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UMS Concert Program, November 13-23, 2014: San Francisco Symphony; Bob James; Jake Shimabukuro; Yuja Wang & Leonidas Kavakos

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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

NPR News

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Listen on the radio at
WGTE FM 91.3 Toledo
WGLE 90.7 Lima
WGBE 90.9 Bryan
WGDE 91.9 Defiance


Thursday, November 13, 7:30 pm
Hill Auditorium
Friday, November 14, 8:00 pm
Hill Auditorium
Saturday, November 15, 8:00 pm
Hill Auditorium
Wednesday, November 19, 7:30 pm
Hill Auditorium
Sunday, November 23, 4:00 pm
Hill 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.

Michael Tilson Thomas
Music Director and Conductor
Thursday Evening, November 13, 2014 at 7:30 Hill Auditorium ¥ Ann Arbor
16th Performance of the 136th Annual Season 136th Annual Choral Union Series
Photo: San Francisco Symphony; photographer: Bill Swerbenski.


Gustav Mahler
Symphony No. 7 in e minor
Slow Ñ Allegro risoluto ma non troppo Nachtmusik I: Allegro moderato Ñ Molto moderato (Andante) Scherzo: Schattenhaft (Like a shadow) Nachtmusik II: Andante amoroso Rondo Ñ Finale: Allegro ordinario Ñ Allegro moderato ma energico
This evening's concert will be performed without intermission.
Endowment support provided by the Essel and Menakka Bailey Endowment Fund.

San Francisco Symphony residency activities supported by the Wallis Cherniack Klein Endowment Fund
for Student Experiences.
Funded in part by the National Endowment for the Arts.
Media partnership is provided by WGTE 91.3 FM, WRCJ 90.9 FM, and Ann ArborÕs 107one FM.
Special thanks to Libby Seidner, U-M School of Music, Theatre & Dance Class of 2015, for speaking at this

eveningÕs Prelude Dinner.

Special thanks to Emily Avers, Melody Racine, and the U-M School of Music, Theatre & Dance for their
support of the San Francisco Symphony Residency.
Special thanks to Tom Thompson of Tom Thompson Flowers, Ann Arbor, for his generous contribution of

lobby floral art for this eveningÕs concert.


In his important Mahler monograph published in 2011, Jens Malte Fischer offers the following thumbnail description of Symphony No. 7: ÒAt the start...the listener appears to set foot on firm ground, but this is undermined by the shadows of the night, and at the end, our night vision finely attuned, we are blinded by a dazzling sun and deafened by the battery of noise unleashed by the brass and percussion.Ó Often considered an ÒenigmaÓ or even a ÒstepchildÓ among the Mahler symphonies, the Seventh is in fact the composerÕs most radical and forward-looking work, one that breaks new ground both by its harmonic innovations and by its bold juxtaposition of extreme characters, puzzling some critics while delighting many others.

Symphony No. 7 in e minor (1905)
Gustav Mahler Born July 7, 1860 in Kalischt, near
Humpolec, Bohemia Died May 18, 1911 in Vienna
UMS premiere: This symphony has never been performed at UMS concert.
O r c h es t rati on : Fou r fl u t e s a n d t wo piccolos (doubling second and third flutes), three oboes and English horn, high clarinet in E.flat, four clarinets in A and B.flat, bass clarinet in A and B.flat, three bassoons and contrabassoon, tenor horn, four French horns, three trumpets, three trombones, bass tuba, timpani, bass drum, cymbals, tam.tam, triangle, glockenspiel, tambourine, cowbells, low.pitched bells, two harps, mandolin, guitar, and strings.
Performance time: about 80 minutes.
Revolution of 1905: The Imperial Russian Army opens fire on a meeting at a street market in Tallinn (Governorate of Estonia), killing 94 and injuring over 200

The Trans-Siberian Railway officially opens after its completion in July 1904

Albert Einstein works on the special theory of relativity as well as the theory of Brownian motion

Fauvist artists, led by Henri Matisse and AndrŽ Derain, first exhibit, at the Salon dÕAutomne in Paris

Rotary International is founded

ÒThree night pieces; the finale, bright day. As foundation for the whole, the first movement.Ó
Ñ Mahler to the Swiss critic William Ritter
Mahler began Symphony No. 7 in the middle. As a glance at the program page and MahlerÕs own summary for William Ritter tells us, the structure is symmetrical. The first and last movements Ñ both on a large scale Ñ flank three character pieces, which are themselves symmetrical in that the first and third are each called Nachtmusik.
It was with these two night musics that Mahler began this score in the summer of 1904. But with summerÕs end, a typically busy year began for Mahler, whose work as EuropeÕs most famous conductor occupied him throughout the concert season. In June 1905, Mahler headed back to his summer residence at Maiernigg, on the Wšrthersee, to continue work on his Seventh Symphony. He could not find the way into the composition. He took off for the Dolomites, hoping to release his creative energies, but nothing happened. Profoundly depressed, he returned. He stepped from the train and was rowed across the lake. With the first dipping of the oars into the water, he recalled later, Òthe theme of the introduction (or rather, its rhythm, its atmosphere) came to me.Ó
From that moment forward he worked like a man possessed, as indeed he must have been to bring this gigantic structure under control, even if not finished in detail, by mid-August. His Latin message to his friend, the musician Guido Adler, was jubilant. In English translation, it reads: ÒMy Seventh is finished. I believe this work to be auspiciously begun and happily concluded. Many greetings to you and yours, also from my wife. G.M.Ó Thinking about the first performance, Mahler considered the New York Symphony, which he would be conducting in the 1907Ð08 season, but soon realized that this would be madness in a city and a country that knew so little of his music. A festival in Prague to celebrate the 60th year on the throne of the Emperor Franz Joseph provided a more suitable occasion. Prague offered a less than first-rate orchestra; on the other hand, Mahler had ample rehearsal time, and the worshipful young conductors Ñ among them Artur Bodanzky, Otto Klemperer, and Bruno Walter Ñ who attended the preparations
recounted how, refusing all help, he used every night to make revisions on the basis of that dayÕs experience. He was always the most pragmatic of composer-conductors.
The Nachtmusiken and the ÒScherzoÓ made their effect at once; the first and last movements were harder nuts to crack and in Prague the reception was more respectful than enthusiastic. Mahler himself conducted the Seventh only once more, in Munich, a few weeks after the concert at Prague. It is still the least known of his symphonies.
The Seventh is a victory symphony, not a personal narrative but a journey from night to day (it is sometimes called ÒSong of the NightÓ). The focus is on nature. If the Seventh is a Romantic symphony, one should add that the ÒdistancingÓ effect produced by the outward-pointing, non-narrative character of the music can also be perceived as Classical.
The opening is music in which we may hear not only the stroke of oars, but the suggestion of cortege. Here Mahler carries us from a slow introduction into the main body of a sonata-allegro movement, adhering to the design that afforded symphonists from Haydn through Bruckner a broad range of expressive possibilities. Settling into a new key, he brings in a gorgeous theme, a highly inflected violin melody full of yearning and verve, rising to a tremendous climax, to merge into the music of the second of the three marches we have heard. More such merges lie ahead. At the focal point of the development comes what must be the most enchanted minute in all Mahler, a transformation of the second march from focused to veiled, and an ecstatic vision of the glorious lyric theme. A sudden plunge of violins returns us, shockingly, to the slow introduction. The recapitulation has begun. It is tautly compressed. The coda is fierce and abrupt.
The opening of the first of the Nachtmusiken is a minute of preparation a n d s e a r c h. A t r e me n d o us s k i d downwards through five-and-a-half octaves calls the proceedings to order. This artfully stylized version of an orchestra warming up turns into a tidy presentation of the theme that has been adumbrated. The theme itself is part march, part song, given a piquant flavor by that mix of major and minor we find so often in MahlerÕs music. In later years, the Dutch conductor Willem Mengelberg said that in this movement Mahler had been inspired by RembrandtÕs so-called Night Watch, but the composer Alphons Diepenbrock, also one of MahlerÕs Amsterdam friends, both clarified and subtilized the issue:
It is not true that [Mahler] wanted actually to depict The Night Watch. He cited the painting only as a point of comparison. [This movement] is a walk at night, and he said himself that he thought of it as a patrol. Beyond that he said something different every time. What is certain is that it is a march, full of fantastic chiaroscuro Ñ hence the Rembrandt parallel.
The initial march theme is succeeded by a broadly swinging cello tune. Like many such themes by Mahler, this one, heard casually, seems utterly na•ve; closely attended to, it proves to be full of asymmetries and surprises of every kind. Watch for the return of this tune, even more lusciously scored and with a new counter-theme in the woodwinds. Distant cowbells become part of the texture, suggesting the Sixth Symphony, in which they play such a prominent part. Suddenly that great tragedy-in-music intrudes even more as a fortissimo trumpet chord of C Major droops into minor. This sound of major falling into minor is the expressive and sonorous signature of the Sixth. The string figurations collapse, there is a stroke of cymbals and tam-tam, and then nothing is left but a cello harmonic and a ping on the harp.
MahlerÕs direction for the next movement, the ÒScherzo,Ó is Òschattenhaft,Ó literally Òlike a shadowÓ but perhaps better rendered as Òspectral.Ó Drums and low strings disagree about what the opening note should be. Notes scurry about, cobwebs brush the face, and witches step out in a ghostly parody of a waltz. The Trio is consoling Ñ almost. The Scherzo returns, finally to unravel and disintegrate.
T h e f i rs t N a ch t m u si k w a s a nocturnal patrol, the second is a serenade that Mahler marks ÒAndante amoroso.Ó William Ritter, nearly alone in his time in his understanding of Mahler, gives a wonderful description of the way the second Nachtmusik begins:
Heavy with passion, the violin solo falls, like a turtledove aswoon with tenderness, down onto the chords of the harp. For a moment one hears only heartbeats. It is a serenade, voluptuously soft, moist with languor and reverie, pearly with the dew of silvery tears falling drop by drop from guitar and mandolin.
Those instruments, together with the harp, create a magical atmosphere.
After these four so differentiated night scenes comes the brightness of day, with a thunderous tattoo of drums to waken us. Horns and bassoon are the first instruments to be roused, and they lead the orchestra in a spirited fanfare whose trills put it on the edge of parody. MahlerÕs humor gave trouble to many of his first listeners. Sometimes he maneuvers so near the edge of parody or of irony that, unless you know his language and his temperament, it is possible to misunderstand him completely, for example to mistake humor for ineptness. Few listeners here will fail to be reminded of Die Meistersinger.
But what is that about? Again, Ritter understood right away, pointing out that Mahler never quotes Wagner but Òre-beginsÓ the Overture to take it far beyond. The triumphant C-Major Ò F i n a l e Ó i s i t s e l f a ki n d o f c l i c hŽ stemming from the Beethoven Fifth and transmitted by way of the Brahms First and, much more significantly for this context, Die Meistersinger. Mahler uses Die Meistersinger as a symbol for a good-humored victory finale. Other Meistersinger references occur, for instance the chorale to which the prize song is baptized, and even the deceptive cadence to which Wagner frequently resorts to keep the music flowing.
This ÒFinaleÓ is a wild and wonderful movement. The Meistersinger idea turns out to be a whole boxful of ideas that, to an adroitly and wittily inventive builder like Mahler, suggest endless possibilities for combining and recombining, shuffling and reshuffling. To the city-square music of Mahlerized Meistersinger he adds stomping country music. No part of the harmonic map is untouched, while the rhythms sway in untamed abandon.
Then we hear music we have not heard for a long time Ñ the fiery march from the first movement. Or rather, we hear a series of attempts to inject it into the proceedings. Just as we think the attempt has been abandoned, the drums stir everything up again, and finally the theme enters in glory.
Program note by Michael Steinberg.
Please refer to page 15 in your program book for complete artist biographies and an orchestra roster for the San Francisco Symphony.


Franz Liszt

Mephisto Waltz No. 1
Sergei Prokofiev

Violin Concerto No. 2 in g minor, Op. 63
Allegro moderato
Andante assai
Allegro ben marcato

Mr. Shaham
Maurice Ravel

Daphnis et ChloŽ
UMS Choral Union
Jerry Blackstone, Music Director

This eveningÕs performance is sponsored by the University of Michigan Health System.

San Francisco Symphony residency activities supported by the Wallis Cherniack Klein Endowment Fund
for Student Experiences.
Funded in part by a grant from the National Endowment for the Arts.
Media partnership is provided by WGTE 91.3 FM, WRCJ 90.9 FM, and Ann ArborÕs 107one FM.
Special thanks to Emily Avers, Melody Racine, and the U-M School of Music, Theatre & Dance for their

support of the San Francisco Symphony Residency.
Special thanks to Tom Thompson of Tom Thompson Flowers, Ann Arbor, for his generous contribution of
lobby floral art for this eveningÕs concert.


Having recently seen several performances of DiaghilevÕs Ballets Russes in Paris, the 22-year-old Prokofiev wrote to his best friend, composer Nikolai Miaskovsky, on June 24, 1913: ÒDaphnis is boring and amorphous Ñ it makes you sleepy when itÕs being poetic and makes you laugh when thereÕs drama and movement.Ó Later, he became much kinder to his older contemporary; in the 1920s he declared that ÒRavel is the only one in France who knows what heÕs doing,Ó and published a moving obituary in a Russian journal when Ravel died in 1937. ProkofievÕs ambivalence is understandable since he and Ravel were light-years removed from each other, stylistically as well as temperamentally. Nevertheless, there are some definite points of contact between the two as both were fond of mechanical ostinato rhythms; thus even the ÒboringÓ Daphnis may have had some impact on the music of the young iconoclast. According to one scholar, the influence also worked the other way around, as ProkofievÕs ballet Le Pas dÕacier (1926), written for Diaghilev, may very well have been an inspiration for RavelÕs BolŽro (1928).
As composers of piano music, both Prokofiev and Ravel admired the music of Franz Liszt. RavelÕs early piano piece Jeux dÕeau (1901) picked up where Liszt had left off with Les jeux dÕeau ˆ la Villa dÕEste (1877). One wonders whether Ravel had the Mephisto Waltz at the back of his mind when he wrote La ValseÉ. As for Prokofiev, we know he liked LisztÕs piano concertos, occasional echoes of which may be found in his own works. Representing two centuries and three countries, then, the three composers on tonightÕs program are connected by some subtle, yet tangible links.

Mephisto Waltz No. 1(1860)
Franz Liszt Born October 22, 1811 in Raiding, in the
Austro-Hungarian Empire Died July 31, 1886 in Bayreuth, Germany
UMS premiere: Harold Ba uer in performance of the piano transcription by Liszt, January 1902 in University Hall; orchestral performance by the Chicago Symphony Orchestra under the baton of Frederick Stock, 28th Annual May Festival, May 1921 in Hill Auditorium.
Orchestration: Two flutes and piccolo, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones (two tenors and one bass), tuba, timpani, cymbals, triangle, harp, and strings.
Performance time: about 12 minutes.
Christians and Druzes clash in Damascus, Syria

South Carolina becomes the first state to secede from the United States Union

Augustana College is founded in Chicago by Scandinavian immigrants

Robert Wilhelm Bunsen discovers caesium and rubidium

The Open Championship, also known as the British Open, is played for the first time at Prestwick Golf Club in Ayrshire, Scotland

The Mephisto Waltz in its original form is an orchestral piece. It is one of a pair written in 1860 called Two Episodes from LenauÕs Faust, the first being among LisztÕs most visionary, mysterious, and predictably non-popular works, Nocturnal Procession; the other being the brilliantly vivid Dance in the Village Inn, subtitled Mephisto Waltz. Almost immediately, and to the delight now of many generations of pianist and audiences, Liszt made a piano transcription of the Mephisto Waltz. (Properly speaking, this is the Mephisto Waltz No. 1. Liszt adde d two more

Mephisto waltzes in 1881 and 1883, No. 3 especially being one of the most stunning of his late works; he sketched a fourth in 1885. There is even a Mephisto Polka, also from 1883.) The scene in the first waltz is easily apprehended. Faust and Mephisto come to an inn, Mephisto seizes the violin to make the music hotter, wild abandon among the dancers, glimpses of a starlit night with the voice of the nightingale, and a turbulent close. Liszt provided an alternative ending, quiet and rarely heard, and illustrating a line from Lenau: ÒÉund brausend verschlingt sie das WonnenmeerÓ (Éand the surge of the ocean of lust swallows them).
Program note by Michael Steinberg.

Violin Concerto No. 2 in g minor, Op. 63(1935)
Sergei Prokofiev
Born April 23, 1891 in Sontsovka (now
Krasnoye), Government of Ekaterinoslav
(Dniepropetrovsk), in Ukraine
Died March 5, 1953 in Nikolina Gora near Moscow
First performance: December 1, 1935 in Madrid with Robert Soetens as the soloist and Enrique Fern‡ndez Arb—s conducting.
UMS premiere: Philadelphia Orchestra with violin soloist Sidney Harth under the baton of Thor Johnson, 66th Annual May Festival, May 1959 in Hill Auditorium.
Orchestration: In addition to solo violin, the score calls for an orchestra of two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, castanets, triangle, snare drum, cymbals, bass drum, and strings.
Performance time: about 26 minutes.
The Nuremberg Laws go into effect in Germany

Persia is renamed Iran

Joseph Stalin opens the Moscow Metro to the public

Executive Order 7034 creates the Works Progress Administration (WPA) in the US

Eventual Baseball Hall of Famer Babe Ruth appears in his last career game

There are different Prokofievs. People who find their ideal Prokofiev in Romeo and Juliet may well find The Fiery Angel unpleasantly scratchy. One can also understand that those whose favorite Prokofiev is Symphony No. 2 might be disappointed in the famous Fifth. More of his sharp-edged and fairly dissonant music comes from his earlier years; most of his music that is more mellifluous in style, painted with a broader brush, and less inclined to humor comes from his later years in the Soviet Union, when he can even seem downright self-conscious in his concern not to rub the wrong way. He himself recognized in his life work four Òbasic lines,Ó which he called classical, modern, motoric, and lyrical. All are present all the time, although of course in different balances. The Violin Concerto No. 2 is a work in which these characteristics live together convincingly.
The violinist begins the Concerto alone, playing a slightly elaborated g-minor chord, ruminating on this very simple matter for eight measures The orchestral soundÑjust muted violas and basses, two octaves apartÑis austere. It is a versatile theme, and very soon Prokofiev lets us hear it as a canon with the violin trailing the cellos and basses by half a measure. After further play with fragments of this theme, the music slows slightly for a new melody, one so sweetly lyric that we could almost imagine a page from one of the Romeo and Juliet notebooks had found its way into the sketches for the Concerto. These two ideas provide Prokofiev with all the material he requires for this movement: his harmonic energy, at its strongest here, and his inventive violin writing carry him brilliantly to the end.

Prokofiev gently sets the second movement in motion with a simple arpeggiated accompaniment in triplets as the solo violin enters with one of the composerÕs most inspired melodies. The slight sense of rhythmic dissonance produced by the way its duplets are set against the orchestraÕs triplets gives it just the right amount of edge. This and the Romeo theme in the first movement are indeed examples of a manner one would not have found in ProkofievÕs music before the 1930s.
After these dreams, the finale jolts us into a rude awakening. This is dance music, and I would guess that Prokofiev added the castanets and other suggestions of Spanish flavoring because he knew that the Concerto would first be played in Madrid. Here Prokofiev indulges his appetite for dissonance and fierce accent, so firmly kept in check in the first two movements. The closing pages are marked tumultuoso.
Program note by Michael Steinberg.

Daphnis et ChloŽ, Choreographic Symphony in Three Parts (1909Ð12)
Maurice Ravel Born March 7, 1875 in Ciboures, Basses
PyrenŽes, France Died December 28, 1937 in Paris
First performance: June 8, 1912, by the Ballets Russes at the ThŽ‰tre du Ch‰telet in Paris; Pierre Monteux conducted.
U MS p r em i er e : Bo s t on Sym p ho ny Orchestra under the baton of Seiji Ozawa, April 1975 in Hill Auditorium.
Orchestration: Piccolo, two flutes, alto flute, two oboes, English horn, E.flat clarinet, two B.flat clarinets, bass clarinet, three bassoons, contrabassoon, four horns, four trumpets, three trombones, tuba, timpani, an extensive percussion section, two harps, and strings. The score also calls for optional four.part chorus.
Performance time: about 50 minutes.
The Republic of China is proclaimed

The Bolshevik Party breaks away from the rest of the Russian Social Democratic Labor Party

William Christopher HandyÕs ÒMemphis BluesÓ is published

RMS Titanic strikes an iceberg in the northern Atlantic Ocean and sinks with the loss of 1,517 lives

US release of Sarah BernhardtÕs film Les Amours de la reine ƒlisabeth is influential on the development of the movie feature

When he was approached about writing the music for a new ballet that Serge Diaghilev was planning for his Ballets Russes, Maurice Ravel became as excited as was seemly within the bounds of his even-tempered nature. The Ballets Russes Ñ with Diaghilev as director, Michel Fokine as choreographer, LŽon Bakst as designer Ñ had taken Paris by storm in 1909, and a commission from the company was a signal that a composer had arrived in the city that prided itself as the summit of culture.
From the outset the going was not easy, and the ballet finally made its way to the stage of the ThŽ‰tre du Ch‰telet about two years after Diaghilev had hoped, with Vaslav Nijinsky dancing the role of Daphnis and with Tamara Karsavina as ChloŽ. Although it was revived in Paris the next season and in London in 1914, Daphnis et ChloŽ has enjoyed only sporadic success in the world of ballet. RavelÕs score, however, has achieved the status of a classic.
The sheer sound of this score is exceptional, even in RavelÕs colorful

oeuvre. In Daphnis et ChloŽ he employs the largest orchestra he would ever require, and he uses it with consummate skill. The wordless chorus is also used to imaginative effect at several points in the score, sometimes gliding between notes in a sort of microtonal, perhaps pseudo-Greek, ecstasy.
FokineÕs ballet scenario is divided into three parts, though the action is dovetailed into a single sweep in the staged ballet and, accordingly, in RavelÕs score. Here is the general scenario, compressed from inscriptions spread through the score.
Part One: A meadow on the outskirts of a sacred wood. On the right a grotto, at the entrance of which, carved from the same rock, are depicted three Nymphs from an ancient sculpture. On the left, a great mass of rock in the form of the god Pan. A clear afternoon in springtime. Youths and maidens enter carrying open baskets of gifts intended for the Nymphs. The stage gradually fills.
Daphnis comes clearly into view, preceded by his flocks. ChloŽ joins him and they prostrate themselves before the Nymphs. At the end of the dance, the emboldened herdsman Dorcon wants to kiss ChloŽ. A dance contest is proposed between Daphnis and Dorcon, with the winnerÕs prize to be a kiss from ChloŽ. Daphnis triumphs and is invited to receive his prize. Lycanion enters and flirts with Daphnis, but he tries to escape.
The sound of weapons and war cries are heard approaching. ChloŽ throws herself before the altar of the Nymphs, begging their protection. A group of pirates rushes in and abducts her. Crazed with despair, Daphnis curses the gods and falls fainting to the ground. Coming to life, the Nymphs descend from their pedestal and begin a slow, mysterious dance. They revive Daphnis and lead him to the rock, invoking the god Pan. Daphnis prostrates himself, imploring. The scene grows dark.
Part Two: Voices and trumpet calls are heard offstage from the piratesÕ camp. The pirate chief Bryaxis orders that the captive ChloŽ be brought in, and commands her to dance. She tries to flee and gives herself over to despair, thinking of Daphnis. Suddenly the atmosphere seems charged with strange ne w elements. With a menacing gesture, the formidable shadow of Pan is seen profiled against the mountains in the background. The scene dissolves to the landscape from ÒPart One,Ó towards the end of night.
Part Three: Dawn. Shepherds enter. They find Daphnis and awaken him. ChloŽ appears and the two rush into each otherÕs arms. Pan has saved ChloŽ, in remembrance of the nymph Syrinx, whom the god loved. Daphnis and ChloŽ mime the story of Pan and Syrinx. The dance grows animated. Before the altar of the Nymphs, Daphnis swears his fidelity. Daphnis and ChloŽ embrace tenderly. Joyous tumult. General dance. Dance of Daphnis and ChloŽ. Dance of Dorcon. Final Dance: Bacchanal.
Program note by James M. Keller. (Portions of this note previously appeared in different form in the program books of the New York Philharmonic and are reprinted by permission.)
Program notes ©2014 San Francisco Symphony.

he SAN FRANCISCO SYMPHONY (SFS) gave its first concerts in 1911 and has grown in acclaim under a succession of music directors: Henry Hadley, Alfred Hertz, Basil Cameron, Issay Dobrowen, Pierre Monteux, Enrique Jord‡, Josef Krips, Seiji Ozawa, Edo de Waart, Herbert Blomstedt, and, since 1995, Michael Tilson Thomas. The SFS has won such recording awards as FranceÕs Grand Prix du Disque and BritainÕs Gramophone Award, and the Mahler cycle on the SymphonyÕs own label has been honored with numerous Grammys, including those for ÒBest Classical AlbumÓ (MahlerÕs Third, Seventh, and Eighth symphonies), ÒBest Choral PerformanceÓ and ÒBest Engineered Classical AlbumÓ (Mahler Eighth), and ÒBest Orchestral PerformanceÓ (Mahler Sixth and Seventh). The recording of John AdamsÕs Harmonielehre and Short Ride in a Fast Machine won a 2013 Grammy for ÒBest Orchestral PerformanceÓ and an ECHO Klassik award. A series of earlier recordings by MTT and the Orchestra, for RCA Red Seal, has also won praise, and their collection of Stravinsky ballets for RCA (Le Sacre du printemps, The Firebird, andPersŽphone) received three Grammys. Some of the most important conductors of the past and recent years have been guests on the SFS podium, among them Bruno Walter, Leopold Stokowski, Leonard Bernstein, and Sir Georg Solti, and among the composers who have led the Orchestra are Stravinsky, Ravel, Copland, and John Adams. The SFS Youth Orchestra, founded in 1980, has become known around the world, as has the SFS Chorus, heard on recordings and on the soundtracks of such films as Amadeus and Godfather III. Adventures in Music, the longest running education program among US orchestras, brings music to children in grades one through five in San FranciscoÕs public schools. Keeping Score, designed to connect audiences with music and the emotions it conveys, aired on PBS.TV, is available on DVD and Blu-ray, and can be accessed at SFS radio broadcasts, the first in the nation to feature symphonic music when they began in 1926, today carry the OrchestraÕs concerts across the country.
first conducted the San
Francisco Symphony in 1974 and has been Music Director since 1995. A Los Angeles native, he studied with John Crown and Ingolf Dahl at the University of Southern California,

becoming Music Director of the Young Musicians Foundation Debut Orchestra at 19 and working with Stravinsky, Boulez, Stockhausen, and Copland at the famed Monday Evening Concerts. He was pianist and conductor for Piatigorsky and Heifetz master classes and, as a student of Friedelind Wagner, an assistant conductor at Bayreuth. In 1969, Mr. Tilson Thomas won the Koussevitzky Prize and was appointed Assistant Conductor of the Boston Symphony. Ten days later he came to international recognition, replacing M us ic D ir e ct or W il li a m St ei nb e rg in mid-concert at Lincoln Center. He went on to become the BSOÕs Associate Conductor, then Principal Guest Conductor. He has also served as Director of the Ojai Festival, Music Director of the Buffalo Philharmonic, a Principal Guest Conductor of the Los Angeles Philharmonic, and Principal Conductor of the Great Woods Festival. He became Principal Conductor of the London Symphony Orchestra in 1988 and now serves as Principal Guest Conductor. For Gramophone 2005 ÒArtist of the Year,Ó was named one of AmericaÕs ÒBest LeadersÓ by U.S. News & World Report, has been elected to the American Academy of Arts and Sciences, and in 2010 was awarded the National Medal of Arts by President Barack Obama.
IL SHAHAM was born in 1971 in Illinois and grew up in Israel, where he studied at the Rubin Academy of Music. He made his debut at age 10 with the Jerusalem Symphony and Israel Philharmonic, and he studied with Dorothy DeLay, first at Aspen and later at Juilliard.
This season Mr. Shaham continues
his exploration of violin concertos of the
1930s, performing ProkofievÕs Violin
Concerto No. 2 with The Knights at the
Caramoor Fall Festival, Berg with the
Philadelphia Orchestra, and Britten with

both the Berlin Radio Symphony
and the London
Photo: G il Shaham
a decade he served as co-Artistic Director
of JapanÕs Pacific Music Festival, which
he and Leonard Bernstein inaugurated
in 1990, and he continues as Artistic Sym phon y
Orchestr a.
He gives the
w orld-premiere
Director of the New World Symphony, which he founded in 1988. Michael Tilson ThomasÕs recordings have won numerous international awards, and his recorded repertory reflects interests arising from work as conductor, composer, and pianist. His television credits include the New York Philharmonic Young PeopleÕs Concerts, and in 2004 he and the SFS launched Keeping Score on PBS-TV. His compositions include From the Diary of Anne Frank, Sh—wa/Sho‡h
(commemorating the 50th anniversary of the Hiroshima bombing), Poems of Emily Dickinson, Urban Legend, Island Music, and Notturno. He is a Chevalier des Arts et des Lettres of France, was selected as performances of a new concerto by David Bruce with the San Diego Symphony, and performs MendelssohnÕs Violin Concerto in Tokyo, Canada, and Luxembourg, and two Bach concertos with the Dallas Symphony. In recital, he presents BachÕs complete solo sonatas and partitas at ChicagoÕs Symphony Center, Los AngelesÕs Disney Hall, and other venues in a multimedia collaboration with video artist David Michalek.
Mr. Shaham has recorded more than two dozen CDs, earning multiple Grammy Awards, a Grand Prix du Disque, a Diapason dÕOr, and a Gramophone EditorÕs Choice award. His recent recordings are issued on the Canary Classics label,
which he founded in 2004. Mr. Shaham
and his sister, pianist Orli Shaham,
recently released Nigunim: Hebrew
Melodies, which features the world-
premiere recording of Israeli composer
Avner DormanÕs Nigunim. Other albums
on the Canary Classics label feature Mr.
Shaham performing works by Haydn,
Mendelssohn, Mozart, Tchaikovsky, Elgar,
and FaurŽ. Upcoming titles include BachÕs
complete works for solo violin and several
installments in the violin concertos of the
1930s project.
Mr. Shaham was awarded an Avery Fisher Career Grant in 1990 and won the Avery Fisher Prize in 2008. He was named ÒInstrumentalist of the YearÓ by Musical America in 2012. He plays the 1699 ÒCountess PolignacÓ Stradivarius violin, and lives in New York City with his wife, violinist Adele Anthony, and their three children.
ormed by a group of local university and townspeople who gathered together for the study of HandelÕs Messiah, the UMS CHORAL UNION has performed with many of the worldÕs distinguished orchestras and conductors in its 135-year history. First led by Professor Henry Simmons Frieze and conducted by Professor Calvin Cady, the group assumed the name The Choral Union. Since its first performance of HandelÕs Messiah in December 1879, the oratorio has been performed by the UMS Choral Union in Ann Arbor annually. Based in Ann Arbor under the aegis of UMS, the 200-voice Choral Union is known for its definitive performances of large-scale works for chorus and orchestra. Eighteen years ago, the UMS Choral Union further enriched that tradition when it began appearing regularly with the Detroit Symphony Orchestra (DSO).
Led by Grammy Award-winning conductor and music director Jerry Blackstone, the UMS Choral Union was a participant chorus in a rare performance and recording of William BolcomÕs Songs of Innocence and of Experience in Hill Auditorium in April 2004 under the baton of Leonard Slatkin. Naxos released a three-disc set of this recording in October 2004, featuring the UMS Choral Union and U-M School of Music, Theatre & Dance ensembles. The recording won four Grammy Awards in 2006, including ÒBest Choral PerformanceÓ and ÒBest Classical Album.Ó The recording was also selected as one of The New York TimesÒBest Classical Music CDs of 2004.Ó
The UMS Choral UnionÕs 2014Ð15 season begins with a performance of RavelÕs Daphnis et ChloŽ with the San Francisco Symphony under the baton of Michael Tilson Thomas this November, followed by its annual performances of HandelÕs Messiah at Hill Auditorium with the Ann Arbor Symphony in December. The chorus will return to HillÕs stage on ValentineÕs Day for a performance of Felix MendelssohnÕs oratorio Elijah with the Ann Arbor Symphony under the direction of Jerry Blackstone. In May, the UMS Choral Union will join with the Detroit Symphony Orchestra for a concert rendition of Giacomo PucciniÕs Tosca under the direction of Leonard Slatkin at Orchestra Hall in Detroit.
Participation in the UMS Choral Union remains open to all students and adults by audition.
Grammy Award-winning conductor JERRY BLACKSTONE is Director of Choirs and Chair of the Conducting Department at the University of Michigan School of Music, Theatre & Dance where he conducts the Chamber Choir, teaches conducting at the graduate and undergraduate levels, and administers a choral program of 11 choirs. In 2006, he received two Grammy Awards (ÒBest

Choral PerformanceÓ and ÒBest Classical A l bum Ó) a s ch oru s m a s t e r f o r t h e critically acclaimed Naxos recording of William BolcomÕs monumental Songs of Innocence and of Experience.
In 2004, Dr. Blackstone was named Conductor and Music Director of the UMS Choral Union, a large community/ university chorus that frequently appears with the Detroit Symphony Orchestra and presents yearly performances of HandelÕs Messiah and other major works for chorus and orchestra. In March 2008, he conducted the UMS Choral Union and the Detroit Symphony Orchestra in a special performance of BachÕs St. Matthew Passion. Choirs prepared by Dr. Blackstone have appeared under the batons of Valery Gergiev, Neeme JŠrvi, Leonard Slatkin, John Adams, Helmuth Rilling, James Conlon, Nicholas McGegan, Rafael FrŸhbeck de Burgos, Peter Oundjian, Michael Tilson Thomas, and Itzhak Perlman.


This weekÕs concerts mark the San Francisco SymphonyÕs 14th and 15th appearances under UMS auspices. The SFS made its UMS debut in October 1980 under the baton of Edo de Waart at Hill Auditorium. The SFS most recently appeared in Ann Arbor with Michael Tilson Thomas in performance of MahlerÕs Symphony No. 9 in November 2013 at Hill Auditorium. The SFS and Michael Tilson Thomas were honored with UMS Distinguished Artist Awards at the 2010 Ford Honors Program. Maestro Michael Tilson Thomas makes his 17th and 18th appearances under UMS auspices this week, following his UMS debut in April 1988 leading the Pittsburgh Symphony Orchestra at the 95th May Festival at Hill Auditorium. Gil Shaham makes his fourth appearance under UMS auspices on Friday evening following his UMS debut in March 1994 as soloist in TchaikovskyÕs Violin Concerto in D Major performed with the Moscow Philharmonic at Hill Auditorium. Friday eveningÕs concert also marks the UMS Choral UnionÕs 426th appearance under UMS auspices, following its first appearance in December 1879.

Michael Tilson Thomas,
Music Director and Conductor
Herbert Blomstedt,
Conductor Laureate
Donato Cabrera,
Resident Conductor Ragnar Bohlin, Chorus Director Vance George,
Chorus Director Emeritus
Alexander Barantschik
Naoum Blinder Chair

Nadya Tichman
Associate Concertmaster San Francisco Symphony Foundation Chair
Mark Volkert
Assistant Concertmaster 75th Anniversary Chair
Jeremy Constant
Assistant Concertmaster
Mariko Smiley
Paula & John Gambs
Second Century Chair

Melissa Kleinbart
Katharine Hanrahan Chair
Yun Chu Sharon Grebanier* Naomi Kazama Hull In Sun Jang Yukiko Kurakata
Catherine A. Mueller Chair
Suzanne Leon Leor Maltinski Diane Nicholeris Sarn Oliver Florin Parvulescu Victor Romasevich Catherine Van Hoesen* Jeanelle Meyers  Elbert Tsai 
Dan Carlson
Principal Dinner & Swig Families Chair
Paul Brancato
Acting Associate Principal Audrey Avis Aasen.Hull Chair
John Chisholm
Acting Assistant Principal
Dan Nobuhiko Smiley
The Eucalyptus Foundation Second Century Chair
Raushan Akhmedyarova David Chernyavsky* Cathryn Down Darlene Gray* Amy Hiraga Kum Mo Kim Kelly Leon-Pearce Elina Lev
Isaac Stern Chair
Chunming Mo Polina Sedukh Chen Zhao Sarah Knutson  Dan Banner  Yuna Lee 
Jonathan Vinocour
Yun Jie Liu
Associate Principal
Katie Kadarauch
Assistant Principal
John Schoening
Joanne E. Harrington &
Lorry I. Lokey
Second Century Chair

Nancy Ellis Gina Feinauer David Gaudry David Kim Christina King Wayne Roden Nanci Severance Adam Smyla Matthew Young
Michael Grebanier*
Philip S. Boone Chair

Peter Wyrick
Associate Principal Peter & Jacqueline Hoefer Chair
Amos Yang
Assistant Principal
Margaret Tait
Lyman & Carol Casey
Second Century Chair

Barbara Andres
The Stanley S. Langendorf Foundation Second Century Chair
Barbara Bogatin Jill Rachuy Brindel
Gary & Kathleen Heidenreich Second Century Chair
SŽbastien Gingras David Goldblatt
Christine & Pierre Lamond Second Century Chair
Carolyn McIntosh*
Anne Pinsker
ShuYi Pai 
Karen Freer 

Scott Pingel
Larry Epstein
Associate Principal
Stephen Tramontozzi
Assistant Principal Richard & Rhoda Goldman Chair
S. Mark Wright
Lawrence Metcalf Second
Century Chair

Charles Chandler Lee Ann Crocker Chris Gilbert Brian Marcus William Ritchen
Tim Day
Caroline H. Hume Chair

Robin McKee
Associate Principal Catherine & Russell Clark Chair
Linda Lukas
Alfred S. & Dede Wilsey Chair
Catherine Payne
Barbara Chaffe 
Jonathan Fischer*
Associate Principal
Christopher Gaudi 
Acting Associate Principal
Pamela Smith
Dr. William D. Clinite Chair
Russ deLuna
English Horn Joseph & Pauline Scafidi Chair
Jeffrey Rathbun 
Carey Bell
William R. & Gretchen B.
Kimball Chair

Luis Baez
Associate Principal & E.flat Clarinet
David Neuman Jerome Simas
Bass Clarinet
Steve S‡nchez 
Stephen Paulson
Steven Dibner
Associate Principal
Rob Weir Steven Braunstein
Robert Ward
Nicole Cash
Associate Principal
Bruce Roberts
Assistant Principal
Jonathan Ring Jessica Valeri Kimberly Wright* Jeff Garza 
Mark Inouye
William G. Irwin Charity
Foundation Chair

Mark Grisez 
Acting Associate Principal Peter Pastreich Chair

Guy Piddington
Ann L. & Charles B. Johnson Chair
Jeff Biancalana
Timothy Higgins
Robert L. Samter Chair

Timothy Owner 
Acting Associate Principal
Paul Welcomer John Engelkes
Bass Trombone
Jeffrey Anderson
James Irvine Chair

Douglas Rioth
Jieyin Wu 
Alex Orfaly 
Acting Principal Marcia & John Goldman Chair
Jacob Nissly
Raymond Froehlich
Tom Hemphill
James Lee Wyatt III
Victor Avdienko 
Stan Muncy 
Artie Storch 

Robin Sutherland
Jean & Bill Lane Chair
Margo Kieser
Principal Librarian Nancy & Charles Geschke Chair
John Campbell
Assistant Librarian
Dan Ferreira 
Assistant Librarian
*On Leave
 Acting member of the San Francisco Symphony
The San Francisco Symphony string section utilizes revolving seating on a systematic basis. Players listed in alphabetical order change seats periodically.

Jerry Blackstone, Conductor and Musical Director Arianne Abela, Assistant Conductor
Jean Schneider and Scott VanOrnum,
Kathleen Operhall,
Chorus Manager Nancy Heaton, Librarian
Arianne Abela Camila Ballario Jamie Bott Debra Joy Brabenec Roberta Brehm Ann K. Burke Anne Busch Ann Cain-Nielsen Carol Callan Susan F. Campbell Susan Catanese Young Cho Cheryl D. Clarkson Marie Ankenbruck Davis Carrie Deierlein Kristina Eden Erin L. Scheffler Franklin Cynthia Freeman Jennifer Freese Karen Furuhjelm Cindy Glovinsky Keiko Goto Juyeon Ha Katharina Huang Karen T. Isble Emilia Jahangir Sakurako Fisher
Brent Assink
Executive Director
John Kieser
General Manager
Nicholas Winter
Director of Artistic Planning
Oliver Theil
Director of Communications
Rebecca Blum
Orchestra Personnel

Joyce Cron Wessling
Manager, Tours and Media Production
Nicole Zucca
Tours and Media Production Assistant
Tim Carless
Production Manager
Rob Doherty
Stage Manager
Dennis DeVost
Stage Technician
Roni Jules
Stage Technician
Jaclyn Johnson Ellen Kettler Patricia Lindemann Loretta Lovalvo Rebecca Marks Shayla McDermott Carole C. McNamara Jayme Mester Katherine Mysliwiec Tsukumo Niwa Amanda Palomino Christie Peck Sara J. Peth Margaret Dearden Petersen Julie Pierce Carolyn Priebe Kristen Reid Jane Renas Mary A. Schieve
Joy C. Schultz Sujin Seo Kristi Shaffer Stefanie Stallard Elizabeth Starr Jennifer Stevenson Abigail Stonerook Sue Ellen Straub Virginia A. Thorne-Herrmann # Barbara Hertz Wallgren Margie Warrick Barbara J. Weathers Mary Wigton *
Paula Allison-England Carol Barnhart Hannah Bingham Dody Blackstone Margy Boshoven Elim Chan Kathleen Evans Daly Carole DeHart Elise Demitrack Melissa Doyle Sarah Fenstermaker Norma Freeman Rebecca Fulop Marie Gatien Johanna Grum Kat Hagedorn Linda Hagopian Sook Han Nancy Heaton Carol Kraemer Hohnke Sue Johnson Mimi Lanseur Amanda Leggett Jean Leverich Cynthia Lunan Karla K. Manson # Sandra Lau Martins Elizabeth Mathie Beth McNally Marilyn Meeker * Carol Milstein Lisa Murray Jane Lewy Mykytenko Sile OÕModhrain Kathleen Operhall Lauren Tian Park Hanna Martha Reincke Susan Schilperoort Ruth Senter Cindy Shindledecker Susan Sinta Hanna Song Katherine Spindler Gayle Beck Stevens Isabel Suarez Liyan Sun Ruth A. Theobald Carrie Throm Alice E. Tremont Barbara Trevethan Cheryl Utiger Alice VanWambeke Cynthia Weaver Mary Beth Westin Sandra K. Wiley Joyce Wong Susan Wortman Allison Anastasio Zeglis
Matthew Abernathy Achyuta Adhvaryu Gary Banks Adam Begley Joseph Bozich John R. Diehl Fr. Timothy J. Dombrowski Steven Fudge * Carl Gies Randy Gilchrist Arthur Gulick Peter Henninger-Osgood Marius Jooste Bob Klaffke Mark A. Krempski # Scott Langenburg Chris Petersen Ray Shuster Carl Smith Robert J. Stevenson Raymond Strobel Patrick Tonks Trevor Young Lawrence Zane
Sam Baetzel William Baxter Robert Boardman William Boggs # Walker Boyle Kyle Cozad George Dentel John Dryden Robert Edgar Jeffrey Ellison Don Faber Kevin Fitzgerald Greg Fleming Robert R. Florka Kenneth A. Freeman Christopher Friese Christopher Hampson James Head Benjamin Henri Robert Heyn Jorge Iniguez-Lluhi Sunho Lee Roderick Little Joe Lohrum Joseph D. McCadden James B. McCarthy Nic Mishler Tristan Rais-Sherman Travis Ratliff Eli Rhodenhiser James Cousins Rhodenhiser Evaristo Rodriguez Paul C. Schultz John Selby William Shell Robert Shereda David Sibbold Donald Sizemore * William Stevenson Thomas L. Trevethan Paul Venema James Watz
*section leader #section coach


TonightÕs program will be announced from the stage by the artists and will be performed without intermission.
This eveningÕs performance is supported by The Sarns Family.
Endowed support from the JazzNet Endowment Fund.
Media partnership provided by WEMU 89.1 FM, WDET 101.9 FM, and Ann ArborÕs 107one FM.
Bob James appears by arrangement with Monterey International.

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n a career that spans five decades, BOB JAMES has produced an impressive body of work. Over 30 solo albums and collaborations have resulted in 15 Grammy nominations plus innumerable awards, beginning in 1962 at the Notre Dame Jazz Festival and most recently with the George Benson Lifetime Achievement Award in April 2006. In between there has been ÒJazz Artist of the Year,Ó ÒJazz Producer of the Decade,Ó #1 jazz radio hits and five #1 tracks on the Billboard Jazz Charts. His first four albums were produced by Creed Taylor on his CTI label. At CBS, another 14 solo albums were released in the 1970s and 1980s before Mr. JamesÕ move to Warner Bros. There, while Vice President of A&R, 10 more titles were produced and released by Mr. James in the 1980s, Õ90s,
and into the 21st century.
One On One, featuring Bob James and Earl Klugh, and Double Vision, with Bob James and David Sanborn, won the Grammy Award and sold in excess of one million copies each. Mr. James composed the theme song for the television series Taxi as well as all-original music for the showÕs entire run. ÒAngela (Theme from Taxi)Ó is recognized by ASCAP as one of the top 10 series themes in television history. In addition to jazz recording, Mr. James has composed for Broadway, including Hapgood by Tom Stoppard, directed by Jack OÕBrien, and Hamlet, directed by Kevin Kline.
Since Bob James founded Fourplay in 1991, the group has recorded 10 albums of its own, sold millions of copies, toured the world, and was nominated in 2004 for a Grammy Award for their recording Journey. The groupÕs tenth album (X), released in August 2006, was also a Grammy nominee.
An unexpected but very successful component of Mr. JamesÕ career is his popularity with the industryÕs top rappers. Samples of his 1970Õs and 1980Õs compositions and recordings have been used by rap artists as early as Grandmaster Flash and DJ Jazzy Jeff & the Fresh Prince on to Run-DMC, LL Cool J, Warren G, and Jamie Foxx. In 2007 alone, Jay-Z, Guru, Consequence, and Busta Rhymes have all used his samples.
Bob James is an alumni of the University of Michigan School of Music, Theatre & Dance where he earned both a bachelor of music degree and a masters in music composition. He was recently recognized with the U-M School of Music, Theatre & Dance 2014 Hall of Fame Alumni Award.

UMS welcomes Bob James who makes his UMS debut this evening. Guitarist Perry Hughes, a Detroit native and resident, makes his second UMS appearance following his UMS debut as a soloist in From Cass Corridor to the World: A Tribute to DetroitÕs Musical Golden Age in January 2013 at Hill Auditorium. UMS welcomes the three other members of tonightÕs quintet as they make their UMS debuts this evening.


Wednesday Evening, November 19, 2014 at 7:30 Hill Auditorium ¥ Ann Arbor
Uke Nations Tour
with Nolan Verner, Bass
19th Performance of the 136th Annual Season Global Series
Photo: Jake Shimabukuro; photographer: Merri Cyr.


Uke Nations Tour
TonightÕs program will be announced from the stage by Mr. Shimabukuro and will be performed without intermission.
This eveningÕs performance is hosted by Dody Viola.
Media partnership is provided by Michigan Radio 91.7 FM, Ann ArborÕs 107one FM, and WEMU 89.1 FM.
Mr. Shimabukuro appears by arrangement with The Agency Group.


n his young career, ukulele wizard JAKE SHIMABUKURO has already redefined a heretofore under-the.radar instrument, been declared a musical ÒheroÓ by Rolling Stone, won accolades from the disparate likes of Eddie Vedder, Perez Hilton, and Dr. Sanjay Gupta, wowed audiences on television (Jimmy Kimmel, Conan), earned comparisons to Jimi Hendrix and Miles Davis, and even played
in front of the Queen of England.
With his new record Grand Ukulele,
Mr. ShimabukuroÕs star may burn even
brighter. An ambitious follow-up to 2011Õs
Peace, Love, Ukulele (which debuted at
#1 on the Billboard World Charts), the
Hawaiian musicianÕs new record finds him
collaborating with legendary producer/
engineer Alan Parsons, best known for
his work on Pink FloydÕs Dark Side of the
Moon, The BeatlesÕ Abbey Road, and his
own highly successful solo project.
Given that Jake Shimabukuro first
won acclaim for a YouTube video of him
covering George HarrisonÕs ÒWhile My
Guitar Gently Weeps,Ó itÕs no surprise that Grand Ukulele features a number of wonderful reinterpretations, including StingÕs ÒFields of GoldÓ and, most prominently, AdeleÕs ÒRolling in the Deep,Ó a seemingly ubiquitous song given new life on the four-string.
This fall Mr. Shimabukuro embarks on a 30-city tour, performing primarily solo concerts. ÒSomeday IÕd love to tour with a full orchestra, but these solo shows will be fun, especially since we arranged them so the new songs can stand on their own,Ó he says.
For Mr. Shimabukuro, Grand Ukulele feels like the next step in a career that really started at the age of four when he first picked up the instrument, through a successful local career in Hawaii, and his first brush with fame on YouTube. Now, heÕs a respected, popular musician looking to make a lasting musical mark.
For further information, please visit
UMS welcomes Jake Shimabukuro who makes his UMS debut tonight.


Johannes Brahms
Sonata No. 2 in A Major, Op. 100
Allegro amabile Andante tranquillo Allegretto grazioso (quasi Andante)
Robert Schumann

Sonata No. 2 in d minor, Op. 121
Ziemlich langsam Ñ Lebhaft
Sehr lebhaft
Leise, einfach

Maurice Ravel

Sonata for Violin and Piano (Posthume)
Ottorino Respighi

Sonata for Violin and Piano in b minor
Moderato Andante espressivo Passacaglia: Allegro moderato, ma energico
This afternoonÕs performance is sponsored by Retirement Income Solutions and by Sesi Lincoln.
Media partnership is provided by WGTE 91.3 FM and WRCJ 90.9 FM.
The Steinway piano used in this afternoonÕs recital is made possible by the William and Mary Palmer

Endowment Fund.

Special thanks to Tom Thompson of Tom Thompson Flowers, Ann Arbor, for his generous contribution of
floral art for this afternoonÕs recital.
Leonidas Kavakos records exclusively for Decca.
Yuja Wang records exclusively for Deutsche Grammophon.
Leonidas Kavakos and Yuja Wang appear by arrangement with Opus 3 Artists.


The program chosen by Leonidas Kavakos and Yuja Wang juxtaposes two pairs of composers, one from the 19th century and one from the 20th. In the first case, we have two masters from the same country belonging to different generations: SchumannÕs role in launching BrahmsÕs career is well known and doesnÕt need to be rehearsed here. In the second case, we have two masters from different countries belonging to the same generation: in the works of both Ravel and Respighi, born just four years apart, we find a special Mediterranean sensitivity that contrasts with the Germanic establishment represented by Brahms and Schumann. Both the Frenchman and the Italian had extremely refined senses of color, and they were both responsive to extra-musical images (as well as early music).
Our recital, then, offers a rather varied sample of violin-and-piano music; we may expect the performance of these two world-class soloists to combine the intimacy of chamber music with a brilliance that only the greatest musicians can display.

Sonata No. 2 in A Major, Op. 100 (1886)
Johannes Brahms Born May 7, 1833 in Hamburg, Germany Died April 3, 1897 in Vienna
UMS premiere: Violinist Joseph Szigeti and pianist Nikita de Magaloff, December 1934 in Hill Auditorium.
The Treaty of Bucharest ends the Serbo-Bulgarian War in the Balkans

Spain abolishes slavery in Cuba

Karl Benz patents the first successful gasoline-driven automobile, the Benz Patent Motorwagen

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

Wilhelm Steinitz becomes first recognized World Chess Champion

If the first sonata was an ÒappendixÓ to the Violin Concerto, the second, written in 1886, can be seen as a ÒpreludeÓ to his Double Concerto. The opus numbers reveal a most remarkable sequence of works: Sonata for cello and piano in F, Op. 99 Ñ Sonata for violin and piano in A, Op. 100 Ñ Trio for violin, cello and piano in c minor, Op. 101 Ñ Double Concerto for violin, cello and orchestra in a minor, Op. 102. It seems as though Brahms was systematically exploring the various combinations of the violin and the cello first with piano and then with orchestra.
To an earlier generation of musicians, the opening motif of the Sonata No. 2 was symbolic of the fact that the gulf between Brahms and Wagner was not as deep as a still earlier generation had believed. The resemblance between this theme and WagnerÕs ÒPrize SongÓ from Die Meistersinger von NŸrnberg is in fact too great to go unnoticed. Still, some modern commentators prefer to point to another allusion, this time to one of BrahmsÕs own songs, ÒWie Melodien zieht es mir leise durch den SinnÓ (It goes softly through my mind like music), in the second theme that follows soon after the first. What cannot be doubted are the song-like melodies that constantly evoke vocal memories (real or putative). A contrast in character is finally provided by the third theme, a striking rhythmic idea. These themes presented in the exposition (plus a fourth one that grows organically from the opening) dominate the development section and the recapitulation.
The second movement is really two movements in one: it starts with a tender
ÒAndante tranquillo,Ó only to be disrupted early on by a ÒVivaceÓ that plays the role of a scherzo. The ÒAndanteÓ returns in a modified form, followed by an even more playful variant of the scherzo (the violin plays pizzicato and the piano matches that sound with its own short and light staccato notes). A brief recall of both the slow and the fast themes concludes this unusual movement.
The finale returns to the singing lyricism of the opening. Remarkably understated for a finale, it is all dolce and espressivo, and even the tempo is on the slow side (ÒAllegretto grazioso quasi AndanteÓ). Some people have speculated that the warm intimacy of this music has something to do with the warm feelings Brahms had for the young singer Hermine Spies at the time. This is of course pure conjecture, just like the Wagner connection in the first movement Ñ but like that connection, it provides food for thought and an intriguing associative framework for the sonata.

Sonata No. 2 in d minor, Op. 121
Robert Schumann Born June 8, 1810 in Zwickau, Saxony Died July 29, 1856 in Endenich, nr. Bonn,
UMS premiere: Violinist Anne.Sophie Mutter and pianist Lambert Orkis, February 1995 in Hill Auditorium.
The New York Times is founded

Herman MelvilleÕs novel Moby-Dick; or The Whale is published in the US

The Library of Congress in Washington, DC, burns

The Great Exhibition in London is closed

Northwestern University is founded in Illinois

All three of SchumannÕs violin sonatas date from the last years of his creative life, that final burst of hectic activity that preceded his attempted suicide and mental collapse early in 1854. They were composed relatively fast. The first sonata was drafted in a matter of days. The second, heard at this afternoonÕs concert, took all of three weeks, and the third one was finished in about the same amount of time. In his late works, Schumann combined the intense Romantic passion of his youth with a newfound structural rigor where e v er y thing deriv es organically from a very small number of motivic cells. The four movements of the d-minor sonata are all based on a motif composed of the notes of the d-minor triad in the order D-A-F-D. This sequence of notes, as commentators have pointed out, corresponds to the name of the violinist to whom the piece was dedicated, Ferdinand David. David, the concertmaster of the Leipzig Gewandhaus, was a close friend of both Schumann and Mendelssohn; the latter had written his e-minor Violin Concerto for him.
Out of the rather plain triadic idea suggested by DavidÕs name, Schumann constructed an extremely diverse work, highly virtuosic, emotionally profound, and rather sophisticated in its use of harmony and rhythm. If the name predetermined the d-minor tonality, Schumann took full advantage of dramatic associations that came with that key. The opening movement begins with a tightly wrought introduction in a slow tempo, followed by a fast section bursting with energy. The D-A-F-D motif is present both in its original form and in a modified version where its rhythmic outline (four half-notes) is retained but the actual pitches may change. In later movements, Schumann sometimes used that rhythmic outline by itself, which proved sufficient to unify the work motivically.
The second movement is a scherzo with two trios, where the four-note theme is never far from the surface. Near the end of the movement, Schumann suddenly reveals the kinship of his theme with the chorale melody Mendelssohn had used in the last movement of his Piano Trio in c minor: it is a quote that was possibly intended as a memorial for Mendelssohn, who passed away four years earlier.
Another chorale-like derivative of the four-note theme appears as the melody of the slow third movement. This theme also recalls the opening of SchumannÕs ÒSpring SymphonyÓ of 1841 Ñ except the melody sounds quiet and subdued here: the violin plays pizzicato (plucking the strings), and the piano uses the soft pedal. In the course of a set of variations on this theme, the accompaniment keeps changing while the melody stays the same. Because of all the motivic links among the movements, a quote from the scherzo blends in naturally with the surrounding music.
In the tempestuous finale, Schumann discovers still more possibilities to exploit his core motivic idea, deriving from it a new theme which is constantly repeated, varied and developed as the momentum keeps increasing. Just before the end, the key changes from d minor to D major, allowing the sonata to end on a bright and exuberant note.

Sonata for Violin and Piano
(Posthume)(1897) Maurice Ravel Born March 7, 1875 in Ciboure, Basses
PyrŽnŽes, France Died December 28, 1937 in Paris
UMS premiere: RavelÕs first Sonata has never been performed on UMS recital.
The Stars and Stripes Forever, the American patriotic march by John Philip Sousa, is performed for the first time

The first Boston Marathon is held, with 15 men competing

Oscar Wilde is released from prison

The Oldsmobile is founded in Lansing, MI by Ransom E. Olds

It was during the centennial year of RavelÕs birth in 1975 that this previously unknown sonata, a student work, first came to light. It was written 30 years before RavelÕs well-known violin sonata, yet both works were inspired by the same violinist: George Enescu, who, by 1927, was an international celebrity; back in 1897, he was a 16-year-old prodigy from Romania studying at the Paris Conservatoire where he met Ravel, six years his senior, in Gabriel FaurŽÕs composition class.
Despite some obvious influences from FaurŽ and CŽsar Franck, the sonata already shows the imprint of RavelÕs emerging musical personality. (Commen ta tors ha v e no ted the resemblance between the opening themes of this sonata and the Piano Trio of 1914.) The piece follows a somewhat academic sonata form, yet the chords proceeding in parallel motion, the use of modal scales, and the many rhythmic irregularities producing a sense of freedom give the work a singularly ÒfloatingÓ feeling, less openly goal-oriented than many German sonatas. The initial form of the main theme, which culminates in a series of high harmonics on the violins, returns at the very end, creating a pair of musical bookends of sorts, between which the thematic development of the work unfolds.

Sonata for Violin and Piano in b minor (1917)
Ottorino Respighi Born July 9, 1879 in Bologna, Italy Died April 18, 1936 in Rome
UMS premiere: Violinist Anne.Sophie Mutter and pianist Lambert Orkis, February 2000 in Hill Auditorium.
The US declares war on Germany

Jesse Lynch WilliamsÕ Why Marry?, the first dramatic play to win a Pulitzer Prize, opens

Jeannette Rankin of Montana becomes the first woman member of the US House of Representatives

J.R.R. Tolkien, on medical leave from the British Army, begins writing The Book of Lost Tales

Ella Fitzgerald is born

Originally trained as a violinist, the 21-year-old Ottorino Respighi landed a job in the orchestra of the Bolshoi Theater in Moscow, and travelled from there to St. Petersburg for lessons in composition and orchestration with Nikolai Rimsky-Korsakov. He became a master of the modern orchestra and the first Italian composer in a long time to achieve renown outside the opera house (although he did write operas as well). He responded to the innovations of his contemporaries Debussy and Stravinsky, and combined these foreign influences with a genuine Italian sensitivity in his celebrated tone poems about Rome. In addition, he was an early champion of the revival of early music, arranging Renaissance and Baroque originals in his three sets of Ancient Airs and Dances.
RespighiÕs chamber music is less well known as his orchestral works, but the b-minor violin sonata (written, incidentally, the same year as DebussyÕs violin sonata) shows many of his greatest strengths: lush instrumental writing, great Italianate singing melodies, and harmonies tinged with French impressionistic influences. The concluding passacaglia bears witness to the emerging neo-Baroque tendencies in European music; the sonata, after all, is also an exact contemporary of RavelÕs Tombeau de Couperin. Although RespighiÕs first instrument was the violin, he played the piano well enough to join his old violin teacher Federico Sarti at the first performance, which took place in Bologna in March 1918.
The first-movement ÒModeratoÓ begins with an expressive and freely mod ulatin g vio lin m elody that is extensively developed and becomes agitato and con passione before too long. As the music grows in emotional intensity, Respighi begins to experiment with polyrhythmic groupings that were highly unusual at the time: three notes against five, six against seven, etc. These are perceived by the listener as a kind of tempo rubato (free rhythm) in which the relationship between melody and accompaniment is always fluid, or as a source of conflict and turmoil that has to be, and will be, resolved by the end of the movement.
These polyrhythmic procedures continue in the second movement, where the lyrical melody is set off by highly irregular figurations underneath. As before, the music moves from espressivo to appassionato and back. The ÒpassionateÓ section culminates in an outburst for violin marked Òcome una cadenza,Ó leading to the restatement of the expressive violin melody.
As mentioned before, the last movement is a passacaglia Ñ a set of variations over a bass melody. The theme evokes the Baroque and departs from it at the same time: it is 10-measures long instead of the expected eight and emphasizes the lowered second degree (the so-called Neapolitan) in a way not seen in Baroque music, while the dotted rhythm carries definite Baroque associations. At first, the repeats of the bass line are as literal as can be, and the variations are within the bounds of tradition. The later variations are much freer as key and tempo undergo ever-greater changes (Allegro molto, Lento).

The thundering octaves in the bass, which give the piece a majestic character, are replaced by lighter textures, but they return just before the end to give the conclusion a truly grandioso character.
Program notes by Peter Laki.
UJA WANG is widely recognized as one of the most important artists of her generation. She has performed with many of the worldÕs prestigious orchestras including those of Boston, Chicago, Cleveland, Los Angeles, New York, Philadelphia, San Francisco, and Washington, in the US, and abroad with the Berlin Staatskapelle, China Philharmonic, Filarmonica della Scala, Israel Philharmonic, London Symphony, Orchestre de Paris, Orquesta Nacional de Espa–a, Sim—n Bol’var Symphony Orchestra, the NHK Symphony in Tokyo, Royal Concertgebouw Orchestra, and Santa Cecilia. Conductors with whom she has collaborated include Claudio Abbado, Barenboim, Dudamel, Dutoit, Gatti, Gergiev, Franck, Inkinen, Maazel, Mehta, Masur, Pappano, Salonen, Temirkanov, and Tilson Thomas. Yuja regularly gives recitals throughout Asia, Europe, and North America, and appears at summer chamber music festivals.
This season Yuja is artist-in.r e s i d e n c e with ZurichÕs Tonhalle Orchestr a, a p pearing with Lionel Bringuier and a final week with Dudamel. She will also be featured in a two-week residency with the Hong Kong Philharmonic. Yuja performs ProkofievÕs Concerto No. 2 with both the Berlin and Munich Philharmonics and returns to the Concertgebouw to work with Mariss
Janssons. In the US she is featured soloist
on the London Symphony Orchestra tour
with Tilson Thomas. Yuja also continues
her recital touring, worldwide.
An exclusive recording artist for Deutsche Grammophon, YujaÕs catalogue includes three sonata recordings, a concerto recording with Abbado and the Mahler Chamber Orchestra, and a recording of Prokofiev and Rachmaninoff with Dudamel and the Sim—n Bol’var Symphony Orchestra. Most recently Yuja recorded the Brahms violin sonatas with Leonidas Kavakos for Decca Records.
Yuja studied a t the Cen tr al Conservatory of Music in Beijing with Ling Yuan and Zhou Guangren, the Mount Royal Conservatory in Calgary, and the Curtis Institute of Music in Philadelphia with Gary Graffman. In 2010 she received the prestigious Avery Fisher Career Grant.
GramophoneÕs ÒArtist of the Year
2014,Ó is recognized across the world as a violinist and artist of rare quality, known at the highest level for his virtuosity, superb musicianship, and the integrity of his playing.
Mr. Kavakos gained international attention in his teens, when he won the Sibelius Competition in 1985 and, three years later, the Paganini and Naumburg competitions. He has since developed close relationships with the worldÕs major orchestras and conductors, such as the Berliner Philharmoniker/Rattle, Royal Concertgebouw/Jansons, London Symphony Orchestra/Gergiev and Gewandhausorchester Leipzig/Chailly. In the US, he performs regularly with the New York Philharmonic, Boston, and Chicago Symphony Orchestras, Philadelphia Orchestra, and Los Angeles Philharmonic.
Mr. Kavakos has now established a strong profile as a conductor and has worked with the symphony orchestras of Boston, Atlanta, and St. Louis; DSO-Berlin, Orchestre Philharmonique de Radio France, Chamber Orchestra of Europe, Vienna Symphony, Budapest Festival, Finnish Radio Symphony Orchestra, and Rotterdam Philharmonic. In the current season he returns as conductor to the Boston Symphony Orchestra and Royal Stockholm Philharmonic, and makes conducting debuts with the Russian State Symphony and Maggio Musicale Fiorentino orchestras.
As a chamber musician and recitalist, Mr. Kavakos a ppears often at the Verbier, Montreux-Vevey, Bad Kissingen, Edinburgh, and Salzburg Festivals. For 15 years he also curated a chamber music cycle at the Athens Megaron Concert Hall in his native Greece.
Leonidas Kavakos is an exclusive Decca recording artist and his first release on the label, the complete Beethoven violin sonatas with Enrico Pace, was nominated for a 2014 Grammy Award and garnered him the 2013 ECHO Klassik ÒInstrumentalist of the YearÓ award. The duo has presented the complete cycle at Carnegie Hall, Salzburg Festival, Amsterdam Concertgebouw, in Hong Kong, and Shanghai, and at the Beethovenfest Bonn. His second disc with Decca (October 2013) was the Brahms Violin Concerto recorded with t h e G ew an d h au s o r c h e s t e r L e i p z i g and Riccardo Chailly. His most recent recording, of BrahmsÕs violin sonatas with Yuja Wang, was released in spring 2014. Mr. Kavakos and Yuja Wang will give a series of duo recitals in North America and will perform the sonatas on tour throughout Europe in the coming season.

This afternoonÕs recital marks Yuja WangÕs third appearance under UMS auspices. Yuja Wang made her UMS debut in recital in January 2008 as piano soloist at Hill Auditorium. She most recently appeared in Ann Arbor in October 2011 in recital at Hill Auditorium. UMS welcomes Leonidas Kavakos who makes his UMS debut this afternoon.


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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 ApolloÕs Fire & ApolloÕs Singers Michigan League Henderson Room, Thursday, November 6, 2014, 7 pm Third Floor St. Francis of Assisi Church Parish Activities Center

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

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

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

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

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

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

Proudly Supports the
y M
l Soci
610 Hilton Blvd|Ann Arbor, MI 48108

(734) 761-7800|
Information on WKAR Support

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

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

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

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

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

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

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

Great performances should stir emotion. Retirement planning should not.

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

© 2014 Retirement Income Solutions is an Independent Investment Advisor.

Celebrating 136 Successful Seasons

proud supporter of

P: 734.222.4776 ¥ F: 734.222.4769

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

The success of UMS is secured in part by income from UMS endowment funds. You may contribute to an existing endowment fund or establish a named endowment with a minimum gift of $25,000. We extend our deepest appreciation to the many donors who have established and/or contributed to the following funds:
H. Gardner and Bonnie Ackley Endowment Fund Herbert S. and Carol Amster Endowment Fund Catherine S. Arcure Endowment Fund Carl and Isabelle Brauer Endowment Fund Dahlmann Sigma Nu Endowment UMS Fund Hal and Ann Davis Endowment Fund Doris Duke Charitable Foundation
Endowment Fund John R. and Betty B. Edman Endowment Fund Epstein Endowment Fund Ilene H. Forsyth Endowment Fund Anne and Paul Glendon Endowment Fund Susan and Richard Gutow Renegade Ventures
Endowment Fund George N. and Katherine C. Hall
Endowment Fund Norman and Debbie Herbert Endowment Fund David and Phyllis Herzig Endowment Fund JazzNet Endowment Fund William R. Kinney Endowment Fund Wallis Cherniack Klein Endowment for
Student Experiences
Dr. and Mrs. Jerry Kolins Shakespearean Endowment Fund Frances Mauney Lohr Choral Union
Endowment Fund Natalie Matovinovi. Endowment Fund Medical Community Endowment Fund Dr. Robert and Janet Miller Endowment Fund NEA Matching Fund Ottmar Eberbach Funds Palmer Endowment Fund Mary R. Romig-deYoung Music
Appreciation Fund Prudence and Amnon Rosenthal K-12
Education Endowment Fund Charles A. Sink Endowment Fund Herbert E. and Doris Sloan Endowment Fund James and Nancy Stanley Endowment Fund Susan B. Ullrich Endowment Fund UMS Endowment Fund The Wallace Endowment Fund The Zelenock Family Endowment Fund
FALL 2014
We are grateful to the following donors for including UMS in their estate plans. These gifts will provide financial support to UMS for generations to come. For more information, please contact Margaret McKinley at 734.647.1177.
Anonymous Bernard and Raquel Agranoff Mike Allemang Carol and Herb Amster Neil P. Anderson Dr. and Mrs. David G. Anderson Catherine S. Arcure Barbara K. and
Laurence R. Baker Rodney and Joan Bentz Kathy Benton and
Robert Brown Linda and Maurice Binkow Elizabeth S. Bishop Mr. and Mrs. W. Howard Bond Mr. and Mrs. Pal E. Borondy Barbara Everitt Bryant Pat and George Chatas Mr. and Mrs. John Alden Clark Mary C. Crichton Alan and Bette Cotzin Penny and Ken Fischer Susan Ruth Fisher Meredith L. and Neal Foster Thomas and Barbara Gelehrter Beverley and Gerson Geltner Anne and Paul Glendon Debbie and Norman Herbert Rita and Peter Heydon John and Martha Hicks Gideon and Carol Hoffer Marilyn G. Jeffs Thomas C. and
Constance M. Kinnear Diane Kirkpatrick Dr. and Mrs. Jerry Kolins Frank Legacki and Alicia Torres Leo and Kathy Legatski Richard LeSueur Robert and Pearson Macek Susan McClanahan Joanna McNamara
M. Haskell and
Jan Barney Newman Len Niehoff Dr. and Mrs. Frederick OÕDell Mr. and Mrs. Dennis M. Powers Mr. and Mrs. Michael Radock Mr. and Mrs. Jack Ricketts Prue and Ami Rosenthal Irma J. Sklenar Art and Elizabeth Solomon Hildreth Spencer Louise Taylor Roy and JoAn Wetzel Ann and Clayton Wilhite Max Wicha and Sheila Crowley Marion Wirick Mr. and Mrs. Ronald G. Zollar

Your bank.
For community.

Proud to support the
University Musical Society.

Member FDIC 0112 069

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

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

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

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
20 Jewish Family Services
28 Kensington Court
28 Knight's
22 Mainstreet Ventures 8 Mark Gjukich Photography
39 Maryanne Telese, Realtor
34 Michigan Psychoanalytic Institute
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8 Michigan Radio
36 Old National Bank
34 Real Estate One
48 Red Hawk and Revive + Replenish
32 Retirement Income Solutions
24 Silver Maples of Chelsea
34 Smith Haughey Rice & Roegge
48 Tom Thompson Flowers
44 U-M Alumni Association
20 UMS Prelude Dinners

IBC = Inside back cover

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cafŽ w
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market w beer á wine á essential groceries
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