Shua Group (Giant Place Detail installation and performance project, Winter Garden, World Financial Center, New York).
He is the founder of the collective Ò0Ó (pronounced zero) with Sylvain Chauveau and Jo‘l Merah, and is also a member of Dedalus, an ensemble of contemporary music conducted by Didier Aschour. His phonography works including Gurs, Drancy, Gare de Bobigny, Auschwitz, Birkenau, Chelmno-Kulmhof, Majdaneck, Sobibor, and Treblinka. Since 2005, he has been working in collaboration with the visual artist Sylvestre Gobart on an artistic work on the memory of extermination during World War II (France, Poland, Ukraine). It presents recent pictures (photography and video) and audio recordings taken on the very grounds of internment, deportation, and extermination. This work was presented as an installation at Biarritz Multimedia Library and at Sol Del Rio Arte Contemporanea Gallery in Guatemala.
AMƒLIE GROULD (performer
She is an accomplished chamber musician, having collaborated with Ivo Malec, Yann Maresz, Philippe Hurel, Bruno Giner, Franois Paris, Martin Matalon, Thierry De Mey, and Philippe Leroux. She plays in several orchestras and ensembles such as Court Circuit, Arcema, and Ensemble 2e2m.
Thirteen Drums (Maki Ishii) with a contemporary dance class at the Val MaubuŽe music school, plays with the saxophonist Safia Azzoug, and plays with AUM Grand Ensemble. She has performed in superposition since 2012.
TOMONAGA TOKUYAMA(programming, graphics, computer system, technical manager) gr adua ted from Ky o to University and went on a scholarship with FABRICA, BenettonÕs Communications Research Center. He works internationally in the fields of a udio visual ar t, architecture, info-gr a phics, and programming. Mr. Tokuyama has worked with architects such as Kengo Kuma and Junya Ishigami in designing and developing software. He was nominated for the Iakov Chernikhov Prize in 2010 for his contributions to architecture. Since 2009, Mr. Tokuyama has been based in Paris and works for Ryoji IkedaÕs installation and concert pieces. He has played in audiovisual concerts in collaboration with Takeshi Kurosawa (Sora) and took part in group shows alongside Arata IsozakiÕs exhibition in the Venice Biennale in 2012.
YOSHITO ONISHI (programming, graphics, computer system) is a graduate of Tama Art University. He specializes in minute procedural paintings and sculptures using coding, software, and devices. He also makes experimental movies using virtual worlds (for example, a sandbox) and works alongside many artists as a software/hardware developer, a moviemaker, and a designer.
N O R I M I C H I H I R A K A W A Õ s (programming, graphics, computer system, optical devices) work is focused on real-time processed and computer programmed audio visual installations and has been shown at national and international art exhibitions as well as media art festivals. Mr. Hirakawa has received many awards including the Excellence Prize at the Japan Media Art Festival in 2004 and the Award of Distinction at Prix Ars Electronica in 2008. Involved in a wide range of activities, he has worked on a concert piece production with Ryoji Ikeda; collaborated with Yoshihide Otomo, Yuki Kimura, and Benedict Drew; participated in the Lexus Art Exhibition at Milan Design week; and done live performances with Typingmonkeys.
After graduating from the Ecole SpŽciale dÕArchitecture in 2012, DAISUKE SEKINE (production assistant) founded ARCHIEE, an international architecture research and design unit in Paris, France. Before setting up his practice, he collaborated with Dorell.Ghotmeh.Tane/ Architects in Paris and Tamon in Tokyo. In his work, he often works alongside interdisciplinary profiles (artist, scientist, social scientist, philosopher, etc.) to extend his architectural domain. His practice ARCHIEE was awarded ÒPrix SpecialeÓ in winter 2011.
UMS welcomes Ryoji Ikeda and the superposition company as they make their UMS debuts this weekend.
Production Credits
Ryoji Ikeda Studio
Emmanuelle de Montgazon, Artistic Direction Yuko Higaki, Administration
Sarah Ford, Producer and Artist Management Laurie Uprichard, Associate Producer Kathleen Aleton, Administration Joanna Rieussec, Coordination and Marketing
David Metcalfe, Artistic Director
World Premiere: November 14Ð16, 2012 at the Centre Pompidou with the Festival d'Automne in Paris, France. Avant-Premire on August 5, 2012 at ZKM in Karlsruhe, Germany. Music commissioned by Festival dÕAutomne in Paris, France. Created and developed at Parc de La Villette in Paris, France, Yamaguchi Center for Arts and Media in Japan, and ZKM in Karlsruhe, Germany.
Co-producers: Festival d'Automne (Paris, France), Les Spectacles Vivants Ñ Centre Pompidou (Paris, France), Barbican (London, United Kingdom), Concertgebouw Brugge (Bruges, Belgium), Festival de Marseille Danse et Arts Multiples (France), Parc de La Villette (Paris, France), Kyoto Experiment (Japan), ZKM (Karlsruhe, Germany), STRP Art and Technology Festival (Eindhoven, Netherlands), and Stereolux/Festival Scopitone/le lieu unique (Nantes, France). Created with the support of the DICRŽAM-CNC (France).



TonightÕs program will be announced by the artists from the stage.
Accordion Virtuosi of Russia
Mr. Yakushev, Electric Violin
Mr. Yakushev, Piano
Alexander Sevastian
Mr. Sevastian, Bayan
Julien Labro with the Spektral Quartet
Mr. Labro, Chromatic Button Accordion, Bandone—n, Accordina
Aurelien Fort Pederzoli, Violin
Austin Wulliman, Violin
Doyle Armbrust, Viola
Russell Rolen, Cello

Irish Duo featuring John Williams and Liz Carroll
Mr. Williams, Diatonic Button Accordion, Anglo-Concertina
Ms. Carroll, Fiddle
Accordion Virtuosi of Russia
Mr. Yakushev, Electric Violin
Mr. Yakushev, Piano
TonightÕs performance is supported by Paul and Anne Glendon.
The Steinway piano used in this evening's concert is made possible by the William and Mary Palmer Endowment.
Media partnership is provided by WEMU 89.1 FM.
Special thanks to The Big Squeeze co-curator and emcee Julien Labro for his time, effort, and enthusiasm

surrounding the planning of tonightÕs concert.
Accordion Virtuosi of Russia appear by arrangement with Arts Management Group, Inc.


hether it is a boozy uncle i n si s t i ng o n p l ay i n g i t at family parties or the distant nerdy cousin secluded in his bedroom or a friend-of-a-friend, most of you know someone who has played the accordion. Yes, you read it right!
Indeed, the theory of six degrees of separation will link you with the widely popular and multi-cultural accordion.
The accordion has always been a huge part of popular culture and is frequently the centerpiece of the folk music of that ethnicity. Whether you are Irish, French, Italian, German, Polish, Russian, Hungarian, Colombian, Brazilian, Argentinean, Dominican, Mexican, Jewish, Egyptian, Algerian, Lebanese, Persian, Indian, or Chinese, the accordion and its relative instruments dominate the musical landscape of that traditional music.
TonightÕs program displays the versatility of the accordion by traveling through different musical styles and genres representing various countries.
A n ext e n s i ve a r ray o f d i ve r s e accordions and their relatives will appear throughout the evening: the piano accordion, the bayan, the chromatic button accordion, the bandone—n, the accordina, the diatonic accordion, and the Anglo-concertina.
All of these instruments function under the same sonic principle: an airflow streaming across a free vibrating reed that resonates a tone based on its length. The first instrument known to have used this principle can be traced back to 3000 BCE in China with the sheng, an instrument made out of bamboo pipes set in a small wind-chamber into which a musician blows through a mouthpiece. Suspected to have journeyed to Europe during the 13th century, the sheng hardly faced any major adaptations until the Industrial Revolution. A closer predecessor of the modern accordion is arguably credited to Cyrill Damian, an Austrian instrument maker who patented the name in 1829. Naturally, the instrument wasnÕt as developed as the ones you will listen to this evening, but offered the general concept of the bellows sandwiched between two manuals.
At the turn of the 20th century, accordion manufacturers realized the extensive presence of the piano in Amer ican home s and salo ns. Consequently, they decided to seduce and target piano players with the accordion by offering piano keys in lieu of the traditional buttons on either side. Its convenient portability and comparative affordability contributed a great deal to its commercial success, which is the reason why the majority of the population familiar with the accordion recognizes it with a piano keyboard on its right side. However, the rest of the world adopted the initial concept of an all-button instrument as the primary blueprint for the accordion. In Russia, the bayan, a high-tech button accordion, became one of the centerpieces of traditional folk music. Its gigantic typewriter appearance allows for limitless technical dexterity and its distinctive sound emulates that of a pipe organ. The Accordion Virtuosi of Russia, who will perform exquisite arrangements of popular Russian folk songs and some staples of classical music for us tonight, will feature both piano accordions and bayans. Alexander Sevastian, who also hails from Russia, will demonstrate some of the finest technical dexterity and subtleties performed on bayan.
Similar to the bayan in shape and size, I will perform on the chromatic button accordion whose concept is close to its Russian relative, but its keyboard layout and timbre very different. The chromatic button accordion is the most popular type of accordion found in Europe. Also European in its conception, I will introduce you to a German instrument conceived to replace pipe organs in underprivileged parishes, the bandone—n. Invented and named after Heinrich Band, the bandone—n is much smaller in shape than its cousin, the accordion. Although the principle of the vibrating free reed remains, you will notice a deeper, more m ou r n fu l , a n d m e l a n c h o l i c s ou n d produced by this instrument. These sonic qualities staged the instrument to become the soul of the Argentinean popular music: the tango.

Additionally, I will present the accordina, which could be described as a hybrid between a harmonica and a chromatic button accordion. The accordina, invented by AndrŽ Borel, can be traced back to the early 1930s in France; it borrows its free reeds and its button keyboard from the chromatic button accordion and inherits the harmonicaÕs breathy quality which it expresses through a mouthpiece.
John Williams will transport us to Ireland and remind us that we donÕt need to be waiting for March 17 to be sipping on a room-temperature pint of Guinness. Tonight, he will perform on two different types of accordion that are primary instruments found in Irish traditional music: the diatonic button accordion and the Anglo-concertina. The diatonic accordion is small and offers two or three rows of buttons. Each row is tuned to a specific tonality and only offers notes that belong to that tonal center. Most of the diatonic instruments are generally in only one or two keys, so players tend to own several instruments in order to perform throughout all key signatures. It is also interesting to note that each button on these types of instruments produce different pitches according to the bellowsÕ direction. Hexagonally shaped, the Anglo-concertina is one of the smallest members of the accordion family. Like the diatonic accordion, one single button offers two notes depending on the bellowing. Its timbre is unlike any of its relatives, more nasal and enigmatic; it fits dreamily in some of the classic Irish ballads.
On behalf of the entire UMS team, I sincerely hope that you enjoy this program which reveals some of the existing types of diverse accordions found throughout various musical styles and cultures. Hopefully tonightÕs program will shed light on some of the musical versatility that the instrument has to offer beyond what you may have experienced from the boozy uncle and the distant, nerdy, secluded cousin.
And if by time you read this, you havenÕt found six degrees of separation between you and someone you know who has played the accordion, a simple Facebook Òfriend requestÓ to any one of us will do the trick.
Enjoy tonightÕs concert!
Ñ Julien Labro, Co-Curator, The Big Squeeze


The ACCORDION VIRTUOSI OF RUSSIA was founded in 1943 during the Leningrad siege by Professor Pavel Smirnov. Within only six months, the ensemble was invited to record on the state radio. Since its inception, the Accordion Virtuosi of Russia has been led by three generations of the Smirnov family: first by its founder Pavel Smirnov, and now by his sons Yuri and Vladimir, as well as his grandson Yaroslav.
Throughout its history, Accordion Virtuosi of Russia has performed at some of the most prestigious venues in the world including the Leipzig Gewandhaus, VeronaÕs Arena, Olympia Hall in Paris, and the Great Philharmonic Hall in St. Petersburg. They have toured extensively in Germany, Italy, France, Holland, Switzerland, Belgium, Austria, Norway, Denmark, Finland, Greece, Spain, Japan, Guinea, Angola, Sierra Leone, Congo, China, and Canada. They are winners of numerous competitions in Russia including the Musical Carousel and Peter-Pavel Assemblies. Most recently, the Accordion Virtuosi of Russia has been included in the Golden Book of St. Petersburg for its artistic achievements, and was named the ÒBest Accordion Orchestra of Europe 2013Ó by the orchestral society EU Musika in Frankfurt, Germany.
This outstanding ensemble was invited to be a part of the cultural program for the Olympic Games in Munich in 1972, Montreal in 1976, and Moscow in 1980. The ensembleÕs repertoire ranges from folk music to arrangements of rock songs, and continues to astound audiences around the world.
YURI SMIRNOV (artistic director and conductor, Accordion Virtuosi of Russia) has worked with the orchestra since 1967. He is also a professor at the State University of the Arts and head of the ÒUnion of the Arts WorkersÓ in St. Petersburg, Russia. Most recently Mr. Smirnov received the title of ÒPeopleÕs Artist of the Russian FederationÓ from the Russian government. This prestigious honor is given to a very small number of artists each year for their outstanding work in the field of the arts.
VLADIMIR SMIRNOV (principal conductor, Accordion Virtuosi of Russia) has served in his current role with the orchestra since 1978. He has taught several generations of the orchestraÕs musicians and received the prestigious title of the ÒHonored Artist of the Russian FederationÓ for dedication in his work with the orchestra.

Photo: Liz Carroll; photographer: Suzanne Plunkett.
Photo: Julien Labro.
LIZ CARROLL (fiddle) was born in Chicago of Irish parents. She is a junior and senior All-Ireland Fiddle Champion, and has toured as a solo artist and with the Greenfields of America, Trian, String Sisters, and as part of the duo Liz Carroll & John Doyle. SheÕs featured on 10 albums and has appeared on many more. Ms.

Carroll is a recipient of the National Heritage F ello wship A ward (1994). In 2010 she became the first
Irish-American musician nominated for a Grammy. In 2011, she became the first American-born composer honored with the Cumad—ir TG4, IrelandÕs most significant traditional music prize.
Ms. CarrollÕs new album On the Offbeat has been called ÒmagnificentÓ and ÒtimelessÓ by critics, and ÒÉone of the best albums of the decade so far,Ó by Irish Music Magazine. For more information, please visit
Deemed ÒbrilliantÓ by Howard Reich of the Chicago Tribune, JULIEN LABRO (emcee, chromatic button accordion,
After graduating from the Marseille Conservatory of Music, Mr. Labro began winning international awards, taking First Prize in the Coupe Mondiale in 1996 and the CastelÞdardo Competitions in 1997. After sweeping First Place in the Marcel Azzola, Jo Privat, and Medard Ferrero competitions in 1995 and 1998, Mr. Labro moved to the US to further pursue his studies and musical dream. There he embraced other genres of music, ranging from pop and hip-hop to electronic/techno and rap, as well as Latin, Indian, Middle Eastern, and other types of world music. Equipped with advanced degrees in classical music, jazz studies, and composition, Mr. Labro draws from both his diverse academic background and eclectic musical taste in his professional life as a performer, arranger, and composer.
As a musician, Mr. Labro is constantly evolving artistically. He searches for new themes and untried concepts, transforming and developing his creative ideas into new projects. Piazzolla, a major inßuence and the reason Mr. Labro picked

up the bandone—n, is also the title of
his recent release
bandone—n, accordina) has established on Azica Records
himself as one of the foremost accordion with classical
and bandone—n players in both the guitarist Jason
classical and jazz worlds. His artistry, Vieaux and A Far
virtuosity, and creativity as a musician, composer, and arranger have earned him international acclaim and continue to astonish audiences worldwide.
French-born Labro was inßuenced early on by traditional folk music and the melodic, lyrical quality of the French chanson. However, he spent every last cent of his pocket money collecting CDs by jazz legends like Charlie Parker and Miles Davis, thirsty for the originality, creativity, and the endless possibilities in their musical language.
Cry chamber orchestra and features his arrangements of the tango masterÕs Four Seasons. Other releases include Grammy Award-winning vocalist Cassandra WilsonÕs Another Country (eOne Music) and critically acclaimed Hot Club of DetroitÕs Junction on Mack Avenue Records.
Mr. Labro tours with jazz groups such as the Frank Vignola Ensemble, Jazz Wagon, The Oblivion Project, and Hot Club of Detroit, and has been a guest artist with numerous symphonies and chamber ensembles. Recently, he has performed and/or recorded
Photo: Spektral Quartet. Photo: Alexander Sevastian.
with such artists such as Brazilian pianist Jo‹o Donato; vocalist Cassandra Wilson; clarinetist Anat Cohen; Lebanese oud master Marcel Khalife; saxophonists Miguel Zen—n, James Carter, Jon Irabagon and Victor Goines; and guitarists Howard Alden, Larry Coryell, Tommy Emmanuel, and John and Bucky Pizzarelli.
ALEXANDER SEVASTIAN (bayan) was born in October 1976 in Minsk, Belarus. He started playing the accordion at the age

of seven. Af ter finishing music school in 1991 he entered the Glinka Musical College in Minsk where he was taught by Myron
Boula. After finishing college he entered the Gnessin Academy of Music in Moscow in the class of Professor Friedrich Lips. In July 1998, Mr. Sevastian was trained by Professor Elsbeth Moser at the Sofia Goubaidulina Master Class in Avignon, France.
In 1996Ð2001, Mr. Sevastian worked in the Russian TV and Radio Orchestra with art director Nickolai Nekrasov. With this orchestra, he recorded many television performances and radio archive tapes. He has also regularly participated in music festivals including Moscow Autumn, Bayan and Bayanists, and Young Composers Introduce.
Since April 2001, Mr. Sevastian has lived in Toronto, Canada. He plays with Toronto Woodwinds, an ensemble that was awarded the First Prize at The Golden Accordion International Competition in December 2001 in New York. Since September 2002 he has played with the internationally recognized group Quartetto Gelato and tours regularly in the US and Canada with the group.
In November 2002, he made his debut with the Hamilton Symphony under Boris Brott and has since performed as soloist with the Toronto Symphony, the Calgary Philharmonic Orchestra, and with orchestras in Victoria, Quebec City, Kelowna, Kamloops, Windsor, Edmonton, Charleston, Mississauga, Sioux City, and Nanaimo. He has performed concerts in 30 Russian cities as well as concerts in Belarus, Ukraine, Germany, Italy, and Japan. He has given several premiere performances, including the works of Berinsky, Bronner, Korolchuk, Zelenski, and Khondo.
In 2007 he won the prestigious Coupe Mondiale World Accordion Championship held in Washington, DC. Since that time, his solo engagements have included appearances in Mexico, Serbia, Portugal, Italy, Russia, Ukraine, Belarus, the US, and several major tours in Canada.
Founded in 2010, the SPEKTRAL QUARTET is widely regarded as one of ChicagoÕs most magnetic and forward-thinking chamber ensembles. The groupÕs inclusive approach to concert format, shifting the role of audience member from spectator to ally, has earned it a loyal following within and beyond the city limits.

Since its inception, the Spektral Quartet has sought out the discourse betw een the masterw orks of the traditional canon and those written this decade, this year, or this week. Rather than simply pairing Brian Ferneyhough with Josef Haydn or Thomas Ads with BŽla Bart—k, the group offers listeners an even more elastic and absorbing experience through its Sampler Pack concert format. For these performances, shorter works and single movements are curated in a setlist containing a menagerie of musical styles, spanning centuries. The unexpected similarities and enticing contrasts between two or three composers becomes a conversation between 12.
The 2013Ð14 season found Spektral Quartet venturing into the intersection of music and everyday life with its Mobile Miniatures project. For it, 40 composers from across the US including David Lang, Augusta Read Thomas, Nico Muhly, and Shulamit Ran were commissioned to write ringtone-length pieces for the quartet to workshop, record, and make available to the public for download to
mobile devices. 2013Ð14 also saw the
release of the groupÕs first two full-length
albums: Chambers, spotlighting the work
of living, Chicago-based composers, and
the South American-themed From This
Point Forwardwith bandone—n/accordion
virtuoso Julien Labro.
For its 2014Ð15 season entitled
ÒAMPLIFY,Ó the Quartet unveils its four
largest-scale commissions to date as well
ÒCollaborative,Ó for Anthony CheungÕs quintet, which partners the group for the first time with International Contemporary Ensemble founder and flutist Claire Chase; ÒContextual,Ó with Chris Fisher-LochheadÕs mining of the the timbres and cadences of comedy stars like Bill Cosby, Dave Chapelle, and Tig Notaro; and ÒExperiential,Ó in Alex TempleÕs tour through scenes of gender fluidity, featuring indie luminary Julia Holter. With its commitment to an equal footing in the traditional canon and new music, essential entries from eras past balance out the quartetÕs season with names such as Beethoven, Ligeti, Haydn, Crumb, Dvorù‡k, and more.
The Spektral Quartet serves as ensemble-in-residence at the University of Chicago and was invited in 2013 to join the Rush Hour SeriesÕ Back-of-the-Yards project, which offers year-long music education and outreach in one of ChicagoÕs most under-served neighborhoods.
JOHN WILLIAMS (diatonic button accordion, Anglo-concertina) is internationally regarded as one of the foremost players of Irish music today.
Photo: John Williams; James Fraher photography.
With five All-Ireland titles to his credit,
Mr. Williams is the only American-born
competitor ever to win first place in the

Senior Concertina
category. His
talents on flute,
button accordion,
bodhran, and
piano distinguish
him as a much sought-after multi-as centerpieces from the traditional instrumentalist in the acoustic scene canon. These adventurous new works
push the ensemble into uncharted and thrilling new territory: ÒArtistic,Ó in the case of David Reminick, whose five-movement new work features the musicians singing and playing simultaneously; around the world.
Born and raised on the southwest side of Chicago, Mr. Williams spent his summers during college on the southwest coast of Ireland in his fatherÕs village of Doolin, County Clare. Like Chicago, Doolin became a major musical crossroads for him and countless other local and international musicians to meet and exchange music. Gigging every night in the pubs of Doolin and Lisdoonvarna soon led to performances in Galway, Cork, Dublin, Belfast, Paris, Britanny, Zurich, and New York.
Forming the groundbreaking Solas in 1995 with Seamus Egan, Winifred Horan, Karan Casey, and John Doyle, Mr. Williams received wider recognition playing to sold-out audiences internationally and earning two NAIRD awards and Grammy nominations for the ensembleÕs 1996 and 1997 releases, Solas and Sunny Spells and Scattered Showers. The Irish national broadcasting network RTE has featured Mr. Williams as the subject of the radio program The Long Note, the television series The Pure Drop, and the Gaelic language and music programs Geantrai and Failte.

Outside of traditional music, Mr. Williams has collaborated on productions with Gregory Peck, Doc Severinson, Studs Terkel, Mavis Staples, jazz pianist Bob Sutter, bluegrass legend Tim OÕBrien, Syrian oud player Kinan Abou Afach, Oscar-winning director Sam Mendes, the London Sym ph ony Orc hestra, and the Irish Chamber Ensemble. US audiences recognize him from numerous appearances on Mountain Stage, A Prairie Home Companion, and The Grand Ole Opry as well as guest performances with The Chieftains, Nickel Creek, and Riverdance.
On the silver screen, Mr. Williams a p pears as a b andleader, m usic consultant, and composer in DreamworksÕ classic Chicago thriller Road to Perdition. Centrally featured in the Academy Award-nominated score by Thomas Newman, Mr. WilliamsÕ autumnal Perdition Piano Duet was released on the 2002 Universal soundtrack album as performed in the film by stars Paul Newman and Tom Hanks. Regarding the original piece by Mr. Williams, theLos Angeles Times wrote ÒCloseness is beautifully and wordlessly conveyed in a quiet piano duet...a lovely thing.Ó Reviewing the entire score, the Denver Post printed ÒBrilliant, beautiful, brutal...the music in the film feels almost like a character itself.Ó
ALEXANDER YAKUSHEV (electric violin, Accordion Virtuosi of Russia) has been a regular soloist with the Accordion Virtuosi of Russia since 1996. Mr. Yakushev has also performed extensively around the world in solo recital, and is a winner of several music competitions. He appears regularly on TV programs in Russia, and is in high demand for his unusual and capturing arrangements of popular tunes for his instrument.

ILYA YAK U SHEV (piano, Accordion return there in 2009, also with Maestro Virtuosi of Russia), with many awards Tilson Thomas. In addition to many and honors to his credit, continues concerto and recital appearances in the US, to mesmerize audiences on three Mr. Yakushev has extensively appeared continents. In the US, his performances internationally in his native Russia, Japan, of two Prokofiev concerti in the 2007 San Korea, and Singapore. He is the executive Francisco Prokofiev Festival with Michael director of the International Keyboard Tilson Thomas were included in the top 10 Institute and Festival at the Mannes classical music events of the year by the School of Music in New York, where he San Francisco Chronicle, and prompted a studied with pianist Vladimir Feltsman.
Yuri Smirnov, Artistic Director and Conductor
Vladimir Smirnov, Conductor
Alexander Yakushev, Electric Violin Ilya Yakushev, Piano
Vladimir Chernenkii Maria Egorova Maria Falko Ekaterina Filippova Iuliia Grigoreva Daria Krasotkina Alexandr Liubomirov Evgenii Lyskov Kseniia Malakhovskaia Anastasiia Mikhailovskaia Evgenii Prokhorov Mikhail Savin Tatiana Trifonova
Alexander Bondarev Yaroslav Brovin Alesia Davydenko Sergei Enns Iakov Karmanov Mariia Khmeleva Mikhail Poverennyi Anna Samokhvalova Daniil Shperling Nikita Venkov
Alexandr Kotelnikov
Arseny Bardyzh
Ekaterina Fakhmi Anna Ivanova
Sergey Berezhanskiy Natalia Lubenets Anton Smirnov
Ekaterina Rantc
The Accordion Virtuosi of Russia was funded by Pavel Smirnov.

This eveningÕs concert marks Julien LabroÕs second appearance under UMS auspices following his UMS debut as a member of Hot Club of Detroit in October 2010 at the Michigan Theater. UMS welcomes the Accordion Virtuosi of Russia and Yuri and Vladimir Smirnov, Alexander and Ilya Yakushev, Liz Carroll, Alexander Sevastian, John Williams, and the Spektral Quartet who make their UMS debuts this evening.


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 composer 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, Earl Lewis Room, Third Floor, Third Floor Rackham Building
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


Claudio Monteverdi
Vespers of 1610
Versicle and Response: Deus in adjutorium
Antiphon: Laeva ejus sub capite meo Psalm 109: Dixit Dominus
Motet: Nigra sum Oliver Mercer, Tenor
Antiphon: Nigra sum sed formorsa Psalm 112: Laudate pueri
Motet: Pulchra es Molly Quinn and Nell Snaidas, Sopranos
Antiphon: Pulchra es et decora Psalm 121: Laetatus sum
Motet: Duo Seraphim Karim Sulayman, Oliver Mercer, and Owen McIntosh, Tenors
Antiphon: Iam hiems transit Psalm 126: Nisi Dominus

This eveningÕs performance is supported by the Renegade Ventures Fund, established by Maxine and Stuart Frankel.
Special thanks to Garrett Schumann for his participation in events surrounding ApolloÕs FireÕs concert.
The recording of the Monteverdi Vespers by ApolloÕs Fire, as well as other ApolloÕs Fire CDs, are on sale in the

lobby during intermission and after the concert.

Motet: Audi Coelum
Karim Sulayman and Oliver Mercer (echo), Tenors
Antiphon: Virgo prudentissima Psalm 147: Lauda, Jerusalem
Sonata sopra Santa Maria
Madeline Healey, Soprano
Hymn: Ave maris stella
Kristen Dubenion-Smith, Alto and Jesse Blumberg, Baritone
Antiphon: Sancta Maria succure miseris
Magnificat anima mea
Et exultavit
Quia respexit humilitatem
Quia fecit mihi magna
Et misericordia
Fecit potentiam
Deposuit potentes
Suscepit Israel
Sicut locutus est
Gloria Patri
Sicut erat in principio

Prior to the performance, please join UMS at a Tune In at 7:00 pm in the Parish Activities Center.
This tour of ApolloÕs Fire is made possible by support from the National Endowment for the Arts. ApolloÕs Fire & ApolloÕs Singers appear by arrangement with Seldy Cramer Artists.
Vespers (1610)
Claudio Monteverdi Born May 15, 1567 Cremona, Italy Died November 29, 1643 in Venice
UMS premiere: The complete Monteverdi Vespers have never been performed on a UMS program.
The Mysteries of Monteverdi
We will perhaps never understand why great artists often create their most sublime works during periods of personal despondency and depression. From Monteverdi to Mozart, from Dostoevsky to Van Gogh, the world has been graced with beauty that comes out of the suffering of artists.
The winter of 1607Ð1608 was such a period for Monteverdi. Exhausted and despondent over the recent death of his wife, he was also overworked and underpaid as an employee of the Duke of Mantua. Thus, his father wrote to the Duke to request an honorable dismissal for his grief-stricken son, whose health was suffering as well as his spirits.
The plea was ignored and Monteverdi was ordered to return to work. Important things were afoot at the Mantuan palace, and music was needed: the DukeÕs son, Prince Francesco, was to be married to Margherita of Savoy. Though we donÕt know for certain, it is probable that Monteverdi was ordered to compose his extraordinary Vespers for the wedding celebrations, which commenced in Mantua in May 1608 and eclipsed all other events for several years. The eminent Monteverdi scholar Iain Fenlon has argued convincingly that the Vespers were most likely composed for performance in Mantua in 1608, not for Venice in 1610 where the work was published.
Mon te v erdiÕs V espers are a n extraordinary and revolutionary setting of the five psalms, hymn, and Magnificat which make up a Roman Catholic Vespers service. In addition to these standard movements, Monteverdi included four motets (sometimes called ÒconcertosÓ) for one, two, three, and six voices respectively, based primarily on love poetry from the Song of Solomon. There is also an instrumental sonata movement over which is woven the chant ÒSancta Maria ora pro nobis.Ó
What makes MonteverdiÕs setting of the Psalms and the Magnificat so remarkable is that he uses the traditional psalm tones that would normally be chanted in a Vespers service, but turns them into a kind of cantus firmus Ñ that is a kind of slow-moving, repeated chant
Ñ around which he weaves the most elaborate and avant-garde counterpoint imaginable. The relationship between the fixed, archaic Medieval psalm tone and the flamboyant and imaginative Baroque counterpoint that dances around it produces an extraordinary level of tension and beauty Ñ indeed, it seems to evoke the struggle between ancient mysticism and modern enlightenment.
Three years after publishing the Vespers, Monteverdi finally escaped from his unha ppy em ployment in Mantua in 1613 and became music director at St. MarkÕs Basilica in Venice. Many conductors have assumed that Monteverdi conceived the Vespers for the vast and monumental Basilica Ñ even though he had already published the piece three years before auditioning there Ñ and that he composed the piece to impress the staff at St. MarkÕs. This theory then leads to an interpretation using large choral forces such as one would need in order to make a festive impression in the sprawling Basilica. The fact is, though, that Monteverdi could hardly have had his eye on the St. MarkÕs job when he published the Vespers in 1610, as the preceding St. MarkÕs music director was still alive and healthy, and no one could have foreseen his unexpected death two years later, resulting in a job opening.
By contrast, there is much evidence to suggest that the Vespers were composed and conceived for Mantua. It is apparent even from a quick glance at the score that the Vespers were written for the same vocal and instrumental ensemble as MonteverdiÕs opera LÕOrfeo Ñ that is, the small virtuoso ensemble who performed in Mantua in 1607. Both works call for two sopranos, two tenors (one with major solo demands), two basses, and a small part for alto. The ranges of these singers are nearly identical in the two works, including the unusually low tessitura of the lead tenor. The instrumentation is the same. Finally, the opening Toccata from LÕOrfeo reappears as the opening Respond in the Vespers; both are based on material that may well have been the fanfare for the Duke of Mantua.
On May 25, 1608, it is reported that a Òsolemn VespersÓ service was celebrated at the church of St. Andrea in Mantua, as part of the wedding festivities mentioned above. This was a major event, in which Prince Francesco was installed as the first member of a new order of knights. The term ÒsolemnÓ Vespers means polyphonic (rather than merely chanted); so, as Iain Fenlon has suggested, it is highly probable that the music performed at this service was MonteverdiÕs Vespers. Of course Monteverdi may have eventually performed his Vespers at St. MarkÕs when he took up employment there, and he may well have used the work as his audition piece for the post. But it is clear that he did not originally conceive the piece for that space.
Most conductors who oppose the large-scale ÒSt. MarkÕsÓ approach to this piece have assumed that Monteverdi conceived the Vespers for the small ducal chapel at Mantua, which could have only accommodated a one-on-a.part performance (10 singers). However, there is no record of any festive event taking place in that chapel during 1608Ð 1610 for which music as flamboyant as MonteverdiÕs Vespers would have been appropriate. On the contrary, MonteverdiÕs work would have been extremely appropriate for the wedding festivities at St. Andrea church; the sensuous love poetry contained in MonteverdiÕs text, drawn from the Song of Solomon, is ideal for a wedding celebration but would certainly seem out of place at any other Vespers service.
All of this impacts oneÕs interpretation because there are so many questions left open by the score. The Vespers publication of 1610 (which is not even a score but a set of eight individual part-books) is typical of the time in that it contains minimal information about how the piece is to be performed. There are few indications of instrumentation, and none at all of tempo, dynamics, or articulation.
Nor do we know what size of forces he conceived. While most scholars agree that instrumental parts were performed with only one player to a part at this period, there is much disagreement about how many singers should be used. Monteverdi lived on the cusp between the Renaissance and Baroque periods. Some conductors take a ÒRenaissanceÓ approach to the Vespers, using singers one on a part to create a kind of madrigal ensemble. Other conductors take an 18th century (or later!) approach, evoking the image of St. MarkÕs and using a large Handel-sized chorus of 25 to 35 and soloists with operatic voices. The fact is that Monteverdi was neither a Renaissance composer nor an 18th.century High Baroque composer. He was a revolutionary, living at the end of the Renaissance and pushing the limits to forge the new style which we call Baroque (just as Beethoven forged the Romantic style out of the Classical period three centuries later). He used the finest professional singers and instrumentalists in the region and gave them daringly avant-garde music to perform Ñ music that uses the tools of the Renaissance and stretches them to convey the flamboyant, emotional imagery of the early Baroque. This is music full of sudden contrasts, freedom of expression, and spontaneous flights of imagination. I do not think it is ideally suited to a massive Handelian chorus, nor can the necessary contrasts be achieved by a one-on-a-part madrigal ensemble.
We take the cue for our performance from the setting of St. Andrea church
in Mantua on that spring day in 1608: the grand opening of festivities for an extraordinary royal wedding. The excitement of the cantor is palpable as he intones the chant that sets the drama in motion: Deus in adjutorium meum intende. ÒGod, make speed to save meÓ Ñ the ordinary words of the Vespers, but not so ordinary today. The company of 37 musicians responds with electrifying joy, launching the fanfare, the pageantry, and the royal procession of the Gonzaga family and the House of Savoy.
Thus, our evocation of the Òsolemn VespersÓ at St. Andrea church employs forces appropriate to a church of that size
Ñ 20 singers and 16 instrumentalists. In choosing for these mid-size forces, I hope to have captured the fleetness, flexibility, and dynamic contrast that Monteverdi must have intended.
Program note by Jeannette Sorrell.
amed for the classical god of music and the sun, APOLLOÕS FIRE was founded in 1992 by the award-winning young harpsichordist and conductor Jeannette Sorrell. Ms. Sorrell envisioned an ensemble dedicated to the baroque ideal that music should evoke the various Affekts or passions in the listeners. ApolloÕs Fire is a collection of creative artists who share Ms. SorrellÕs passion for drama and rhetoric.
Hailed as Òone of the pre-eminent period instrument ensemblesÓ (The Independent, London), ApolloÕs Fire made its London debut in 2010 in a sold-out concert at Wigmore Hall with a BBC broadcast. ApolloÕs Fire returned to Europe in fall 2011 and spring 2014, and has been met with standing ovations in Madrid (Royal Theatre), Bordeaux (Grand ThŽˆtre de lÕOpŽra), Lisbon, Metz, Birmingham, and Bregenz. Their return to London in 2014 was praised as Òan evening of superlative music-makingÉ the group combines European stylishness with American entrepreneurialismÓ (The Telegraph, UK).
ApolloÕs Fire has also to ured throughout North America, appearing at the Aspen Music Festival, the Boston Early Music Festival series, the Library of Congress, the Tropical Baroque Festival in Miami, the Ojai International Festival in California, and major venues in Boston, Toronto, Los Angeles, and San Francisco. The ensemble performed an 11-concert tour of the Monteverdi Vespers in 2010 and a 9-concert tour of the Brandenburg Concertos in 2013. ApolloÕs Fire is currently signed to Columbia Artists Management (CAMI) for exclusive representation in North and South
America, and is managed in Europe by Intermusica (London).
At home in Cleveland, ApolloÕs Fire enjoys sold-out performances at its subscription series, which has drawn national attention for creative programming. ApolloÕs Fire has released 20 commercial CDs, and currently records for the British label AVIE. Since the ensembleÕs introduction into the European CD market in 2010, the recordings have won rave reviews in the London press: Òa swaggering version, brilliantly playedÓ (The Times) and Òthe MidwestÕs best-kept musical secret is finally reaching British earsÓ (The Independent). Four of the ensembleÕs CD releases have become best-sellers on the classical Billboard chart: the Monteverdi Vespers, BachÕs Brandenburg Concertos, and Jeannette SorrellÕs two crossover programs, Come to the River and Sacrum Mysterium: A Celtic Christmas Vespers.
has quickly gained international
attention as a leading creative voice among the new generation of early music conductors. She has been credited by the UKÕs BBC Music Magazine for forging Òa vibrant, life-affirming approach to the re-making of early musicÉa seductive vision of musical authenticity.Ó
Ms. Sorrell was one of the youngest students ever accepted to the prestigious conducting courses of the Aspen and the Tanglewood music festivals. She studied conducting under Robert Spano, Roger Norrington, and Leonard Bernstein, and harpsichord with Gustav Leonhardt in Amsterdam. She won both First Prize and the Audience Choice Award in the 1991 Spivey International Harpsichord Competition, competing against over 70 harpsichordists from Europe, Israel, the US, and the Soviet Union.
Ms. Sorrell founded ApolloÕs Fire in 1992. Since then, she and the ensemble have built one of the largest audiences of any baroque orchestra in North America. Ms. Sorrell made her debut with the Pittsburgh Symphony in 2013 as conductor and soloist in the complete Brandenburg Concertos. With standing ovations every night, the event was hailed as Òan especially joyous occasionÓ (Pittsburgh Tribune-Review). She has also appeared as conductor or conductor/soloist with the Los Angeles Chamber Orchestra, Seattle Symphony, the Opera Theatre of St. Louis with the St. Louis Symphony, Handel & Haydn Society (Boston), the Omaha Symphony, Grand Rapids Symphony, Arizona Opera, and has appeared with the Cleveland Orchestra as guest keyboard artist. Upcoming engagements include a debut with New World Symphony in Miami and a return engagement with the Pittsburgh Symphony.
Ms. Sorrell and ApolloÕs Fire have released 20 commercial CDs, of which four have been bestsellers on the Billboard classical chart. She has released four discs of Mozart, and was hailed as Òa near-perfect MozartianÓ by Fanfare Record Magazine. Other recordings include HandelÕs Messiah, the Monteverdi Vespers, and two creative crossover projects: Come to the River: An Early American Gathering and Sacrum Mysterium: A Celtic Christmas Vespers.
Ms. Sorrell has attracted national attention and awards for creative programming. She holds an honorary doctorate from Case Western University, two special awards from the National Endowment for the Arts for her work on early American music, and an award from the American Musicological Society. Passionate about guiding the next generation of performers, Ms. Sorrell has led many baroque projects for students at Oberlin Conservatory.
JESSE BLUMBERG (baritone) is equally at home on opera, concert, and recital stages, having performed roles at Minnesota Opera, Pittsburgh Opera, Boston Early Music Festival, Boston Lyric Opera, and at LondonÕs Royal Festival Hall. He has made concert appearances with American Bach Soloists, Boston Baroque, Oratorio Society of New York, TENET/Green Mountain Project, Pacific MusicWorks, ApolloÕs Fire, and on Lincoln CenterÕs American Songbook series. Mr. Blumberg has performed recitals with the New York Festival of Song, Marilyn Horne Foundation, and the Mirror Visions Ensemble. His 2014Ð15 season includes a European tour with Boston Early Music Festival and debuts with Hawaii Opera Theatre and Atlanta Opera. Mr. Blumberg is also the founder and artistic director of Five Boroughs Music Festival, which brings chamber music of many genres to every corner of New York City.
(mezzo-soprano ) enjoys an active performing career in oratorio, opera, and sacred vocal chamber music, particularly specializing in music of the Medieval, Renaissance, and Baroque eras. She has been praised for her ÒplushÓ voice by the Baltimore Sun and voice of Òsweet clarityÓ by the Pittsburgh Post-Gazette. Recent notable engagements include performances with The Folger Consort, The Washington Bach Consort, The Cathedral Choral Society, The Evolution Contemporary Music Series, and with the Mark Morris Dance Group. Ms. Dubenion-Smith is also the co-founder of the award winning medieval ensemble Eya, based in Washington, DC as well as serving as cantor at the Washington National Cathedral. Originally from Michigan, Ms. Dubenion-Smith graduated from Alma College before moving to Baltimore to complete her studies in voice at the Peabody Institute.
OLIVER MERCER ( tenor ) has been hailed by the New York Times as Òexcellent,Ó Òparticularly impressive,Ó and Òsterling.Ó Recent opera roles include Eurimaco in MonteverdiÕs LÕincoronazione di Poppea with Iford Festival Arts, conducted by Christian Curnyn; Acis in HandelÕs Acis and Galatea with Mid Wales Opera; and Don Pelagio in HaydnÕs La Canterina with Bampton Classical Opera. The works of Monteverdi have continually played a large part in his repertoire, receiving critical acclaim for past performances of the title role in LÕOrfeo for Opera Theater Company Ireland and Silent Opera, London, multiple performances of Vespers, as well as performances of excerpts from the books of madrigals. Future Monteverdi projects include a production of LÕOrfeo with English National Opera in the spring of 2015. Early French repertoire is also an area of specialty with past performances of operas by Charpentier, Rameau, and Gretry. A frequent guest artist with ApolloÕs Fire, Mr. Mercer is an active concert soloist, specializing in the works of Handel, Mozart, and Bach.
MOLLY QUINN(soprano) hascaptivated audiences with her ÒradiantÓ soprano, possessing an Òarresting sweetness and simplicityÓ (New York Times) in repertoire ranging from Monteverdi to the Rolling Stones. As a member of New YorkÕs TENET, Ms. Quinn has been featured in many acclaimed projects, including UNO+ One: Italia Nostra (Avie Records). She is a soloist on Trinity Wall Street Choir and Trinity Baroque OrchestraÕs 2013 Grammy-nominated recording of HandelÕs Israel in Egypt (Musica Omnia) and has a ppeared with the ensemble in London, Moscow, Paris, Carnegie Hall, and Alice Tully Hall. In 2012, Ms. Quinn also sang back up for rock legends The Rolling Stones. Recently, Ms. Quinn has appeared with the Clarion Music Society, Connecticut Early Music Festival, The Folger Consort, Mostly Mozart Festival, and with conductor Joshua Rifkin. Ms. Quinn was a 2013 season Virginia Best Adams Fellow at the Carmel Bach Festival and attended The University of Cincinnati-C ol l eg e Co n se r va to r y o f M u si c .
NELL SNAIDAS (soprano) has been praised by the New York Times for her Òbeautiful soprano voice, melting passionÓ and Òv ocally r a vishingÓ performances. Of Uruguayan-American descent, Ms. Snaidas is recognized for her specialization in historical performance practice, in particular the repertoire of Italy and Spain. She began her career singing in zarzuelas in NYCÕs Repertorio Espa–ol. Favorite projects include her many appearances with the Boston Early Music Festival, singing with LA Philharmonic at the Hollywood Bowl, recording the movie.soundtrack of The Producers with Mel Brooks in the booth, and co-directing/ creating Se phardic Journe y with conductor Jeannette Sorrell for ApolloÕs Fire. Ms. Snaidas was featured on CBC radio as one of the leading interpreters of Spanish Renaissance/Sephardic song and has recorded for Sony Classical, Sono Luminus, Koch International, and Naxos. In addition to serving as Spanish/Latin American language coach to many of the leading early music ensembles in the US, Ms. Snaidas is the co-artistic director of GEMAS, a new concert series devoted to Early Music of the Americas. Her latest recording The Kingdoms of Castille was nominated for a Grammy Award in 2012.
She currently serves on the Board of Directors of Early Music America.
K A R I M S U L AY M A N (tenor ) is consistently praised for his Òlyrical, ex pressive, and a p pealing tenorÓ (Washington Post), and has been hailed as a Òtrue revelationÓ (OpŽra Magazine). With a vast repertoire that spans Renaissance to contemporary music, he has firmly established himself as a sophisticated and versatile artist. This season he records and debuts the role of Eurillo in ScarlattiÕs Gli equivoci nel sembiante with Haymarket Opera, performs Messiah with Atlanta Baroque Orchestra, and has multiple return engagements with ApolloÕs Fire. Recent highlights include three seasons at the Marlboro Music Festival and engagements at Lincoln Center, the Kennedy Center, Carnegie Hall, New York City Opera, Boston Lyric Opera, Chicago Opera Theater, CitŽ de la Musique, ApolloÕs Fire, the Casals Festival, Aspen Music Festival, and the International Bach Festival. His growing discography includes the title role in HandelÕs Acis and Galatea, and two releases for NAXOS in works of Philidor and GrŽtry, as well as forthcoming releases on the AVIE and Furious Artisans labels. Mr. SulaymanÕs musical education began with violin studies at age three, followed by years as a boy alto soloist, including performances with the Chicago Symphony Orchestra under Sir Georg Solti and the St. Louis Symphony under Leonard Slatkin. He holds degrees from the Eastman School of Music and Rice University. He also studied improvisation at the Second City Training Center in Chicago.
JONATHAN WOODY (bass-baritone) is a sought-after performer of early and new music in New York and nationwide.
Equally comfortable as soloist and ensemble member, Mr. Woody is a member of the Grammy-nominated Choir of Trinity Wall Street, where he has been featured in performances of works by G.F. Handel and J.S. Bach, earning praise as ÒcharismaticÓ and ÒrivetingÓ from the New York Times. He performs regularly across the US; recent engagements include the Oregon Bach Festival Vocal Fellowship, the Carmel Bach Festival Virginia Best Adams Fellowship, performances with the Green Mountain Project, the Clarion Music Society, Antioch Chamber Ensemble, TENET, Signal Ensemble, the Prototype Festival, Brooklyn Baroque, and Gotham Chamber Opera. Mr. Woody has recorded with the Choir of Trinity Wall Street under the Musica Omnia label, most recently being featured on the premiere recording of Ralf Yusuf GawlickÕs Missa Gentis Humanae for eight voices. Upcoming engagements include performances with BAMÕs Next Wave Festival, Bach Collegium San Diego, Handel & Haydn Society, and Nashville Symphony, and touring with Pegasus Early Music.

This eveningÕs performance marks the third UMS appearance by Jeannette Sorell and ApolloÕs Fire. Ms. Sorrell and ApolloÕs Fire made their UMS debuts in November 2011 in a performance with countertenor Philippe Jaroussky at Hill Auditorium. They most recently appeared in November 2013 in a performance of BachÕs Brandenburg Concertos at Hill Auditorium. This eveningÕs concert marks U-M alumnus Jesse BlumbergÕs third performance under UMS auspices following his performances of HandelÕs Messiah at Hill Auditorium in December 2010. UMS welcomes ApolloÕs Singers and soloists Molly Quinn, Nell Snaidas, Oliver Mercer, Karim Sulayman, Kristin Dubenion-Smith, and Jonathan Woody, who make their UMS debuts this evening.

The Cleveland Baroque Orchestra Jeannette Sorrell, Music Director
Olivier Brault, Concertmaster Johanna Novom, Violin Adriane Post, Viola Kyle Miller, Viola RenŽ Schiffer, Cello Piccolo Rebecca Landell, Cello Sue Yelanjian, Contrabass

Kathie Stewart, Recorder Bruce Dickey, Cornetto Kiri Tollaksen, Cornetto Greg Ingles, Alto Sackbut Peter Christensen, Tenor Sackbut Peter Collins, Bass Sackbut
John Lenti, Theorbo William Simms, Theorbo Peter Bennett, Organ
Molly Quinn, Soloist Margaret Carpenter Madeline Healey Anna Lenti
Nell Snaidas, Soloist Elena Mullins Sian Ricketts
Kristen Dubenion-Smith, Soloist Robin Bier Timothy Parsons Nadia Tarnawsky
Oliver Mercer, Soloist Owen McIntosh (Tenor III in Duo Seraphim) Jeffrey Rich
Karim Sulayman, Soloist Jeff Barnett
Jesse Blumberg, Soloist Jason Steigerwalt
Jonathan Woody, Soloist Michael Peters

Pierre Colombet, Violin Gabriel Le Magadure, Violin Mathieu Herzog, Viola Rapha‘l Merlin, Cello
Sunday Afternoon, November 9, 2014 at 4:00 Rackham Auditorium ¥ Ann Arbor
15th Performance of the 136th Annual Season 52nd Annual Chamber Arts Series
Photo: Quatuor Ebne; photographer: Julien Mignot.


Wolfgang Amadeus Mozart

String Quartet No. 16 in E-flat Major, K. 428
Allegro non troppo
Andante con moto
Menuetto: Allegro
Allegro vivace

Felix Mendelssohn

String Quartet No. 2 in a minor, Op. 13
Adagio Ñ Allegro vivace
Adagio non lento
Intermezzo: Allegretto con moto Ñ Allegro di molto
Presto Ñ Adagio non lento


Jazz and Crossover
Repertoire on the second half of this afternoonÕs program will be announced by the artists from the stage.
This eveningÕs performance is made possible by endowed support from the Candis J. and Helmut F. Stern
Endowment Fund, which supports an annual presentation on the UMS Chamber Arts series in perpetuity.
Media partnership is provided by WGTE 91.3 FM and Ann ArborÕs 107one FM.
Quatuor Ebne records for Virgin Classics.
Quatuor Ebne appears by arrangement with Arts Management Group, Inc.


Duke Ellington famously said: ÒThere are two kinds of music. Good music, and the other kind.Ó This eveningÕs concert offers only the former, but the selections come in many shapes, forms, and styles. The program begins with two works from the Western quartet tradition, by two of the greatest composing prodigies the world has ever known. As we move from Mozart to Mendelssohn, we may discover how the latter, at the age of 18 and steeped in the music of his elders, had already found a voice that belonged only to him and no one else.
The Quatuor Ebne has long been known for the ease with which it moves between different musical worlds. Tonight, youÕre going to be not only in your seat, but on the edge of it, as you wait to see what surprises the unannounced second half of the program has in store.
String Quartet No. 16 in E-flat Major, K. 428 (1783)
Wolfgang Amadeus Mozart Born January 27, 1756 in Salzburg, Austria Died December 5, 1791 in Vienna
UMS premiere: Budapest String Quartet, January 1950 in Rackham Auditorium
The volcano Laki in Iceland begins an eight-month eruption, causing one of the greatest environmental catastrophes in European history

The first Waterford Crystal glassmaking business begins production in Waterford, Ireland

Great Britain formally declares that it will cease hostilities with the US

John Broadwood patents the piano pedal in England

The Great Meteor passes over Great Britain

What happens when a genius consciously tries to outdo himself and works twice as hard as usual, making a concerted effort to impress an esteemed older colleague and friend? The result, in that case, may well be a set of extraordinary masterpieces like the six string quartets that Mozart dedicated to Franz Joseph Haydn.
Mozart composed these quartets over a period of three years, between 1782 and 1785. The Quartet in E-flat came third in the set, after a G-Major work
(K. 387) that combined grace and rigor in a most original way, and the intensely tragic d-minor Quartet (K. 421). In the present work, the tone is set by a most unusual opening melody, played in unison by the four instruments. Three times in the course of this brief theme, Mozart uses chromatic notes (ones outside the main key) in stressed downbeat positions, creating a certain tension which the rest of the movement will have to resolve. Tension and release is what the magical second-movement ÒAndante con motoÓ is all about as well: its opening melody is of irregular length, filled with rhythmic and harmonic ambiguity. Then the melody finds a temporary resting point, followed by new adventures.
The third-movement ÒMenuettoÓ was directly modeled on a work by Haydn, the minuet in the same key of E-flat Major from the String Quartet Op. 33, No. 2 (known as ÒThe JokeÓ on account of the unusual ending of its finale). Haydn himself had said of his Op. 33, published in 1781, that it was written in a Òvery new and unusual mannerÓ Ñ referring, among other things, to the equality of the four instruments, a new technique of motivic development and, with regard to minuets, a more elaborate treatment of the form and even an anticipation of the Beethovenian scherzo. What Mozart took from Haydn in this particular instance were the heavy, folk-like accents, the complex phrases and, in the central trio,
a very Haydnesque musical ÒjokeÓ: a long drone in what turns out to be a ÒwrongÓ key, after which matters are straightened out by a sudden shift to the ÒrightÓ key. The finale is MozartÕs take on another of HaydnÕs favorite movement types: a fast contradanse with plenty of virtuoso runs as well as various harmonic and melodic surprises.
MozartÕs ÒHaydnÓ quartets did not fail to produce the desired effect on their dedicatee. When Haydn heard these works, he said the following immortal words to MozartÕs father Leopold: ÒBefore God and as an honest man, I tell you that your son is the greatest composer known to me either in person or by name. He has taste, and, what is more, the most profound knowledge of composition.Ó
String Quartet No. 2 in a minor, Op. 13 (1827)
Felix Mendelssohn Born February 3, 1809 in Hamburg, Germany Died November 4, 1847 in Leipzig
UMS premiere: Tetzlaff Quartet, April 2011 in Rackham Auditorium
Beethoven dies on March 26

Alessandro ManzoniÕs novel The Betrothed, a landmark of Italian literature, is published

Slavery is abolished in New York State

Eugne Delacroix paints one of his greatest canvases,

The Death of Sardanapalus
¥ Friedrich Wšhler isolates aluminum for the first time
Few composers in the 1820s were more familiar with BeethovenÕs recent works than was Mendelssohn. At a time when Hummel, Clementi, and Spohr were at the height of their fame, not everyone recognized that Beethoven dwarfed all of them; yet in MendelssohnÕs eyes, Beethoven reigned supreme as the most important composer of the time. The String Quartet No. 2 in a minor, written the year of BeethovenÕs death, shows how up-to-date the 18-year-old master was. This work makes some unmistakable allusions to BeethovenÕs quartet in the same key (Op. 132), published only that same year (and written two years earlier). The allusion occurs in the ÒAllegro vivaceÓ section of the first movement, audibly modeled on the analogous passage in the Beethoven quartet.
But Mende lssohn made other allusions in this piece as well, most notably to one of his own works: a short song called ÒFrageÓ (ÒQuestionÓ). The question ÒIst es wahr?Ó (ÒIs it true?Ó) appears in the ÒAdagioÓ introduction to the quartet Ñ reminding those familiar with the late Beethoven quartets of the ÒMuss es sein?Ó (ÒMust it be?Ó) motto of Op.
135. This theme frames the entire work, as it reappears at the very end of the last movement.
In between, there is, first of all, a fiery and tempestuous fast movement; its coda is particularly dramatic, ending on a declamatory formula straight out of an operatic recitative, delivered with great passion by the first violin. The second movement begins like a Òsong without wordsÓ Ñ to borrow the name Mendelssohn would give later to his celebrated series of short piano pieces. Yet in the quartet, songfulness soon yields to an intense contrapuntal development that erupts in an animated middle section. A meter change (from 3/4 to 4/4) accompanies a change in mood from introspection to exuberant self-expression. In symmetrical fashion, the contrapuntal music returns, followed by a recapitulation of the Òsong without words.Ó The movement thus ends in the same lyrical manner in which it began.
The third mo v emen t is an ÒIntermezzoÓ opening with a gentle melody in a comfortable ÒAllegretto con motoÓ tempo that is soon changed to a much faster ÒAllegro di moltoÓ for a playful episode in contrapuntal style. This episode fulfills the function of a trio or middle section, but unlike most trios, it is longer and more substantial than the opening ÒmainÓ section. That main section eventually returns, but the material of the trio doesnÕt quite go away; both themes are heard together in the movementÕs coda.
The finale begins with the same dramatic recitative with which the first movement ended. This time it leads into an aria Ñ a melodic theme of great emotional intensity. As the movement continues, several elements of previous movements reappear: first the ÒBeethovenianÓ passage from the first movement, then the contrapuntal idea from the second, and finally (as mentioned before), the opening of the ÒIs it true?Ó motto. Periodically, the recitative style returns as well, momentarily interrupting the
melodic flow, which then continues with even more energy than before, until the arrival of the final ÒAdagio.Ó
The slow ending and the large number of thematic links between the mo v emen ts are bo th highly unusual structural features, which are particularly surprising from a composer whose style is often (mistakenly) labeled as conservative. In fact, Mendelssohn was engaged in some rather daring structural experiments here. Op. 13 was, incidentally, his first string quartet, even though it is sometimes referred to as No. 2. (The official No. 1, which was the first to be published, is the E-flat Major work that received the opus number 12; it was written two years after the present composition.)
Program notes by Peter Laki.
string quartet that can easily
morph into a jazz band,Ó wrote
the New York Times after a 2009 performance by the QUATUOR EBéNE. The ensemble opened with Debussy and Haydn and then improvised on a film music theme Ñ with exactly the same enthusiasm and passion.
What began in 1999 as a distraction in the universityÕs practice rooms for the four young French musicians has become a trademark of the Quatuor Ebne, and has generated lasting reverberations in the music scene. The four breathe new life into chamber music through their consistently direct, open-minded perspective on the works. Regardless of the genre, they approach the music with humility and respect. They change styles with gusto, yet remain themselves with all the passion that they experience for each piece and that they bring to the stage and to their audiences directly and authentically.
There is no single word that describes their style: theyÕve created their own. Their traditional repertoire does not suffer from their engagement with other genres; rather, their free association with diverse styles brings a productive excitement to their music. From the beginning, the complexity of their oeuvre has been greeted enthusiastically by audiences and critics.
After studies with the Quatuor YsaØe in Paris and with G‡bor Tak‡cs, Eberhard Feltz, and Gyšrgy Kurt‡g, the quartet had an unprecedented victory at the ARD Music Competition 2004. This marked the beginning of their rise, which has culminated in numerous prizes and awards.
The Quatuor EbneÕs concerts are marked by a special energy. With their charismatic playing, their fresh approach to tradition and their open engagement

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

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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
The reviews are in!

ÒMaryanneÕs marketing strategy got us an offer 10% over ask ing price before we listed our house!...she clearly goes above and beyond in everything she does!Ó Kevin and Liz
Ò example of what a good honest realtor should be...truly a class act!Ó Steve and Janet
cell e-mail
Ò...her tenacity, experience and knowledge of the market were instrumental...refreshing straightforwardness...superb sounding-board...Ó Ryan and Stephanie
ÒWe have experienced buying and selling homes 28 times over 43 years in 3 countries...Maryanne wins hands down as our favorite realtor of all times!Ó Tony and Chrissie
734.6 45.3065

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
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28 Kensington Court
28 Knight's
22 Mainstreet Ventures 8 Mark Gjukich Photography
39 Maryanne Telese, Realtor
34 Michigan Psychoanalytic Institute
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8 Michigan Radio
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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

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