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UMS Concert Program, January 17-25, 2015: Eighth Blackbird; Compagnie Marie Chouinard; Mariinsky Orchestra

UMS Concert Program, January 17-25, 2015: Eighth Blackbird; Compagnie Marie Chouinard; Mariinsky Orchestra image UMS Concert Program, January 17-25, 2015: Eighth Blackbird; Compagnie Marie Chouinard; Mariinsky Orchestra image UMS Concert Program, January 17-25, 2015: Eighth Blackbird; Compagnie Marie Chouinard; Mariinsky Orchestra image UMS Concert Program, January 17-25, 2015: Eighth Blackbird; Compagnie Marie Chouinard; Mariinsky Orchestra image UMS Concert Program, January 17-25, 2015: Eighth Blackbird; Compagnie Marie Chouinard; Mariinsky Orchestra image UMS Concert Program, January 17-25, 2015: Eighth Blackbird; Compagnie Marie Chouinard; Mariinsky Orchestra image UMS Concert Program, January 17-25, 2015: Eighth Blackbird; Compagnie Marie Chouinard; Mariinsky Orchestra image UMS Concert Program, January 17-25, 2015: Eighth Blackbird; Compagnie Marie Chouinard; Mariinsky Orchestra image UMS Concert Program, January 17-25, 2015: Eighth Blackbird; Compagnie Marie Chouinard; Mariinsky Orchestra image UMS Concert Program, January 17-25, 2015: Eighth Blackbird; 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Compagnie Marie Chouinard; Mariinsky Orchestra image
Day
17
Month
January
Year
2015
Rights Held By
University Musical Society
OCR Text

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UMS PROGRAM BOOK
WINTER 2015

UNIVERSITY OF MICHIGAN | ANN ARBOR

BE A

VICTOR FOR
THE ARTS.

AND INSPIRE A LIFETIME OF
CREATIVE DISCOVERY

Invest in the future of our community
by supporting UMS today.
Please send your gift to:
UMS Development
Burton Memorial Tower
881 North University Avenue
Ann Arbor, MI 48109-1011
or call 734.764.8489 or go to ums.org/support

23

12

Be
Present.
UMS unleashes the power of the performing arts in
order to engage, educate, transform, and connect individuals with uncommon experiences. The
Winter 2015 Season is full of exceptional, world-class,
and truly inspiring performances.
WELCOME TO THE UMS EXPERIENCE.
WEÕRE GLAD YOUÕRE PRESENT.
ENJOY THE PERFORMANCE.

WELCOME.

ÒOne of the many treasures of the University of Michigan that my wife, Monica, and I greatly enjoy 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 traditionÓ
MARK SCHLISSEL
President, University of Michigan

ÒThank you for joining us at this performance. One of the most exciting features of UMS is our deepened engagement with U-M students and faculty through new programs like our Engaging Performance course, Mellon Faculty Institute, UMS in the Curriculum, 21st Century Artist Internships, and other initiatives. You can learn more about these programs at ums.org/learn. On our site you can also learn about our Emmy Award-winning documentary on Hill Auditorium, discover Night School, link to our amazing online archive UMS Rewind, and share your views about todayÕs performance. You can also see the list of the other performances and events awaiting you this winter season on page 7. If I can ever be of assistance, please get in touch with me at kenfisch@umich.edu or at 734.647.1174Ó
KENNETH C. FISCHER
UMS President

ÒUMS is in its 136th season as an arts presenter, the oldest university-based arts presenting organization in the US. I am extremely honored to be serving in 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, UMS can continue to be, as Wynton Marsalis has written, Ôour countryÕs finest presenting organizationÉand the standard bearers of excellenceÕ. Ó
STEPHEN G. PALMS
Chair, UMS Board of Directors

CONNECTING
AUDIENCES & ARTISTS
IN UNCOMMON & ENGAGING EXPERIENCES.

We want you to use this guide as a resource. Dig deeper. Get to know the artists. Figure out how it all comes together. We believe that the performing arts are extraordinary on their own, but we encourage you to explore, gain perspective, and understand the depth behind the experience. This book is designed to help you learn more about UMS, the community, and the artists on stage.

WINTER 2015 SEASON CALENDAR.
EDUCATION.
HISTORY.

BE PRESENT.

7
8
10

UMS LEADERSHIP DONORS.
UMS CORPORATE CHAMPIONS.
FOUNDATION, GOVERNMENT, AND UNIVERSITY SUPPORT.

LEADERSHIP.

12
14
19

21

THE EVENT PROGRAM.

THE EXPERIENCE.
THE PERFORMANCES.

LEADERSHIP.
SUPPORT.

PEOPLE.
GENEROUS UMS DONORS.

25
33

GENERAL INFO.

HOW TO BUY TICKETS.
POLICIES.
GETTING INVOLVED.

47
49

51

JOIN THE
CONVERSATION.
Like the performance?
Want to learn more?
Care to give feedback?
Want to connect with others?

JUST VISIT
UMSLOBBY.ORG.

BE PRESENT

WINTER 2015 SEASON CALENDAR.

7-11 Helen & Edgar
17 eighth blackbird
18 National Theatre Live: JOHN
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 50th Anniversary Celebration:
The Campbell Brothers perform John ColtraneÕs A Love Supreme
21-22 Trisha Brown Dance Company
22 National Theatre Live: Treasure Island

8 Stratford Festival in HD: King Lear
1 2-13 A Bill Frisell Americana Celebration
1 3-14 Kyle Abraham
Abraham.In.Motion
15 RSC Live in HD: Love's Labour's Lost
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 Chick Corea and Herbie Hancock
17 Oliver Mtukudzi and the Black Spirits
19 Artemis Quartet
22 RSC Live in HD: Much Ado About Nothing (aka Love's Labour's Won)
23 Seoul Philharmonic Orchestra
Myung-Whun Chung, conductor
Sunwook Kim, piano
24-26 Lyon Opera Ballet
Cinderella
26 Richard Goode, piano

JAN

FEB

WINTER 2015 SEASON CALENDAR.

MAR

APR

Artists, programs, and dates are subject to change.
Please visit www.ums.org for an up-to-date season calendar.
To learn more, see video previews, get in-depth performance descriptions,
and buy tickets, visit www.ums.org.

7

UMS

IMMERSE YOURSELF.

WINTER 2015

UMS EDUCATION
EXPERIENCES.
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 to expand your comfort zone. If you want to experience something new, different, highly engaging, and eye-opening, we encourage you to be present. Just look for the "Learn" icon.

EDUCATION.

UMS.ORG/LEARN

Photo: Timothy Krohn, orchestra director for Ann Arbor Huron High School, conducts during a school visit by ApolloÕs Fire, November 2014; photographer: Peter Smith Photography.

8

UMS EDUCATIONAL &
COMMUNITY ENGAGEMENT EVENTS

NIGHT SCHOOL:
CURIOUS ABOUT DANCE
Mondays, 7-8:30 pm
February 2-March 16, 2015 (no class on March 2)
U-M Alumni Center FounderÕs Room
(200 Fletcher Street, Ann Arbor)
For some, dance can seem like a mystery. For others, dance unlocks sights, sounds, ideas, and emotions unlike any other art form. How do you experience dance? On the heels of last seasonÕs popular UMS Night School: Bodies in Motion series, this yearÕs edition of Night School continues to explore dance. Both newcomers and dance aficionados alike are invited to build knowledge about dance and meet others who share an interest in the art form.
Hosted by Clare Croft, assistant professor of dance at the University of Michigan, these 90-minute ÒclassesÓ combine conversation, interactive exercises, and ÒlecturesÓ to draw you into the themes related to dance. Drop in to just one session, or attend them all. Events are free, and no pre-registration is required. Complete details available at www.ums.org/learn.

FEBRUARY
Words for Dance
Adapting Stories
Body Experiments
Dancing Scholarship

MARCH
Dancing Social Justice
Graduation and Reflection

2
9
16
23

9
6

Photo: Trisha Brown Dance Company; photographer: Julieta Cervantes

UMS.ORG/LEARN

UMS

CAN
TRADITION
BUILD
THE
FUTURE?

WINTER 2015

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.

HISTORY.

Photo: Hill Auditorium in 1928.

10

Leadership.
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.

11

11

UMS

UMS LEADERSHIP DONORS.
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.

BERTRAM ASKWITH
PATTI ASKWITH KENNER
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

WINTER 2015

ILENE FORSYTH
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

EUGENE AND EMILY GRANT
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

LEADERSHIP.

12

BE PRESENT

MAXINE AND STUART FRANKEL
FOUNDATION
Maxine and Stuart Frankel
ÒWe are delighted to partner with UMS for the fourth year of 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

WALLIS CHERNIACK KLEIN
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

WINTER 2015

CANDIS AND HELMUT STERN
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

ANN AND CLAYTON WILHITE
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

13

UMS

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

DOUGLASS R. FOX
President, Ann Arbor Automotive
ÒWe at Ann Arbor Automotive are pleased to support the artistic variety and program excellence given to us by UMS.Ó

TIMOTHY G. MARSHALL
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

WINTER 2015

JAMES LOFIEGO
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

LEADERSHIP.

FAYE ALEXANDER NELSON
President, DTE Energy Foundation
ÒThe DTE Energy Foundation is pleased to support exemplary organizations like UMS that inspire the soul, instruct the mind, and enrich the community.Ó

14

BE PRESENT

NANCY AND RANDALL FABER
Founders, Faber Piano Institute
ÒWe are proud to support UMS in its tradition of program excellence and outreach that enriches our thoughts, our families, and our community.Ó

JAMES G. VELLA
President, Ford Motor Company Fund
ÒThrough music and the arts, we are inspired to broaden our horizons, bridge differences among cultures, and set our spirits free. We are proud to support UMS and acknowledge the important role it plays in our community.Ó

WINTER 2015

DAVID N. PARSIGIAN
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

MOHAMAD ISSA
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

KIRK ALBERT
Michigan Market President, KeyBank
ÒKeyBank remains a committed supporter of the performing arts in Ann Arbor and we commend UMS for bringing another season of great performances to the community. Thank you, UMS, for continuing the tradition.Ó

15

UMS

ALBERT M. BERRIZ
CEO, McKinley, Inc.
ÒThe success of UMS is based on a commitment to present a diverse mix of quality cultural performances. McKinley is proud to support this tradition of excellence, which enhances and strengthens our community.Ó

THOMAS B. MCMULLEN
President and CEO, McMullen Properties
ÒI used to feel that a U-M-Ohio State football ticket was the best ticket in Ann Arbor. Not anymore. UMS provides the best in educational and artistic entertainment.Ó

WINTER 2015

DENNIS SERRAS
Owner, Mainstreet Ventures, Inc.
ÒAs restaurant and catering service owners, we consider ourselves fortunate that our business provides so many opportunities for supporting UMS and its continuing success in bringing internationally acclaimed talent to the Ann Arbor community.Ó

SHARON J. ROTHWELL
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

LEADERSHIP.

MICHAEL SPRAGUE
Executive Vice President, Sales and Marketing, Kia Motors America
ÒKia Motors recognizes the tremendous role that UMS plays in
our community through its enriching programs and we are pleased to help bring exceptional cultural and educational experiences to Michigan.Ó

16

BE PRESENT

SCOTT MERZ
CEO, Michigan Critical Care Consultants, Inc. (MC3)
ÒMC3 is proud to support UMS in recognition of its success in creating a center of cultural richness in Michigan.Ó

STEPHEN G. PALMS
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 arts to our community.Ó

WINTER 2015

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

TODD KEPHART
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

SAVA LELCAJ
Chief Executive Officer, Savco: Hospitality
ÒAt Savco Hospitality, we are delighted to support UMS, a wonderful cultural asset that inspires and challenges all of
us, and delivers the very best in performing arts season
after season.Ó

17

UMS

JOE SESI
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

JOHN W. STOUT
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

WINTER 2015

OSAMU ÒSIMONÓ NAGATA
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

TIFFANY FORD
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

LEADERSHIP.

MARK SCHLISSEL
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

18

BE PRESENT

FOUNDATION, GOVERNMENT, AND UNIVERSITY SUPPORT.
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

WINTER 2015

$20,000-$499,000
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

$5,000-$19,999
The Seattle Foundation
University of Michigan Third Century Initiative

19

UMS WINTER
PRELUDE DINNERS.

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 Esther Barrett at 734.764.8489.

Rotterdam Philharmonic Orchestra
Thursday, February 19, 5:30 pm
Rackham Building
Academy of St. Martin in the Fields
Wednesday, March 25, 5:30 pm
Rackham Building
Seoul Philharmonic Orchestra
Thursday, April 23, 5:30 pm
Rackham Building

THE
EXPERIENCE.

GETTING THE MOST
OUT OF THE PERFORMANCE
We know that people enjoy the performance experience in different ways, so we encourage you to think about making choices when you enter the venue that allow you to be present, leave the worries of the day outside, and prepare to receive what the experience holds in store.
Be aware of your surroundings. Connect with the artist or ensemble. What they have to share is a very special gift that comes from a lifetime of training. One of the joys of attending live performances is the ability to share our experiences with one another, so revel in your opportunity to socialize, talk to your friends, discuss the performance, or simply say ÒhelloÓ to someone new. Feel the energy that a room full of people creates. Look around and take in the entire picture. What goes on in this venue and in this community is truly unique and special, and we must all cherish and protect it.

Photo: Chris Thile (R) and Edgar Meyer at the Michigan Theater, October 2014; photographer: Jamie Geysbeek Photography.

21

BE PRESENT

PLEASE CONSIDER THE FOLLOWING:
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 problem, 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.

WINTER 2015

23

PEOPLE.
Those who work to bring you UMS performances each season

Photo: UMS patrons attend San Francisco Symphony at Hill Auditorium, November 2014;
photographer: Peter Smith Photography.

UMS BOARD OF DIRECTORS
The UMS Board of Directors is a group of elected volunteers devoted to the performing arts and to our community. Their hard work ensures that UMS is able to offer outstanding performances year after year.

Stephen G. Palms
Chair
Stephen R. Forrest
Vice Chair
Joel D. Howell
Secretary
David N. Parsigian
Treasurer
Rachel Bendit
Janet Callaway
David Canter
Mark Clague
Lisa D. Cook
Julia Donovan Darlow
Monique Deschaine
Tiffany L. Ford
Katherine Goldberg
Richard F. Gutow
Stephen Henderson
Daniel Herwitz
Christopher Kendall
S. Rani Kotha
Frank Legacki
Jeffrey K. MacKie-Mason
Donald L. Morelock
Agnes Moy-Sarns
Sarah Nicoli
Timothy Petersen
Martha E. Pollack
Sharon Rothwell
Mark S. Schlissel
Linh Song
Cheryl L. Soper
Rick Sperling
Victor J. Strecher
Karen Jones Stutz
Jeanice Kerr Swift
Superintendent, Ann Arbor Public Schools
A. Douglas Rothwell
Chair, Corporate Council
David Herzig
Past Board Chair
Bruce Tuchman
Chair, National Council
Pat Bantle
Chair, Advisory Committee

25

UMS

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

WINTER 2015

LEADERSHIP.

26

5

4

THE EVENT
PROGRAM.

SATURDAY, JANUARY 17 THROUGH
SUNDAY, JANUARY 25, 2015
EIGHTH BLACKBIRD
Saturday, January 17, 8:00 pm
Rackham Auditorium
COMPAGNIE MARIE CHOUINARD
Friday, January 23, 8:00 pm
Power Center
MARIINSKY ORCHESTRA
Saturday, January 24, 8:00 pm
Hill Auditorium
20TH FORD HONORS PROGRAM
MARIINSKY ORCHESTRA
Sunday, January 25, 3:00 pm
Hill Auditorium

3
11
19
27

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.

TONIGHTÕS VICTORS FOR UMS:
RENEGADE VENTURES FUND, ESTABLISHED BY MAXINE AND STUART FRANKEL
Ñ
KEN AND PENNY FISCHER
SUPPORTERS OF THIS EVENINGÕS PERFORMANCE BY EIGHTH BLACKBIRD.

BE A

VICTOR FOR
INSPIRATION

Support the community's creative future by
supporting UMS today.

Make your gift today at
ums.org/support

UMS PRESENTS
EIGHTH
BLACKBIRD

Tim Munro, Flutes
Michael J. Maccaferri, Clarinets
Yvonne Lam, Violin and Viola
Nicholas Photinos, Cello
Doug Perkins, Percussion
Lisa Kaplan, Piano
Saturday Evening, January 17, 2015 at 8:00
Rackham Auditorium ¥ Ann Arbor

31st Performance of the 136th Annual Season
52nd Annual Chamber Arts Series
Photo: eighth blackbird; photographer: Luke Ratray.

3

PROGRAM

I
Bryce Dessner
Murder Ballades
Omie Wise Ñ Young Emily
Wave the Sea Ñ Brushy Fork
II
Lisa Kaplan
whirligig
off-kilter
merry-go-round
boogie-woogie
Ms. Kaplan, Ms. Lam, Mr. Photinos
III
Songs of love and loss
The pieces in this section are played attacca (without pause).
Richard Parry
Duo for Heart and Breath Ñ
Ms. Kaplan, Ms. Lam
Claudio Monteverdi,
Arr. Tim Munro
Lamento della ninfa Ñ
Carlo Gesualdo,
Arr. Tim Munro
Moro, lasso, al mio duolo Ñ
Bon Iver,
Arr. Lisa Kaplan
Babys
INTERMISSION
IV
Gabriella Smith
Number Nine
V
Tom Johnson
Counting Duets/
Gyšrgy Ligeti
ƒtudes
Counting Duet No. 1
ƒtude No. 4: Fanfares (Arr. Kaplan)
Counting Duet No. 2
ƒtude No. 11: En Suspens (Arr. Munro)
Counting Duet No. 3
ƒtude No. 12: Entrelacs (Arr. Kaplan)
Counting Duet No. 4
ƒtude No. 6: Automne ˆ Varsovie (Arr. Munro)
The movements in this section alternate between Johnson Counting Duets and Ligeti ƒtudes, as marked above.

Following this eveningÕs performance, please feel free to remain in your seats and join us for a post-performance Q&A with the artists.

WINTER 2015

EIGHTH BLACKBIRD

Supported by the Renegade Ventures Fund, established by Maxine and Stuart Frankel.
Additional support provided by Ken and Penny Fischer.
Media partnership is provided by WGTE 91.3 FM, WDET 101.9 FM, WRCJ 90.9 FM, and Ann ArborÕs 107one.

WINTER 2015

Special thanks to Kipp Cortez for coordinating the pre-concert music on the Charles Baird Carillon.
Special thanks to Garrett Schumann for his participation in events surrounding this eveningÕs performance by eighth blackbird.
eighth blackbird appears by arrangement with David Lieberman ArtistsÕ Representatives, Newport Beach, CA.

Murder Ballades for sextetÊ(2013)
Bryce Dessner
Born April 23, 1976 in Cincinnati, Ohio
UMS premiere: Bryce DessnerÕs Murder Ballades has never been performed on a UMS concert.
The composer writes:
When eighth blackbird asked me for a piece, I immediately knew what to do: let great American folk music inspire a great American new music ensemble. The Òmurder balladÓ has its roots in a European tradition, in which grisly details of bloody homicides are recounted through song. When this tradition came to America, it developed its own vernacular, with stories and songs being told and re-told over the generations.
In Murder Ballades I re-examine several of these old songs, allowing them to inspire my own music. ÒOmie WiseÓ and ÒYoung EmilyÓ are classic murder ballads, tales of romantically-charged killings that are based on real events. ÒBrushy ForkÓ is a Civil War era murder ballad/fiddle tune, and ÒWave the SeaÓ is an original composition woven out of the depths of the many months I spent inhabiting the seductive music and violent stories of these murder ballads.
Murder Ballades was commissioned by eighth blackbird and Lunapark and funded by The Doelen Concert Hall, Rotterdam, Muziekgebouw aanÔt IJ, Amsterdam, and Muziekgebouw Frits Philips, Eindhoven, with the financial support of The Van Beinum Foundation, The Netherlands, with additional support from Museum of Contemporary Art, Chicago.
whirligig for piano four hands (2013)
Lisa Kaplan
Born November 5, 1974 in Detroit, Michigan
UMS premiere: Lisa KaplanÕs whirligig has never been performed on a UMS concert.
whirligig '(h)w
rleøgig noun
1 a toy that spins around, for example, a top or a pinwheel. Another term for merry-go-round
2 a thing regarded as hectic or constantly changing: the whirligig of time.
3 a small black predatory beetle that swims rapidly in circles on the surface of still or slow-moving water and dives when alarmed.
The composer writes:
I only like to play four hands piano with people I really like. This genre, with two players at one keyboard, should make you laugh and curse, and delight in invading each otherÕs space. (Otherwise, whatÕs the point? You might as well be playing on two separate instruments!) Composer/performer Nico Muhly and I wanted a four-hands piece to play together and, rather than find an existing work, he dared me to write something. That dare was an inspiration.
whirligig is all about getting up in each otherÕs business and relishing it. The first movement, Òoff-kilter,Ó is my tribute to Nico and his spunky, vibrant, and amazingly animated personality. Òmerry-go-roundÓ is both silly wordplay and an homage to one of my favorite people. The third movement is an odd-metered Òboogie-woogieÓ that was stuck in my head the whole time I was writing whirligig, and I thought it would be great fun to play.
Songs of love and loss
Duo for Heart and Breath (2012)
Richard Parry
Born October 4, 1977 in Toronto, Ontario
Lamento della ninfa (1638)
Claudio Monteverdi
Born May 15, 1567 in Cremona, Italy
Died November 29, 1643 in Venice
Arr. Tim Munro
Moro, lasso, al mio duolo (1611)
Carlo Gesualdo
Born March 8, 1566 in Naples, Italy
Died September 8, 1613 in Avellino
Arr. Tim Munro
Babys (2009)
Bon Iver (nŽ Justin Vernon)
Born April 30, 1981 in Eau Claire, Wisconsin
Arr. Lisa Kaplan
UMS premieres: MonteverdiÕs ÒLamento della ninfaÓ was first performed in its original form in March 1992 by the Consorte of Musicke in Rackham Auditorium. MunroÕs arrangement of the Monteverdi, along with the other pieces in this section, have never been performed on a UMS concert.
The wild vagaries of the heart unite these four Songs of love and loss. Richard Parry (of indie band Arcade Fire) connects the rhythms of the physical body to the rhythms of the musical performance in ÒDuo for Heart and Breath.Ó Musicians wear stethoscopes, which enable them to play in synch with their own heartbeats. At other times, players are in synch with their own individual breathing. According to the composer, ÒThe idea is less about ÔperformingÕ and more about directly translating into music the subtle, naturally varying internal rhythms of the individual players.Ó
Two Italian madrigalists sing keening laments of love and loss. Claudio MonteverdiÕs ÒLamento della ninfaÓ sighs in waves of resignation, anger and hope: ÒI want him back, just as he was, if not, then kill me...love mixes fire and ice,Ó sings the solo soprano (re-cast as viola) while three tenors (flute, clarinet, cello) rock her to sleep: Òpoor woman, poor woman.Ó Carlo GesualdoÕs lament, ÒMoro, lassoÓ (originally written for small vocal ensemble), is altogether darker, bleaker, as a lover sinks into the dissonant, chromatic mire: ÒI die in my suffering, and she who could give me life allows me to die.Ó
Bon IverÕs anthem, ÒBabys,Ó shines
welcome light:
Summer comes to multiply, and IÕm
the carnival of peace
IÕll probably start a fleet with no
apologies
And the carnival of scenes, it grows
more and more appealing
But my woman and I know what
weÕre for.

Number Nine for sextet (2013)
Gabriella Smith
Born 1991 in Berkeley, California
UMS premiere: Gabriella SmithÕs Number Nine has never been performed on a UMS concert.
The composer writes:
Number Nine is inspired by the BeatlesÕ ÒRevolution 9,Ó their collage-like, musique-concrte-inspired, aural depiction of a revolution, positioned at the climactic point of The White Album. Inspired by the looped phrase Ònumber nine,Ó Ònumber nine,Ó Ònumber nine,Ó etc. at the beginning of the BeatlesÕ song, I began my Number Nine with an instrumental version of that repeated phrase, and the rest of the piece evolves from its rhythmic and pitch contour. I also incorporated many other Revolution 9 references, weaving their collage fragments into Number NineÕs continuously evolving arc. Number Nine was commissioned by percussionist Ted Babcock for his program Machine in the Garden and premiered in January 2014 at the Curtis Institute of Music.
Gabriella Smith is a composer from the San Francisco Bay Area who currently attends Princeton University where she is a Naumberg and Roger Sessions doctoral fellow. Her current commissions include new works for the 2014 Cabrillo Festival of Contemporary Music, the New York Virtuoso Singers, and Gabriel Cabezas. Her music has been performed throughout the US and internationally (in China, France, Germany, Switzerland, and Turkey) by PRISM Quartet, Aspen Contemporary Ensemble, Azure Ensemble, Berkeley Symphony, Curtis Symphony Orchestra, Classical Revolution, Contemporaneous, Dinosaur Annex, Ensemble39, Friction Quartet, Monadnock Music, and Palo Alto Chamber Orchestra. She received her BM from The Curtis Institute of Music where she studied with David Ludwig, Jennifer Higdon, and Richard Danielpour.
Before beginning her studies at Curtis, Ms. Smith performed as a violinist in the Superdelegates (an improv avant-garde classical/blues string quartet), the Formerly Known as Classical new music ensemble, and the Young PeopleÕs Symphony Orchestra. She currently sings in the Princeton University Georgian Choir. When she is not making music, she enjoys backpacking, birding, homebrewing, dancing Argentine tango, and working on her backyard farm in Northern California with her six chickens.
Counting Duets for two performers
(1982)
Tom Johnson
Born November 18, 1939 in Greeley, Colorado
ƒtudes for solo piano, arranged
for sextet (1985Ð94)
Gyšrgy Ligeti
Born May 28, 1923 in T‰rnaùveni, Romania
Died June 12, 2006 in Vienna, Austria
UMS premieres: LigetiÕs ƒtude for Piano, No. 4 was first performed by Yuja Wang in January 2008 in Hill Auditorium. JohnsonÕs Counting Duets and the remaining Ligeti ƒtudes on tonightÕs program have never been performed on a UMS concert.
Tom JohnsonÕs obsessions are with simple forms, limited scales, and reduced materials, but this dry and dour-sounding list doesnÕt capture the light, satirical nature of many of his best-known works. NarayanaÕs Cows is a musical translation of the work of a 14th century Indian mathematician, Narayana. The text begins, ÒA cow produces one calf every year. Beginning in its fourth year, each calf produces one calf at the beginning of each year. How many cows and calves are there altogether after 20 years?Ó Failing: a very difficult piece for solo string bass challenges a bassist to give live commentary on the difficulties of playing this Òvery difficult piece.Ó
Johnson writes: ÒSoldiers count the cadence as they march; agricultural surveyors count blades of grass; farmers count sheep; astronomers counts galaxies; lab technicians counts red blood cells; we all count money. The formalistic, religious, arithmetic, psychological, linguistic, and musical implications of counting interest me a great deal, and since I have a special love for patterns and numbers anyway, I have focused much of my work in this direction. There must be countless ways of counting. And come to think of it, ÒcountlessnessÓ is another fascinating subject. Or is it the same subject?Ó
Born in Romania and trained in Hungary, Gyšrgy Ligeti (1923Ð2006) fled post-war communism at the age of 30. LigetiÕs solo piano ƒtudes reflect the radically varied musical passions of the composerÕs later years: the music of sub-Saharan African cultures; the complex wildness of Conlon NancarrowÕs Studies for Player Piano; the harmonic freedom of Thelonious Monk and Bill Evans; and the keyboard music of Scarlatti, Chopin, Schumann, and Debussy.
Fanfares spins wildly around the instruments, flinging scale-like patterns (derived from Middle Eastern music) against irregular, fanfare-like flourishes. Two musical worlds float simultaneously through the calm skies of En Suspens (ÒsuspendedÓ): a soft, nostalgic waltz, and a darker, more impersonal tolling bell. Entrelacs, named for an intricate Celtic decorative pattern, spins layer upon layer upon layer of interlaced, complex musical ribbon around the listener. Automne ˆ Varsovie (ÒAutumn in WarsawÓ) sings an anxious, uncomfortable, rage-filled lament for the people of Poland, who suffered under the brutally oppressive communist regime of the 1980s.

WINTER 2015

EIGHTH BLACKBIRD

WINTER 2015

WINTER 2015

EIGHTH BLACKBIRD

WINTER 2015

ARTISTS

eighth blackbird \'aøtth 'blak-'b
rd\ slang (orig. and chiefly U.S.).
1. verb. to act with commitment and virtuosity; to zap, zip, sock.
2. adjective. having fearless (yet irreverent) qualities.
3. noun. a flock of songbirds, common in urban areas since 1996.

EIGHTH BLACKBIRD combines the finesse of a string quartet, the energy of a rock band, and the audacity of a storefront theater company. The Chicago-based, three-time Grammy-winning Òsuper-musiciansÓ (LA Times) entertain and provoke audiences across the country and around the world.
ColombineÕs Paradise Theatre is eighth blackbirdÕs new staged, memorized production hailed as a Òtour de forceÓ by The Washington Post. Composer Amy Beth Kirsten challenges the sextet to play, speak, sing, whisper, growl, and mime, breathing life into this tale of dream and delusion. The season kicks off with a performance at ChicagoÕs Museum of Contemporary Art followed by a season-opening performance at The Miller Theater in New York.
The 2014Ð15 seasonÕs acoustic program, ÒStill in Motion,Ó features new works by The NationalÕs Bryce Dessner (the folk-inspired Murder Ballades), Lee Hyla, Sean Griffin, and rising star Gabriella Smith. eighth blackbird brings this show to Pennsylvania, Michigan, New York, Washington, and sunny Hawaii.
Other highlights include the premiere of Hand Eye, a new work for eighth blackbird by the superstar composer collective Sleeping Giant, the ensembleÕs debut at Brooklyn Academy of Music in collaboration with LA Dance Project, and a New Orleans-inspired romp with special guest singer-songwriter-accordionist Michael Ward-Bergeman at Symphony Space in New York. To top it off, the group will conduct guest residencies at the New England Conservatory of Music in Boston and a multi-visit residency at the Interlochen Center for the Arts.
eighth blackbird holds ongoing Ensemble in Residence positions at the Curtis Institute of Music, University of Richmond, and University of Chicago. A decade-long relationship with ChicagoÕs Cedille Records has produced six acclaimed recordings. The ensemble has won three Grammy Awards, for the recordings strange imaginary animals, Lonely Motel: Music from Slide, and Meanwhile.
eighth blackbirdÕs members hail from AmericaÕs Great Lakes, Keystone, Golden, and Bay states, and AustraliaÕs Sunshine State. There are four foodies, three beer snobs, and one exercise junkie. The name Òeighth blackbirdÓ derives from the eighth stanza of Wallace StevensÕ evocative, aphoristic poem ÒThirteen Ways of Looking at a BlackbirdÓ (1917). For more information, please visit
www.eighthblackbird.org.
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
eighth blackbird is ensemble-in-residence with Contempo. Michael Maccaferri is a Rico Performing Artist and Clinician. Doug Perkins endorses Black Swamp Percussion, Pearl/Adams Musical Instruments, Vic Firth Sitcks and Mallets, and Zildjian Cymbals. Lisa Kaplan is a Steinway Artist.

UMS ARCHIVES

This eveningÕs concert marks eighth blackbirdÕs second appearance under UMS auspices following their debut in April 2008 in two concerts at the Lydia Mendelssohn Theatre. UMS welcomes Yvonne Lam and Doug Perkins, who make their UMS debuts tonight.

UMS EDUCATIONAL &
COMMUNITY ENGAGEMENT EVENTS

YOU
CAN
DANCE

Ann Arbor Y (400 W. Washington Street)
Ever wonder what itÕs like to be a dancer? Join dancers from each company on the UMS season for free beginner movement workshops exploring each of the companyÕs movement styles. Ages 13+.

Compagnie Marie Chouinard, Saturday, January 24, 1:30Ð3:00 pm
Trisha Brown Dance Company, Saturday, February 21, 10:45 amÐ12:15 pm
Abraham.In.Motion, Saturday, March 14, 1:30Ð3:00 pm
Lyon Opera Ballet, Saturday, April 25, 1:30Ð3:00 pm

UMS.ORG/LEARN

UMS PRESENTS
COMPAGNIE MARIE CHOUINARD

Marie Chouinard
Choreographer and Artistic Director
Friday Evening, January 23, 2015 at 8:00
Power Center ¥ Ann Arbor

32nd Performance of the 136th Annual Season
24th Annual Dance Series
Photo: GymnopŽdies production shot; photographer: Sylvie-Anne ParŽ.

11

UMS

PROGRAM

Marie Chouinard
GYMNOPƒDIES
INTERMISSION
Marie Chouinard
HENRI MICHAUX: MOUVEMENTS

Following this eveningÕs performance, please feel free to remain in your seats and join us for a post-performance Q&A with members of the company.

Funded in part by the New England Foundation for the ArtsÕ National Dance Project.
Special thanks to Clare Croft for her participation in events surrounding this eveningÕs performance by Compagnie Marie Chouinard.
Compagnie Marie Chouinard appears by arrangement with Cathy Pruzan, Tiburan, CA.

WINTER 2015

COMPAGNIE MARIE CHOUINARD

12

BE PRESENT

GYMNOPƒDIES (2013)
Choreography and Artistic Direction by Marie Chouinard
Music by ƒrik Satie (GymnopŽdies Nos. 1, 2, 3)
Lighting byÊ Alain Lortie
Set Design by Guillaume Lord and Marie Chouinard
CostumesÊby LÊVandal
Extra Costumes and Props by Marie Chouinard
Musical Consultant Louis Dufort
Sound Environment by Jesse LeveillŽ
Dancers SŽbastien Cossette-Masse, Paige Culley, Valeria Galluccio, Leon Kupferschmid, Lucy M. May, Mariusz Ostrowski, Sacha
Ouellette-Deguire, Carol Prieur, James
Viveiros, Megan Walbaum
GymnopŽdies is approximately 40 minutes in length.

Premiere: June 14, 2013 at Centro Cultural de Belem, Lisbonne, Portugal

GymnopŽdies is a Compagnie Marie Chouinard production in coproduction with Les Nuits de Fourvire (Lyon, France), with the support of Carolina Performing Arts (Chapel Hill, United States) and ImPulsTanz (Vienna).

HENRI MICHAUX: MOUVEMENTS (2005Ð2011)
Ballet in one act
Choreography and Artistic Direction by Marie Chouinard
Original Music by Louis Dufort
Poem, Post Face and Projected Drawings by Henri Michaux, from the book Mouvements (1951), with the permission
of the right-holders Henri Michaux and
Editions Gallimard
Sound Environment by Edward Freedman
Lighting and Set Design by Marie Chouinard
Costumes by Marie Chouinard
Hairstyle by Marie Chouinard
Translation by Howard Scott
Dancers SŽbastien Cossette-Masse, Paige Culley, Valeria Galluccio, Leon Kupferschmid,
Lucy M. May, Mariusz Ostrowski, Sacha
Ouellette-Deguire, Carol Prieur, James
Viveiros, Megan Walbaum
Henri Michaux: Mouvements is approximately 35 minutes in length.
Premiere: August 2, 2011 at the Impulstanz, Vienna International Dance Festival, Vienna
Henri Michaux: Mouvements is a Compagnie Marie Chouinard production with the support of ImPulsTanz, Vienna.

WINTER 2015

13

Mouvements

In 1980, Marie Chouinard discovered the book Mouvements by Henri Michaux (1899Ð1984). In 64 pages of India-ink drawings, a 15-page poem, and an afterword, Mouvements presents multiform figures that Marie Chouinard took pleasure in reading literally, left to right, and page by page as a choreographic score. She then proceeded to decrypt the great artistÕs drawings and set dance to these Òmovements of multiple inkjets, a celebration of blots, arms moving up and down the scales.Ó
The bookÕs transition to dance has been done Òword for word,Ó for even the poem in the middle of the book, as well as its afterword, are included in the choreography. The drawings are projected in the background, allowing spectators to do a simultaneous personal reading of the Michaux score. Echoing the visual presentation of a white page with black drawings, performers dressed in black dance on a white floor.

WINTER 2015

A rolling race
a boiling crawl
teeming unit
dancing block

A defenestrated flies off
torn up and down
torn all over
torn never to attach again

Man bracing
man leaping
man hurtling
man for the lightning operation
for the storm operation
for the harpoon operation
for the shark operation
for the bursting operation

Man not by flesh
but through emptiness and evil and
intestinal torches
and flashes and nervous discharges
and setbacks
and returns
and rage
and tearing
and entanglement
and taking off in sparks

Man not by abdomen and buttock plates or
vertebrae
but through his currents, his weakness
what recovers from shock, his
startings
man by the moon and burning powder and
the bazaar itself
from the movement of others
and the storm and the wind rising and
chaos never ordered
Man all flags outside, slapping in the wind
rustling his instincts
man who thrashes the parrot
who has no joints
who does no farming
goatman
crestman
with spines
with shortcuts
tuft man, galvanizing his rags
man with secret supports, rocketing far
from his degrading life

Desire barking in the dark is the many
sided form of this being
Flashes scissoring
forking
flashes radiating
flashes across the whole compass rose
To the noises, to the roaring
if one gave a body!
To the sounds of the balafo and the piercing
drill
to the foot-stamping teenagers who do not
yet know
what it means that their chests feel about
to burst
to the joltings, rumblings, surgings
to tides of blood in the arteries suddenly
changing direction
to thirst
to thirst especially
thirst never quenched
if one gave a body!...

Soul of lasso
of alga
of jack, grapple, and swelling wave
of hawk, gnu, elephant seal
triple soul
eccentric soul
zealot soul
electrified larva soul coming to bite the surface
soul of beatings and gnashing of teeth
overhanging soul always straightened again

With disregard to any heaviness
any languor
any geometry
any architecture
disregarding: SPEED!

Movement and ripping apart of internal
exasperation more than
movements of walking
movements of explosion, denial, stretching
in all directions
unhealthy attractions, impossible desires
gratification of the flesh struck in the neck
headless movements
What goodÕs a head when overwhelmed?
Movement of folding and coiling inward while
waiting for better
movements of inner shields
movements with multiple jets
residual movements
movements instead of other movements
that canÕt be shown
but that inhabit the spirit
with dust
with stars
with erosion
with landslides
and vain latencies...

Festival of stains, scale of arms
movements
we jump into ÒnothingÓ
turning efforts
being alone, we are the crowd
What countless number advances
adds, expands, expands!
Goodbye fatigue
farewell efficient bipedal at the station of
the bridge abutment
the sheath torn, we are other
any other
we no longer pay tribute
a corolla opens, bottomless dive...
The stride now has the length of hope
the leap has the length of thought
it has eight legs if we have to run
it has 10 arms if we join forces
completely rooted, when we have to hold
never beaten
always returning
new returning
while soothed the keyboard master feigned sleep!

COMPAGNIE MARIE CHOUINARD

BE PRESENT

WINTER 2015

Ñ Henri Michaux, 1951
Translation © Howard Scott
With the permission of the right-holders Henri Michaux and Editions Gallimard

15

ARTISTS

In 1978, MARIE CHOUINARD presented her first dance work, Cristallisation, establishing her reputation as a highly original artist driven by the need for authentic communication. This first piece was followed by 30 solos performed on the international stage, including Marie Chien Noir (1982), S.T.A.B. (Space, Time and Beyond) (1986), and Afternoon of a Faun (1987), landmarks in contemporary dance of the past 30 years.
In 1990, the soloist and choreographer founded her own company, COMPAGNIE MARIE CHOUINARD. From then on, the Company has performed all over the world. In 2007, the Company moved into its own building, Espace Marie Chouinard in Montreal.
Compagnie Marie Chouinard co-produces its pieces with different partners such as the Venice Biennale, the ImPulsTanz Dance Festival (Vienna), ThŽ‰tre de la Ville (Paris), the Gulbenkian Foundation (Lisbon), the Fondazione Musica Per Roma (Rome), Festival TransAmŽriques (Montreal), Place des Arts (Montreal), and the National Arts Centre (Ottawa). Many of the CompanyÕs pieces remain in its repertoire for a long time, such as The Rite Of Spring, which has been in repertoire for over 20 years. Her pieces can also be found in the repertoire of ballet companies, including The 24 Preludes by Chopin at the National Ballet of Canada, Prelude to the Afternoon of a Faun at the S‹o Paulo Companhia de Dana, and bODY_rEMIX/les_vARIATIONS_gOLDBERG, Act 1 at the Ballets de Monte-Carlo and the GšteborgsOperan in Sweden.
In 2009, after being away for 20 years, Marie Chouinard returned to the stage in the solo gloires du matin :)-(:. In 2012, she danced IN MUSEUM, a three-hour performance installation.
Also an author, a set and lighting designer, and a photographer, Ms. ChouinardÕs body of work includes multimedia pieces (the installations Cantique No. 3, created with Louis Dufort, Ic™nes, created with Luc Courchesne and CORPS CƒLESTES, created with Louis Dufort and Luc Courchesne) and films (bODY_rEMIX/les_vARIATIONS_gOLDBERG and Marie Chouinard: The Rite Of Spring). In 2008 her collection of poems entitled Chantier des extases was published by ƒditions du passage. In 2011, her photo installation Paradisi Gloria was exhibited at the Montreal Museum of Fine Arts. In 2012, the exhibit DRAWINGS was displayed at the Galerie Donald Browne in Montreal and at the Toronto International Art Fair. In 2010, COMPAGNIE_MARIE_CHOUINARD_COMPANY, a book chronicling two decades of choreography with numerous colour photos, was released.
Over the years, Ms. Chouinard has developed her own dance technique, now taught by herself and her dancers during workshops and master classes. In 2011, she created Les Prix de la Danse de MontrŽal, the most-endowed international dance prize.
Named an Officer of the Order of Canada in 2007, Ms. Chouinard has received several awards including the title of Chevalier in the Ordre des Arts et des Lettres (France, 2009), the Denise Pelletier Award (Quebec, 2010), the Grand Prix du Conseil des Arts de MontrŽal (2006), a Bessie Award (New York, 2000), and the Conseil des arts et des lettres du QuŽbec Award for Best Choreography for LE NOMBRE DÕOR (LIVE) (2012).

WINTER 2015

COMPAGNIE MARIE CHOUINARD

16

BE PRESENT

Compagnie Marie Chouinard
Marie Chouinard, Executive and Artistic Director
Bernard Dubreuil, Managing Director
Paul Tanguay, Director of International Development
Monika Gruszka, Controller
Marie-Pier Chevrette, Tour Director
Chantal Blanchard, Head, Communications and Marketing
Jamie Wright, Rehearsal Director
Tony Chong, Kimberley de Jong, Isabelle Poirier,
Additional Rehearsal Directors
Dancers
Paige Culley, Valeria Galluccio, Leon Kupferschmid, Lucy M. May, Mariusz Ostrowski, Sacha Ouellette-Deguire, Carol Prieur, Dorotea Saykaly, James Viveiros, Megan Walbaum
Dancers for the world premiere of GYMNOPƒDIES: Paige Culley, Valeria Galluccio, Leon Kupferschmid, Lucy M. May, Mariusz Ostrowski, Sacha Ouellette-Deguire, Carol Prieur, GŽrard Reyes, Dorotea Saykaly, James Viveiros, Megan Walbaum
Dancers for the world premiere of HENRI MICHAUX: MOUVEMENTS: Kimberley de Jong, Leon Kupferschmid, Lucy M. May, Lucie Mongrain, Mariusz Ostrowski, Carol Prieur, GŽrard Reyes, Dorotea Saykaly, James Viveiros, Megan Walbaum
Representation
Julie George (Europe), Cathy Pruzan/Cathy Pruzan Artist Representative (US), Pilar de Yzaguirre, YSARCA S.L. (Spain), Paul Tanguay (Europe, Asia, America, except US)
Board of Directors
Jean Pierre Desrosiers, President
StŽphane Leclerc, Treasurer
Emmanuel BŽgin, Marie Chouinard, Annie Cormier, AndrŽ Dufour, Josette Murdock, Yves Papillon, Franois Taschereau, Members
Touring Crew
Tony Chong, Rehearsal Director
Marie-Pier Chevrette, Tour Manager
Robin Kittel-Ouimet, Technical Director and
Lighting Manager
NoŽmie Avidar, Stage Manager
Jo‘l Lavoie, Sound Engineer
Compagnie Marie Chouinard wishes to thank the Conseil des Arts et des Lettres du QuŽbec, the Canada Council for the Arts, and the Conseil des Arts de MontrŽal.

WINTER 2015

UMS ARCHIVES

This eveningÕs performance marks Compagnie Marie ChouinardÕs third performance under UMS auspices following the companyÕs UMS debut in April 2009 at the Power Center in performances of Orpheus and Eurydice, Prelude to the Afternoon of a Faun, and The Rite of Spring.

17

TONIGHTÕS VICTORS FOR UMS:
WILLIAM R. KINNEY ENDOWMENT FUND
..Ñ
CATHERINE S. ARCURE ENDOWMENT FUND
PROVIDING ENDOWED SUPPORT OF THIS EVENINGÕS PERFORMANCE BY THE MARIINSKY ORCHESTRA.

UMS PRESENTS
MARIINSKY ORCHESTRA

Valery Gergiev
Music Director and Conductor
Behzod Abduraimov
Piano
Saturday Evening, January 24, 2015 at 8:00
Hill Auditorium ¥ Ann Arbor

33rd Performance of the 136th Annual Season
136th Annual Choral Union Series
Photo: Mariinsky Orchestra with Valery Gergiev; photographer: Natasha Razina.

19

UMS

PROGRAM

Sergei Prokofiev
Piano Concerto No. 3 in C Major, Op. 26
Andante Ñ Allegro
Tema con variazioni
Allegro, ma non troppo
Mr. Abduraimov
INTERMISSION
Dmitri Shostakovich
Symphony No. 4 in c minor, Op. 43
Allegretto poco moderato
Moderato con moto
Largo Ñ Allegro

Endowed support provided by the William R. Kinney Endowment Fund and by the Catherine S. Arcure Endowment Fund.
Media partnership provided by WGTE 91.3 FM and WRCJ 90.9 FM.
Special thanks to Tom Thompson of Tom Thompson Flowers, Ann Arbor, for his generous contribution of lobby floral art for this eveningÕs concert.
Special thanks to Kipp Cortez for coordinating the pre-concert music on the Charles Baird Carillon.
Maestro Gergiev and the Mariinsky Orchestra record for the Mariinsky Label and also appear on Universal (Decca, Phillips).
VTB Bank is the Principal Partner of the Mariinsky Theatre.
Sberbank and Yoko Nagae Ceschina are the Principal Sponsors of the Mariinsky Theatre.
Mariinsky Foundation of America is the North American Sponsor of the Mariinsky Theatre.
Maestro Gergiev and the Mariinsky Orchestra appear by arrangement with Columbia Artist Management, LLC, New York, NY.

WINTER 2015

MARIINSKY ORCHESTRA

20

BE PRESENT

NOW THAT YOUÕRE IN YOUR SEATÉ

The two giants of Russian music during the Soviet era Ñ Prokofiev and Shostakovich Ñ may appear to have a great deal in common at first sight, but in reality they were rather different in temperament and outlook. Prokofiev, 15 years older, was educated before the Bolshevik revolution and then spent the better part of two decades in the West. Worldly and sophisticated, he could appear nonchalant. After his return to the Soviet Union, he strove to shed his early bad-boy image and become the greatest composer of the country. In this endeavor, he found a formidable rival in Dmitri Shostakovich, who had come of age after the revolution and had never known another political reality. In this concert, we encounter both composers as young men in their late 20s or early 30s Ñ Prokofiev scoring one of the big successes of his emigration years, Shostakovich attempting to make a major symphonic statement, only to be forced to withdraw it and consign it to the drawer of his desk for a quarter of a century.

Piano Concerto No. 3 in C Major,
Op. 26 (1917Ð21)
Sergei Prokofiev
Born April 15,1891 in Sontsovka, Ukraine
Died March 5, 1953 in Moscow, Soviet Union
UMS premiere: William Kapell with the Philadelphia Orchestra under the baton of Thor Johnson, 58th Annual May Festival, May 1951 in Hill Auditorium.
SNAPSHOTS OF HISTORYÉIN 1921:
Â¥
The Communist Party of China is officially founded

Â¥
The first BCG vaccination against tuberculosis is given

Â¥
Adolph Hitler becomes FŸhrer of the Nazi Party

Â¥
White Castle hamburger restaurant opens in Wichita, Kansas, the foundation of the worldÕs first fast food chain

Â¥
Luigi Pirandello writes Six Characters in Search of an Author

Months after the Bolshevik Revolution of 1917, Prokofiev left Russia on an open-ended passport granted by the cultural commissar. With World War I raging to the west, Prokofiev traveled east through Siberia and Tokyo before entering the US in San Francisco, where he was suspected of being a spy. He struggled to restart his career in New York, but he did have some luck in Chicago, where the resident opera company agreed to mount The Love for Three Oranges and the symphony claimed premiere rights for the Piano Concerto No. 3.
Prokofiev wrote the bulk of the concerto in 1921 while summering in Brittany, on the northwest coast of France. He had been spending more and more time in Europe, connecting with influential Russian expatriates in Paris including the ballet impresario Serge Diaghilev and the conductor Serge Koussevitzky. Frustrated with the conservative tastes and career obstacles presented by the US, Prokofiev eventually settled in Europe in 1922. This arrangement also proved temporary; in 1935, Prokofiev became the only major ŽmigrŽ artist to repatriate in the Soviet Union.
Even as he drew closer to Europe, Prokofiev kept American audiences in mind as he composed his Third Piano Concerto. He constructed an inviting and virtuosic showpiece, one that could hope to repeat the success of RachmaninoffÕs Third Piano Concerto from 1909, also written for a US tour. Prokofiev performed the concerto many times in the course of his wide-ranging concert tours, including premieres in Chicago and New York in 1921 and Paris in 1922. He also made the first recording in 1932 with the London Symphony, forever preserving his incisive and unsentimental approach to the score.
When Prokofiev assembled the Third Piano Concerto, he incorporated various themes composed before he left Russia. The introductory passage, sketched in 1917, has the flavor of Russian folk music, with a solo clarinet intoning a modal melody. The fast body of the movement begins with the strings exchanging rising figures in constant motion, building to the pianoÕs entrance in a sparkling reinterpretation of the clarinet figures. The concertoÕs wry streak emerges in the second theme, accentuated by the bony click of castanets.
Prokofiev developed this gift for ironic music early on, as demonstrated by the theme of the second movement, first drafted in 1913. The plodding first statement grows into a rich set of variations, led off by a solo episode from the piano. The second and third variations are driving and manic, while the fourth, in a tempo marked ÒAndante meditativo,Ó is haunting and sincere. The fifth variation elides into a restatement of the theme, peppered with double-time decorations from the piano.
The finale begins with another Russian-inflected theme, this one adapted from 1918 sketches for a string quartet. The woodwinds add a lyrical strain, and then the piano offers an ominous melody over oscillating accompaniment, which Prokofiev described as Òmore in keeping with the caustic humor of the work.Ó After a drawn-out and dreamy elaboration, the muscular opening figure returns for a final surge.
Program note by Aaron Grad.
Symphony No. 4 in c minor, Op. 43
(1936)
Dmitri Shostakovich
Born September 25, 1906 in St. Petersburg, Russia
Died August 9, 1975 in Moscow, Soviet Union
UMS premiere: Detroit Symphony Orchestra conducted by Gunther Herbig, October 1989 in Hill Auditorium.
SNAPSHOTS OF HISTORYÉIN 1936:
Â¥
Margaret MitchellÕs novel Gone with the Wind is first published

Â¥
Construction of the Hoover Dam is completed

Â¥
Steve Reich, American composer, is born

Â¥
President Franklin D. Roosevelt attends the dedication of Thomas JeffersonÕs head at Mount Rushmore

Â¥
Start of Joseph StalinÕs Great Purge in the Soviet Union

The publication in 1979 of the book Testimony, the Memoirs of Dmitri Shostakovich, as related to and edited by Solomon Volkov brought a new dimension to an understanding of the life, thoughts, words, and works of the man who was arguably the most important Soviet-era composer of the 20th century. In many quarters, however, serious doubts have been cast on the reliability of VolkovÕs revelations, even those concerning ShostakovichÕs intense anti-Soviet sentiments. In regard to the latter, it is difficult to imagine that the composer would not have been extremely bitter toward the government that had caused him untold pain by twice censuring him publicly, and that he would not have disclosed these feelings to a confidant. The question seems to be, did Volkov really serve as a sounding board for the composerÕs deepest feelings, and if so, is the translation in English from its Russian text good and true?
According to Volkov, a critic and musicologist, his relationship with Shostakovich began when he asked the composer to provide a preface for a book he Ñ Volkov Ñ was writing on young Leningrad composers. Shostakovich agreed and met with Volkov on several occasions. As Volkov explains, when the book was published in 1971, Shostakovich was incensed that severe cuts had been made in his preface without consultation either with him or Volkov. Bristling at this latest attack by the Soviet officialdom, Shostakovich became determined to reveal to the world his version of the events he had witnessed and experienced during the course of his 50-year career. ÒI must do this, I must,Ó Volkov quotes the composer as saying. ÒYou must continue what has begun.Ó
By 1974, after an extended period of interview, Volkov had completed the book and had sent the manuscript to the West, knowing that it would have been impossible to have it published in the Soviet Union. At what appears to be their last meeting, Shostakovich extracted a written agreement from Volkov that the book would not be published until after his death. The composer died in August 1975. Having applied for permission to leave for the West, Volkov arrived in New York in June 1976. Testimony was published in 1979 by Harper & Row. Material extracted from Testimony appears in breakout quotations as this program note continues.
The war brought much new sorrow and much new destruction, but I havenÕt forgotten the terrible prewar years. That is what all my symphonies, beginning with the Fourth, are about.
The Fourth Symphony was never the object of official derision. Shostakovich began the Symphony in September 1935 and completed it in May 1936. Four months earlier, in January 1936, while the Symphony was still on his writing table, the ax fell on his opera Lady Macbeth of Mtsensky by way of an article in the official Communist newspaper Pravda. ÒÉUnSoviet, unwholesome, cheap, eccentric, tuneless, leftistÉÓ were some of the epithets heaped on an opera that was actually not as extreme as his opera that preceded it: The Nose. Shostakovich was understandably devastated by the viciousness of this unexpected attack. Here he was, a veritable hero in his land by virtue of his First Symphony, composed as a graduation exercise at the Petrograd Conservatory, and then of two subsequent symphonies Ñ the Second, dedicated to the October Revolution, the Third, subtitled ÒMay First,Ó the holiday of the working classes. Both the Second and Third Symphonies fit perfectly into the party line, its music glorifying the hope of oppressed peoples with exuberant, triumphal marches and, in each, a choral ending proclaiming the ultimate nationalistic fervor. Now, in 1936, the hero vanquished. Nonetheless, in December of that year the Fourth Symphony was being readied for performance by the Leningrad Philharmonic. Still smarting from the official lashing, Shostakovich, concerned that the thorny composition would almost certainly bring stinging censure down on his head once again, withdrew the Symphony after 10 rehearsals Ñ during which there had been much resistance from the musicians, who were struggling with extremely demanding parts. The Symphony remained on the shelf for 25 years and was not performed for the first time until 1961, eight years after the death of Stalin.
For all those years, the composer patiently listening to press reports that he was keeping the symphony under wraps because he was dissatisfied with it; he even encouraged this nonsense. Yet when the symphony was finally rehearsed once more, he didnÕt change a single note. The conductor, who suggested a few cuts, was refused categorically: ÒLet them eat it,Ó Shostakovich said. ÒLet them eat it.Ó
It would be useless to pretend that the Fourth Symphony is not formidable. It is long Ñ nearly an hour. Its massive, late-Romantic-sized orchestration is the kind that Stravinsky, referring to his scoring of his 1910 ballet, The Firebird, called Òwastefully large.Ó Its emotional tone, at times a consequence of the bizarre orchestration, can be called schizoid, what with the shrieks, howls, and angry diatribes; the quirky little waltzes and trivial circus-like tunes; the reckless, hysterical intensity; the retreats to quiet, quivering, breathless rumination. If this sounds for all the world like a description of a Mahler symphony, that is no coincidence. Mahler, much admired by Shostakovich, is indeed a frequent presence in this Fourth Symphony, as he is in many another works by the Russian composer. His colleagues said he suffered from ÒMahleria,Ó and he never argued the point.
In the matter of the Fourth SymphonyÕs form, which is free, and its harmony, which is frequently dissonant, Shostakovich is very much the modernist, allowing both elements to be determined by content, not by convention or rule. If, in the end, the Symphony is unsettling, it is also compelling in its uncompromising honesty. And consider, too, that the message it contains emanated from a brilliant, complex human being through whose musical sensitivity and emotional probing we have been given a valuable chronicle of an extremely troubled time and place.
WeÕre all familiar with that sensation Ñ numerous nameless ÒreplacementsÓ standing behind your back, waiting for the signal to sit at your desk and write your novel, your symphony, your poem. Worthless composers were called ÒRed BeethovensÓ in the magazines. I donÕt compare myself to Beethoven, but itÕs impossible to forget at any moment a new ÒRed ShostakovichÓ can appear and IÕll disappear. These thoughts pursued me quite frequently in connection with my Fourth Symphony. After all, for 25 years no one heard it and I had the manuscript. If I had disappeared, the authorities would have given it to someone for his Òzeal.Ó I even know who that person would have been, and instead of being my Fourth, it would have been the Second Symphony of a different composer [Tikhon Khrenikov].

The Symphony is in three movements, the outer ones very expansive and the tempos slower than are customary for such symphonic sections, the middle movement a relatively brief ÒScherzoÓ that is less bombastic than one has come to expect of this kind of Shostakovich diversion. The SymphonyÕs opening pierces the air with three strident chords, each prefaced by jangling grace notes. These lead to a clumsy figure in winds and xylophone, which makes way for the main theme Ñ a sneering, almost drunken tune given by trumpets, trombones, and violins careening along with an implacably constant rhythmic accompaniment in low winds and strings. This angry energy accumulates, reaches a climax, and then seeks respite in a second theme in string that is all quirky, polyphonic angles. A kaleidoscope of mood changes occurs (Mahler evoked) before the third theme enters, this one strongly Expressionistic: a solo bassoon sighing a lament with only pizzicato cellos and basses in attendance.
ShostakovichÕs treatment of these materials seems disjointed, unrooted, but a study of the score reveals connections that are all but undiscernible to the naked ear. OneÕs guess is that impenetrability of his musical game plan is intentional, and that his purpose is to stimulate, provoke, disturb, to communicate in a deliberately paradoxical way. The rewards of attending ShostakovichÕs manner of communication may not be immediately apparent; in fact, to stay the course is a strenuous exercise, but one that is always compelling and enlivening.
The remainder of the first movementÕs course is strewn with incident after remarkable incident. To mention just a few: the main theme being danced mindlessly on the high tones of piccolo and E-flat clarinet; a wildly precipitous string fugue gathering other instruments in its wake to participate in a full-scale conflagration; a little waltz gliding grotesquely from amidst the previous battle zone; and finally, after further uprisings, a bassoon and then English horn singing the main theme eerily until the music simply dissipates and grinds to a halt.
The central movement, the most formally direct of the three, has two distinct themes, the first beginning with a four-note figure given first by the violas that thereafter attains the prominence of an idŽe fixe. The second theme, introduced by violins, is familiar for clearly being the direct ancestor of the main theme of the Fifth SymphonyÕs first movement.
If Mahler has been in the shadow of the first two movements, he comes into full view at the opening of the finale, where a funeral march is etched by a bassoon with timpani and basses in attendance, then with bass clarinet and contrabassoon adding their sinister voices. The march is developed in fascinating instrumental combinations; the most insinuating one has piccolo providing a countermelody to the theme in low strings. Activity increases on the way to an extended ÒAllegroÓ section that begins with muscular tautness and grows in primitive, percussive urgency. The thrust is arrested by a strange little duet between bass clarinet and piccolo, which, it turns out, is an introduction to a sweet-as-you-please waltz danced first by muted cellos with only harps in rhythmic attendance. Again, there are kaleidoscopic changes of mood, seemingly the last of which is a glowing section that seems to be bringing the Symphony to a benign close. But Shostakovich has a violent surprise in store, a searing explosion. (Strangely enough in this Shostakovichian context, there seem to be strong echoes of RavelÕs Bolero here.) When this violence is spent, the composer invokes a characteristic serenity suffused by sadness to end his Symphony, as high strings shimmer and celesta quivers mournfully.
In light of the SymphonyÕs disturbing content, one concludes that it was the better part of wisdom for Shostakovich to withhold it until his nemesis Stalin was long dead.
Program note by Orrin Howard.

WINTER 2015

21

WINTER 2015

MARIINSKY ORCHESTRA

WINTER 2015

WINTER 2015

MARIINSKY ORCHESTRA

WINTER 2015

Please refer to page 39 in your program book for complete artist biographies and an orchestral roster for the Mariinsky Orchestra.

Scan for archival photos! Mariinsky Orchestra and Valery GergievÕs past visits to Ann Arbor.
Download a free QR code reader app on your smart phone, point your camera at the code, and scan to see multimedia content; or visit www.umslobby.org to find these stories.

UMS PRESENTS
MARIINSKY ORCHESTRA

Valery Gergiev
Music Director and Conductor
Denis Matsuev
Piano
Sunday Afternoon, January 25, 2015 at 3:00
Hill Auditorium ¥ Ann Arbor

34th Performance of the 136th Annual Season
136th Annual Choral Union Series
20th Annual Ford Honors Program
Photo: Interior of Mariinsky Theatre, St. Petersburg, Russia. © Peter Barritt/Robert Harding World Imagery/Corbis.

27

PROGRAM

Rodion Shchedrin
Concerto for Orchestra No. 1
Pyotr Ilyich Tchaikovsky
Piano Concerto No. 1 in b-flat minor, Op. 23
Allegro non troppo e molto maestoso Ñ Allegro con spirito
Andantino semplice Ñ Prestissimo
Allegro con fuoco
Mr. Matsuev
INTERMISSION
Modest Mussorgsky,
Arr. Maurice Ravel
Pictures at an Exhibition
Promenade
Gnomus
Promenade
The Old Castle
Promenade
Tuileries (Dispute between Children at Play)
Cattle
Promenade
Ballet of the Unhatched Chicks
Samuel Goldenberg and SchmuØle
The Market at Limoges (The Great News)
The Catacombs
Cum mortius in Lingua morta (With the Dead in a Dead Language)
The Hut on FowlÕs Legs (Baba-Yag‡)
The Great Gate of Kiev

WINTER 2015

MARIINSKY ORCHESTRA

The Ford Honors Program recognizes the longtime generous support of the UMS Education & Community Engagement Program by Ford Motor Company Fund.
The DTE Energy Foundation Educator and School of the Year Awards are made possible by the DTE Energy Foundation.
Special thanks to Ford Honors Gala Concertmaster sponsors: Bank of Ann Arbor; Miller, Canfield, Paddock, and Stone, P.L.C.; and the University of Michigan Health System.
Media partnership provided by WGTE 91.3 FM and WRCJ 90.9 FM.
Special thanks to Tom Thompson of Tom Thompson Flowers, Ann Arbor, for his generous contribution of lobby floral art for this afternoonÕs concert.
Special thanks to Kipp Cortez for coordinating the pre-concert music on the Charles Baird Carillon.

WINTER 2015

Special thanks to members of the DTE Award Selection Committee: Pat Bantle, Kristi Bishop, Janet Callaway, Mark Clague, and Sarah Nicoli; and UMS Staff Susan Craig, Shannon Fitzsimons, Jim Leija, Terri Park, and Mary Roeder.
Maestro Gergiev and the Mariinsky Orchestra record for the Mariinsky Label and also appear on Universal (Decca, Phillips).
VTB Bank is the Principal Partner of the Mariinsky Theatre.
Sberbank and Yoko Nagae Ceschina are the Principal Sponsors of the Mariinsky Theatre.
Mariinsky Foundation of America is the North American Sponsor of the Mariinsky Theatre.
Maestro Gergiev and the Mariinsky Orchestra appear by arrangement with Columbia Artist Management, LLC, New York, NY.

NOW THAT YOUÕRE IN YOUR SEATÉ

In their own time, Tchaikovsky and Mussorgsky seemed to represent two opposite directions in Russian music: the former, one of the first graduates of the countryÕs first music conservatory, had acquired a perfect mastery of Western musical forms and techniques, while the latter, largely self-taught, eschewed Western models as much as possible. What seemed like a major stylistic and ideological divide at first soon became irrelevant; 20th-century composers could be inspired by both Ñ or rebel against both. Shchedrin, as a member of the generation coming after Prokofiev and Shostakovich, was one of the young iconoclasts in the 1960s, seen here offering his take on a popular song tradition which had never been treated symphonically before.

Concerto for Orchestra No. 1
(ÒNaughty Little LimericksÓ) (1963)
Rodion Shchedrin
Born December 16, 1932 in Moscow, Soviet Union
UMS premiere: ShchedrinÕs Concerto for Orchestra No. 1 has never been performed on a UMS concert.
SNAPSHOTS OF HISTORYÉIN 1963:
Â¥
The Beatles record their debut album Please Please Me in a single day at the Abbey Road Studios in London

Â¥
The Alcatraz Federal Penitentiary on Alcatraz Island in San Francisco Bay closes

Â¥
President John F. Kennedy is assassinated

Â¥
The Viet Cong win their first major victory in the Battle of Ap Bac

Â¥
Martin Luther King Jr. issues his ÒLetter from Birmingham JailÓ

Rodion ShchedrinÕs style is less radical than those of his colleagues Alfred Schnittke or Sofia Gubaidulina, yet he was just as opposed as they were to stodgy Soviet academicism, which he fought Òfrom the inside.Ó For many years he was the Secretary of the Russian ComposersÕ Union, a post he had inherited from Shostakovich. In this capacity, he was able to help composers who were not in favor with the Soviet ComposersÕ Union, headed by the infamous Tikhon Khrennikov.
Shchedrin is the author of a large catalog of works in all genres of instrumental and vocal music. He is probably best known for his Carmen suite after Bizet. He has also written stage works after a number of literary classics: the ballets Anna Karenina after Tolstoy, The Seagull and The Lady with the Lapdog after Chekhov, as well as the operas Dead Souls after Gogol and Lolita after Nabokov.
One of his earliest works to attract international attention was Ozorn.e chastœshki, variously translated into English as ÒMischievous Limericks,Ó ÒMischievous Folk Ditties,Ó or ÒNaughty Limericks.Ó A chastushka is not exactly a limerick, although both are short poems and can definitely be ÒmischievousÓ or ÒnaughtyÓ in content. But the Russian chastushka is always sung, accompanied by an accordion or a balalaika, and sometimes even danced to. Chastushki usually have four lines, with a syllable count of 8+7+8+7; the second and fourth lines rhyme. They are popular both in the city and in the countryside; during the Soviet era, they were heavily politicized and given words about Socialist labor and the struggle for world peace. Yet there are many ÒunsanitizedÓ chastushka texts and those are the ones Shchedrin had in mind when he composed the present work, subtitled Concerto for Orchestra (itself somewhat ironic since the piece is only 10 minutes long). Of course, Shchedrin did not identify these texts in any way.
The ÒnaughtinessÓ of the piece is all in the orchestration: the cheeky piccolo solos, the jazzy bass pizzicatos (plucked notes), and the prepared piano ˆ la John Cage (though the work sounds nothing like Cage). All these disparate elements come together to produce a sensation of irresistible, wicked fun. By the time the actual chastushka melody arrives with its intentional, shocking vulgarity, the scene has been well set. The music gradually escalates to a state of near-frenzy, with a series of mock-violent chords at the end. The whole piece takes the notion of sarcasm, familiar from the works of Prokofiev and Shostakovich, quite a few steps further, expressing feelings that, in the Soviet era, could best be vented in a purely instrumental composition, which was harder to attack on political grounds.
Naughty Limericks has an optional coda that begins with a piano solo. (Shchedrin suggested that it be played by the conductor if possible.) This quasi-improvisational section may or may not be played, based on a decision the conductor has to make on the spur of the moment.

Piano Concerto No. 1 in b-flat
minor, Op. 23 (1874Ð75, rev. 1879, 1888)
Pyotr Ilyich Tchaikovsky
Born May 7, 1840 in Kamsko-Votkinsk, Russia
Died November 6, 1893 in St. Petersburg
UMS premiere: Arguably the most famous 19th-century piano concerto Ñ TchaikovskyÕs b-flat minor Ñ was first performed on a UMS concert roughly 25 years after it was composed. The pianist was Mr. Albert Lockwood performing with the Boston Festival Orchestra at the 1901 May Festival in University Hall.
SNAPSHOTS OF HISTORYÉIN 1874Ð75:
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BizetÕs Carmen is first performed (1875)

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The Civil Rights Act is signed into law by President Ulysses S. Grant, guaranteeing certain rights for African-Americans (the law was, however, declared unconstitutional by the Supreme Court in 1883) (1875)

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Pierre-Auguste Renoir paints his RowersÕ Lunch (1875)

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French composer Maurice Ravel is born (1875)

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New York City annexes the Bronx (1874)

With TchaikovskyÕs arrival on the musical scene, Russia had finally produced a composer who had it all: brilliant technique, outstanding melodic gifts, and a strong Russian national identity. Before Tchaikovsky, the history of the Russian concerto consisted largely of four concertos by his teacher Anton Rubinstein (he added a fifth in 1874Ð75, concurrently with his former studentÕs First) Ñ plus two unfinished works by Balakirev (the second of which was completed by Sergei Liapunov many years later). It was left to the young Tchaikovsky to turn the form of the concerto, which had been perceived as German in both style and origin, into something authentically Russian. RubinsteinÕs combination of muscular technique and effusive lyricism was a great influence on the young composer, but Tchaikovsky had to find his own solution to the problem of form. In his monumental Tchaikovsky biography, musicologist David Brown noted: ÒThematic development, which came so readily to the German symphonic composer, was thoroughly alien to Russian creative thought.Ó Brown describes that thought as Òreflective rather than evolutionary.Ó This means, musically speaking, that the Russian composer can Òconceive self-contained [and] often magnificently broad themes,Ó but encounters Òproblems when he wishes to evolve to the next stage of the piece.Ó
This ÒreflectiveÓ quality resulted in charges of formlessness against the concerto. Even some of TchaikovskyÕs closest friends found fault with its structure: on Christmas Eve 1874, Nikolai Rubinstein lashed out at Tchaikovsky in particularly harsh terms. Anton RubinsteinÕs younger brother was himself a noted pianist, composer, conductor, and conservatory director who had invited Tchaikovsky to join the faculty of the Moscow school he had founded. Tchaikovsky related the incident (at which two other colleagues were also present) to his benefactress and confidante-by-correspondence, Madame von Meck:
I played the first movement. Not a single word, not a single comment! If only you could have known how foolish, how intolerable is the position of a man when he offers his friend food he has prepared, and his friend eats it and says nothing. Say something, if only to tear it to pieces with constructive criticism Ñ but for GodÕs sake, just one kind word, even if not of praise! ... RubinsteinÕs eloquent silence had tremendous significance. It was as though he was saying to me: ÒMy friend, can I talk about details when the very essence of the thing disgusts me?Ó I fortified my patience, and played on to the end. Again silence. I got up and asked, ÒWell?Ó It was then that there began to flow from Nikolay GrigoryevichÕs mouth a stream of words, quiet at first, but subsequently assuming more and more the tone of Jove the Thunderer. It appeared that my concerto was worthless, that it was unplayable, that passages were trite, awkward, and so clumsy that it was impossible to put them right, that as composition it was bad and tawdry, that I had filched this bit from here and that bit from there, that there were only two or three pages that could be retained, and that the rest would have to be scrapped or completely revised. ÒTake this, for instance Ñ whatever is it?Ó (at this he plays the passage concerned, caricaturing it). ÒAnd this? Is this really possible?Ó Ñ and so on, and so on. I canÕt convey to you the most significant thing Ñ that is, the tone in which all this was delivered. In a word, any outsider who chanced to come into the room might have thought that I was an imbecile, an untalented scribbler who understood nothing, who had come to an eminent musician to pester him with his rubbish...
I was not only stunned, I was mortified by the whole sceneÉI left the room silently and went upstairs. I could say nothing because of my agitation and anger. Rubinstein soon appeared and, noticing my distraught state, drew me aside into a distant room. There he told me again that the concerto was impossible, and after pointing out to me a lot of places that required radical change, he said that if by such-and-such a date I would revise the concerto in accordance with his demands, then he would bestow upon me the honor of playing my piece in a concert of his. ÒI wonÕt change a single note,Ó I replied, Òand IÕll publish it just as it is now!Ó And so I did!
Tchaikovsky had more immediate luck with his concerto outside Russia. It was taken on by no less an artist than Hans von BŸlow, who, throughout his long career, had been closely associated with some of the greatest composers of the time, such as Liszt, Wagner, and Brahms. BŸlow, who went on an American tour in 1875, gave the world premiere of the concerto in Boston in October of that year.
As far as revisions to the concerto were concerned, Tchaikovsky did not remain as adamant as he was at the beginning. Although he rejected Nikolai RubinsteinÕs criticism, he later heeded the advice of Edward Dannreuther (who played the solo at the English premiere) and made emendations to the solo part in 1879. He revised the work again in 1889, and it was then that the opening D-flat Major chords received the shape in which they became famous.
It is not clear what factors had been responsible for RubinsteinÕs violent outburst at Christmas 1874. In any event, less than a year later, he conducted the Moscow premiere of the concerto, with TchaikovskyÕs student, the 18-year-old Sergei Taneyev at the piano. Rubinstein eventually recanted his earlier judgment completely, learned the solo part himself, and became one of the concertoÕs most celebrated interpreters. He remained a staunch champion and friend of TchaikovskyÕs until his untimely death in 1881.
At first hearing, this concerto did possess a few features that could perturb a professor of music in 1874. It opens with a lengthy passage outside the main key, in a 3/4 meter that will soon be replaced by 4/4, never to return. But David Brown has discovered some secret motivic links that connect this introduction to the main section of the first movement, and argued for the presence of a strong organic unity between the movementÕs themes. Brown has also speculated that two of the motifs are ciphers for Tchaikovsky himself and DŽsirŽe Art™t, a Paris-born singer of international reputation, to whom the composer had once proposed marriage. (In fact, the second theme begins with the notes D-flat Ñ A [in German ÔDesÕ Ñ ÔAÕ], and that could very well stand for DESirŽe Art™t. If BrownÕs hypothesis is true, TchaikovskyÕs procedure was similar to SchumannÕs in his ÒAbeggÓ variations or in the ÒLettres dansantesÓ movement of his Carnival.)
Each of the concertoÕs three movements incorporates a folksong. The first movement includes a melody that Tchaikovsky had taken down at Kamenka, where his sister and her family had an estate, apparently from a Ukrainian kobzar, one of many blind itinerant singer-musicians. In the prestissimo middle section of the second movement, we hear a French chansonette, ÒIl faut sÕamuser and rireÓ (LetÕs have fun and laugh) that was popular in Russia at the time. (Brown writes: ÒIt is said to have been a favorite in Art™tÕs repertoire.Ó) Finally, the last movement begins with another Ukrainian tune. In different ways, all three movements are based on the contrast between these playful folk themes and the lyrical materials that surround them. It is perhaps this mixture of styles Ñ now light, now sentimental, now ÒpathŽtiqueÓ Ñ that is the most unique feature of the concerto. Although it may have seemed ÒdisconcertingÓ at first (no pun intended), this very diversity, and the boldness with which Tchaikovsky leaps from one mood to the next, help make this work sound fresh and youthful, even after thousands and thousands of performances around the world.

Pictures at an Exhibition (1874)
Modest Mussorgsky
Born March 21, 1839, in Karevo, in the Pskov
district of Russia
Died March 28, 1881, in St. Petersburg
Orchestrated in 1922 by Maurice Ravel
Born March 7, 1875 in Ciboure, Basses
PyrŽnŽes, France
Died December 28, 1937 in Paris
UMS premiere: Boston Symphony Orchestra under the baton of Serge Koussevitzky, December 1934 in Hill Auditorium.
SNAPSHOTS OF HISTORYÉIN 1874:
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The first womenÕs Greek letter organization, Gamma Phi Beta, is founded at Syracuse University

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VerdiÕs Requiem is first performed in Milan

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The Chicago Fire burns down 47 acres of the city

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The first independent exhibition of the Impressionist painters is held in Paris

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New YorkÕs Madison Square Garden opens (under the name of BarnumÕs Hippodrome)

ÒWhat a terrible blow!Ó Mussorgsky exclaimed in a letter to the critic Vladimir Stasov in 1874, and he proceeded to paraphrase a famous passage from ShakespeareÕs King Lear: ÒWhy should a dog, a horse, a rat, live on, when creatures like Hartman must die?Ó Victor Hartman, a gifted architect and painter and a close friend of MussorgskyÕs, had recently died at the age of 39. A commemorative exhibit of his painting inspired Mussorgsky to pay a musical tribute to his friend by writing a piano suite based on his impressions of the paintings. The suite was not performed or published during the composerÕs lifetime, however, and it did not become universally known until Maurice Ravel orchestrated it in 1922. Mussorgsky chose 10 of HartmanÕs pictures for musical illustration. The pictures are separated Ñ at least in the first half of the work Ñ by a melody called ÒPromenadeÓ that portrays the visitor at the gallery strolling from picture to picture. It is fascinating to listen to the changes that the melody undergoes from one recurrence to the next: the impression left by the last picture seems to linger on as the visitor proceeds to the next painting.
The first picture, ÒGnomus,Ó represents a toy nutcracker in the shape of a dwarf. The strange and unpredictable movements of this creature are depicted quite vividly. We hear the ÒPromenadeÓ again, and are then ushered into ÒThe Old Castle,Ó where a troubadour (a medieval courtly singer) sings a wistful song. In RavelÕs orchestration, this haunting melody is played by the alto saxophone.
The next picture Ñ preceded again by the ÒPromenadeÓ Ñ is titled ÒTuileries: Dispute between Children at Play.Ó It is followed immediately Ñ with no ÒPromenadeÓ this time Ñ by ÒBydlo,Ó the Polish oxcart, slowly approaching and then going away as its ponderous melody gets first louder and then softer.
A much shortened ÒPromenade,Ó more lyrical in tone than before, leads the ÒBallet of the Unhatched Chicks,Ó based on the designs Hartman had made for the ballet Trilbi at the Mariinsky Theatre in St. Petersburg. In the ballet, which had music by Julius Gerber and choreography by the famous Marius Petipa, a group of children appeared dressed up as canaries; others, according to a contemporary description, were Òenclosed in eggs as in suits of armor,Ó with only their legs sticking out of the eggshells.
The next picture is titled, in the original, ÒÔSamuelÕ Goldenberg und ÔSchmuØleÕ.Ó Hartman had painted a number of characters from the Jewish ghetto in Sandomierz, Poland, including a rich man in a fur hat and a poor one sitting with his head bent. Although Mussorgsky left no explanation of the movement, it has traditionally been understood as an argument between two Jews, one rich, the other poor. The rich Jew is represented by a slow-moving unison melody stressing the augmented second, considered an ÒOrientalÓ interval and indeed frequent in certain forms of Jewish chant and folk music with which Mussorgsky was familiar. The poor man is characterized by a plaintive theme whose repeated notes seem to be choking with emotion. Then, the two themes are heard simultaneously. In RavelÕs orchestration, Goldenberg has the entire string section at his command, while Schmuyle tries to defend himself, desperately, to the sound of a single muted trumpet.
ÒLimoges, the Market: The Big NewsÓ portrays the hustle and bustle of an open market in France where people are busy gossiping and quarrelling.
What a contrast to go from here immediately to the ÒCatacombs.Ó HartmanÕs watercolor shows the artist, a friend, and their guide, who is holding a lantern, examining the underground burial chambers in Paris. On the right, one can see a large pile of skulls which, in MussorgskyÕs imagination, suddenly begin to glow. The ÒPromenadeÓ theme appears completely transfigured, as the inscription in the score says, Cum mortuis in lingua mortua (With the dead in a dead language).
The next section, ÒThe Hut on FowlÕs Legs: Baba YagaÓ evokes the witch of Russian folktales who lives in just such an edifice. Hartman had designed a clock in the form of the famous hut; its design survives only as a sketch. MussorgskyÕs movement, whose rhythm has something of the ticking of a giant clock, has a mysterious-sounding middle section, after which the wilder and louder first material returns.
The Òwitch musicÓ continues directly into the grand finale, ÒThe Great Gate of Kiev,Ó inspired by an ambitious design that was submitted for a competition but never built. For the immense architectural structure, Mussorgsky provided a grandiose melody resembling a church hymn and presented in rich harmonies. This theme alternates with a more subdued second melody, harmonized like a chorale. Near the end, the movement incorporates the ÒPromenadeÓ theme; it leads directly into the magnificent final climax that, in many ways, symbolizes the grandeur of old Russia.
Program notes by Peter Laki.

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Please refer to page 39 in your program book for complete artist biographies and an orchestral roster for the Mariinsky Orchestra.

UMS

2015 FORD HONORS PROGRAM

THE FORD HONORS PROGRAM RECOGNIZES THE LONGTIME GENEROUS SUPPORT OF THE UMS EDUCATION & COMMUNITY ENGAGEMENT PROGRAM BY

PRESENTATION OF THE DTE ENERGY FOUNDATION EDUCATOR AND SCHOOL OF THE YEAR AWARDS MADE POSSIBLE BY

WINTER 2015

CONCERTMASTER SPONSORS
Bank of Ann Arbor
Miller, Canfield, Paddock, and Stone, P.L.C.
University of Michigan Health System
GALA CHAIRS
Gail Ferguson Stout
Barb Mulay
GALA COMMITTEE
Dennis Carter
Judy Cohen
Zita Gillis
Kendra Kerr
Fran Martin
Terry Meerkov
Betty Palms
Ruth Petit
Susan Pollans
Anne Preston
HOST COMMITTEE
Kathy Benton and Bob Brown
Lou and Janet Callaway
Dallas and Sharon Dort
Stephen and Rosamund Forrest
Norman and Debbie Herbert
David and Phyllis Herzig
Susan McClanahan and Bill Zimmerman
M. Haskell and Jan Barney Newman
Dan and Sarah Nicoli
Joe and Yvonne Sesi
Marysia Ostafin and George Smillie
Linh and Dug Song
Karen and David Stutz
Louise Taylor

MARIINSKY ORCHESTRA

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FORD HONORS PROGRAM BENEFICIARY
Proceeds from the Ford Honors Gala help UMS to provide exceptional educational experiences for K-12 students, teachers, teens, university students, families, and adults. Your Ford Honors sponsorship helps keep School Day Performance ticket prices affordable for area schoolchildren, brings artists into K-12 and college classrooms, and helps UMS to offer workshops for teachers, artist master classes, Night School sessions, and many other events that inspire creativity and enhance learning at all ages.
THE UMS DISTINGUISHED ARTIST AWARD
The UMS Distinguished Artist Award celebrates outstanding artistic achievement of an artist or ensemble that has a long-standing relationship with UMS. The Mariinsky Orchestra and its music director, Valery Gergiev, have performed 13 concerts with UMS since 1992, including a five-concert cycle over a seven-month period that explored ShostakovichÕs symphonies. The Mariinsky Orchestra and Maestro Gergiev will be presented with the awards at a gala dinner following Sunday afternoonÕs performance.
2015 UMS DTE ENERGY FOUNDATION SCHOOL OF
THE YEAR
The ARTS ACADEMY @ THE PLYMOUTH-CANTON EDUCATIONAL PARK is an arts magnet high school within the Plymouth-Canton complex and is a model among its peers in the integration of arts into the curriculum. Its ninth and 10th grade curriculum is structured to provide creative, collaborative opportunities for students to express newfound academic understandings in English, Science, and Social Studies through the arts. Starting in grade 11, students take advantage of upper-level arts-integrated courses such as World Drama, Modern Literature and the Arts, Graphic Novel, and Honors Humanities, which require students to activate higher-order processing skills in order to create musical, visual, kinesthetic, and dramatic recounts of their learning. In addition, students participate in an annual student-funded, student-directed benefit concert to raise funds for new courses, and benefit from a partnership with the Michigan Philharmonic and regular attendance at UMS School Day Performances. In addition to supporting academic rigor, arts-integrated learning at the Arts Academy has created a welcoming, safe environment for students to find their voice, articulate it brilliantly, and use it to act as agents of change in their community.

2015 UMS DTE ENERGY FOUNDATION EDUCATORS OF THE YEAR
ANN MARIE BORDERS and KAREN MCDONALD are honored for their passionate commitment to integrating the arts into the elementary curriculum within the Ann Arbor Public Schools, most recently, at Carpenter Elementary School. In an unprecedented tie, the selection committee chose both Ms. Borders and Ms. McDonald to receive the award.
A longtime general education teacher in the Ann Arbor Public School District, Ann Marie Borders of Carpenter Elementary School returned to the music classroom last year where she seamlessly integrates music and academics. Lower elementary students delight in Ms. BordersÕ original alphabet song compositions and raps, all incorporating the letter, phonic sound, and words for daily phonics practice. Older students incorporate a weekly journal into their music lessons, generating written responses to classroom listening sessions to music from around the globe. Students reflect on the composerÕs style, tempo, instruments used, as well as thoughts and ideas inspired by the music. She writes and secures grants to support student learning on all levels; in the last year alone, Ms. Borders secured 13 grants to support everything from the acquisition of iPads for the music classroom to hats and gloves for students in need.
Carpenter Elementary School art teacher Karen McDonald structures her visual art lessons to explore student academics in new and exciting ways. Recently, students applied reading comprehension and analysis to a design project when they were asked to create an original book cover. She also collaborates with parents and community members on art units; students have had in-class Skype sessions with a celebrated African- American artist, attended glassblowing demonstrations, and created a group sculpture with students in other Ann Arbor Public Schools. Her students are given opportunities to exhibit their work and field questions about their creations from parents, teachers, and community members. A longtime member of the UMS Teacher Insight Group, she has been an active participant in UMS teacher workshops. She is admired for her creative approach to melding visual art with social studies, science, math, and language arts, and for the sense of community and inspiration she creates among her students.
PREVIOUS RECIPIENTS OF THE UMS DISTINGUISHED ARTIST AWARD
Wynton Marsalis and the Jazz at Lincoln
Center Orchestra (2014)
Yo-Yo Ma and The Silk Road Project
(2013)
Joshua Bell and Academy of St. Martin in
the Fields (2012)
RenŽe Fleming (2011)
Michael Tilson Thomas and the San
Francisco Symphony (2010)
Royal Shakespeare Company, Michael
Boyd, and Ralph Williams (2009)
Sir James Galway (2008)
Mstislav Rostropovich (2007)
Dave Brubeck (2006)
Guarneri String Quartet (2005)
Sweet Honey In The Rock (2004)
Christopher Parkening (2003)
Marilyn Horne (2002)
Marcel Marceau (2001)
Isaac Stern (2000)
Canadian Brass (1999)
Garrick Ohlsson (1998)
Jessye Norman (1997)
Van Cliburn (1996)

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ARTISTS

VALERY GERGIEV is Artistic and General Director of the Mariinsky Theatre, Principal Conductor of the London Symphony Orchestra, Principal Conductor of the World Orchestra for Peace, Chair of the Organizational Committee of the International Tchaikovsky Competition, Honorary President of the Edinburgh International Festival, and Dean of the Faculty of Arts at the St. Petersburg State University.
Maestro Gergiev graduated from the Leningrad State Rimsky-Korsakov Conservatoire in symphonic conducting under Professor Ilya Musin. While still a student at the Conservatoire, he won the Herbert von Karajan Conducting Competition in Berlin and the All-Union Conducting Competition in Moscow and was invited to join the Kirov Theatre (now the Mariinsky). At the age of 35 in 1988, Maestro Gergiev was appointed Musical Director of the Mariinsky Theatre, and since 1996 he has been Artistic and General Director of the Mariinsky Theatre (Mariinsky Ballet, Opera, and Orchestra ensembles). In 2006, the Concert Hall opened on the site of workshops that had burnt down. The new Mariinsky Theatre (Mariinsky II) opened in May 2013 alongside the historical Mariinsky Theatre.
Maestro Gergiev has established and directs such international festivals as the Stars of the White Nights festival (St. Petersburg), the Moscow Easter Festival, and the Gergiev Festival (the Netherlands). He has led numerous composer cycles including Hector Berlioz, Johannes Brahms, Henri Dutilleux, Gustav Mahler, Sergei Prokofiev, Dmitri Shostakovich, Igor Stravinsky, Pyotr Ilyich Tchaikovsky in New York, London, Paris, and other international cities and he has introduced audiences around the world to several rarely performed Russian operas.
Maestro Gergiev staged a production of Richard WagnerÕs tetralogy Der Ring des Nibelungen in the original German language, the first such production in Russian history, and led that production in St. Petersburg, Moscow, Seoul, Tokyo, New York, and London. He also champions contemporary Russian composers such as Rodion Shchedrin, Boris Tishchenko, Sofia Gubaidulina, Alexander Raskatov,ÊPavel Smelkov.
Principal Conductor of the London Symphony Orchestra since 2007, Maestro Gergiev performs with the LSO at the Barbican, the Proms, and the Edinburgh Festival, as well as on extensive tours of Europe, North America, and Asia. He also collaborates with the Metropolitan Opera, the Vienna Philharmonic, and the orchestras of La Scala, New York, Munich, and Rotterdam.
In July 2013 he led the debut international tour of the National Youth Orchestra of the United States of America, an orchestra founded by Carnegie HallÕs Weill Music Institute, and in 2016 assumes the post of Principal Conductor of the MŸnchner Philharmoniker.ÊMaestro GergievÕs many awards include the title of PeopleÕs Artist of Russia, the Dmitri Shostakovich Award, the Polar Music Prize, NetherlandÕs Knight of the Order of the Dutch Lion, JapanÕs Order of the Rising Sun, and the French Order of the Legion of Honor.
The MARIINSKY ORCHESTRA enjoys a long and distinguished history as one of the oldest musical institutions in Russia. Founded in the 18th century during the reign of Peter the Great and housed in St. PetersburgÕs famed Mariinsky Theatre since 1860, the Orchestra entered its Ògolden ageÓ in the second half of the 19th century under the musical direction of Eduard Napravnik, whose leadership for more than a half century (1863Ð1916) secured its reputation as one of the finest in Europe.
Renamed the ÒKirovÓ during the Soviet era, the Orchestra continued to maintain its high artistic standards under the leadership of Yevgeny Mravinsky and Yuri Temirkanov. The leadership of Valery Gergiev has enabled the Theatre to forge important relationships for the Ballet and Opera to appear in the worldÕs greatest opera houses and theaters, among them the Metropolitan Opera, the Kennedy Center, the Royal Opera House in Covent Garden, the San Francisco Opera, the ThŽ‰tre du Ch‰telet in Paris, the Salzburg Festival, and La Scala in Milan. The success of the OrchestraÕs frequent tours has created the reputation of what one journalist referred to as Òthe worldÕs first global orchestra.Ó Since its US debut in 1992 the orchestra has made 17 tours of North America, including a 2006 celebration of the complete Shostakovich symphonies, a Cycle of Stage Works of Prokofiev in 2008, major works of Hector Berlioz in February/March 2010, a Centennial Mahler Cycle in Carnegie Hall in October 2010, and in October 2011, the Mariinsky Orchestra opened Carnegie HallÕs 120th season with a cycle of Tchaikovsky symphonies which was also performed throughout the US and in Canada. Maestro Gergiev and the Mariinsky Orchestra celebrated the maestroÕs 60th birthday in North America in October 2013 with works by Stravinsky, Rachmaninoff, and Shostakovich.
Maestro Gergiev established the Mariinsky Label in 2009 and has since released 20 CDs including ShostakovichÕs Piano Concertos Nos. 1 & 2, Symphonies Nos. 1 & 15, Nos. 2 & 11, Nos. 3 & 10, No. 7, No. 8 and The Nose; RachmaninoffÕs Piano Concerto No. 3 and Rhapsody on a Theme of Paganini with Denis Matsuev; TchaikovskyÕs Piano Concerto No. 1 with Daniil Trifonov and 1812 Overture; ShchedrinÕs The Enchanted Wanderer; MassenetÕs Don Quichotte; StravinskyÕs Oedipus Rex and Les Noces; WagnerÕs Parsifal, Die Walkure, and Das Rheingold; DonizettiÕs Lucia di Lammermoor; and six DVD/Blu-ray products, including TchaikovskyÕs Symphonies Nos. 4, 5, & 6, BalanchineÕs ballet Jewels, VerdiÕs Attila, StraussÕ Die Frau ohne Schatten, and ProkofievÕs The Gambler. His Mariinsky Label releases in 2014 include ShostakovichÕs Symphonies Nos. 4, 5, & 6,ÊTchaikovskyÕs Piano Concertos Nos. 1 & 2, ProkofievÕs Piano Concerto No. 3 and Symphony No. 5 with Denis Matsuev, and ProkofievÕs Romeo and Juliet on Double Play Blu-ray and DVD.

BEHZOD ABDURAIMOVÕs (piano, Saturday program) captivating performances have won him high critical praise, most recently from the LA Times: Òhe played TchaikovskyÕs fast and furious passages not like a challenge but an almost serene joy.Ó The Washington Post critic also recently noted: ÒIÕm not sure I could give higher praise Ñ keep your ear on this one.Ó
An exclusive Decca Classics recording artist, Mr. Abduraimov has worked with orchestras including the Los Angeles Philharmonic, Mariinsky Orchestra, Boston Symphony, London Philharmonic, Sydney Symphony, Tokyo Symphony, Atlanta Symphony, and Accademia Nazionale di Santa Cecilia. He has collaborated with conductors such as Vladimir Ashkenazy, Valery Gergiev, Krzysztof Urban.ski, Vasily Petrenko, James Gaffigan, Charles Dutoit, and Vladimir Jurowski.
Highlights of the 2014Ð15 season include a return to the Los Angeles Philharmonic and his debut with the Czech Philharmonic Orchestra (Jirÿ’ Beÿlohl‡vek), including the opening of their season and a tour of Italy. He takes part in the Mariinsky OrchestraÕs Prokofiev piano concerto cycle at the Baltic Sea Festival in Stockholm, Vienna Konzerthaus, and Konzerthaus Dortmund under Valery Gergiev; and returns to the London Philharmonic Orchestra for a performance at the Royal Festival Hall under David Zinman, to be followed by a tour of China with Vassily Sinaisky. He debuts with the Helsinki Philharmonic Orchestra (Osmo VŠnskŠ) and features in recital and in concert with the Orchestre National du Capitole de Toulouse under Tugan Sokhiev as part of the Festival Piano aux Jacobins. Other recitals include returns to the Wigmore Hall and the Louvre, in addition to performances in Italy and Spain.
In North America he makes his debut with the Detroit Symphony Orchestra under Andrey Boreyko and embarks on a US tour with the Mariinsky Orchestra under Maestro Gergiev, to include Carnegie Hall. He returns to Carnegie Hall later in the season to make his debut recital appearance as part of their Distinctive Debuts series. Further afield, he makes his debut with the Hong Kong Philharmonic Orchestra under Thomas Dausgaard.
Mr. Abduraimov released his debut recital CD on Decca Classics in 2012, which won both the Choc de Classica and the Diapason DŽcouverte. In fall 2014, his first concerto disc was released featuring ProkofievÕs Piano Concerto No. 3 and TchaikovskyÕs Concerto No. 1 with the Orchestra Sinfonica Nazionale della Rai under Juraj Valcÿuha.
Mr. Abduraimov was born in Tashkent in 1990 and began to play the piano at the age of five. He was a pupil of Tamara Popovich at the Uspensky State Central Lyceum in Tashkent, and studied with Stanislav Iudenitch at the International Center for Music at Park University, Kansas City, where he is now Artist in Residence.

DENIS MATSUEV (piano, Sunday program) has become a fast-rising star on the international concert stage since his triumphant victory at the 11th International Tchaikovsky Competition in Moscow in 1998, and has quickly established himself as one of the most sought-after pianists of his generation. Mr. Matsuev collaborates with the worldÕs best-known orchestras and conductors and is continually re-engaged with world-famous music festivals and legendary Russian orchestras such as the St. Petersburg Philharmonic, the Mariinsky Orchestra, and the Russian National Orchestra.
The 2014Ð15 season includes performances with the London Symphony Orchestra, engagements at the Koninklijk Concertgebouwork in Amsterdam, and a recital at the Van Cliburn Foundation. Mr. MatsuevÕs recital performances have brought him to Carnegie Hall and also the Concertgebouw in Amsterdam, Salle Pleyel in Paris, Konzerthaus in Vienna, and Great Hall of Moscow Conservatoire, among others.
In 2010 the New York Philharmonic gave the orchestraÕs 15,000th concert Ñ a number unmatched by any other orchestra. This unprecedented milestone concert in Avery Fisher Hall took place with Mr. Matsuev as soloist, was conducted by Maestro Valery Gergiev, and was praised highly by music critics. Mr. Matsuev was also chosen by the Sergei Rachmaninov Foundation to perform and record unknown pieces by the composer on his own piano at the Rachmaninov house ÒVilla SenarÓ in Lucerne.
Since 2004 Mr. Matsuev has organized Stars on Baikal in Irkutsk, Siberia (in 2009 he was awarded the title of Honorary Citizen of Irkutsk), and since 2005 he has been the artistic director of the music festival Crescendo (a series of events held in international cities such as Moscow, St. Petersburg, Yekaterinburg, Tel Aviv, Kaliningrad, Paris, and New York). In 2010 he became the Artistic Director of Annecy Music Festival in Annecy, France, with the goal of demonstrating the convergence of Russian and French music cultures. He is also the Artistic Director of the First International Astana Piano Passion Festival and Competition, and the president of the charitable Russian foundation New Names that supports youth music education in regions of his native Russia.
His Mariinsky Label releases include RachmaninoffÕs Piano Concerto No. 3, Shostakovich Concertos Nos. 1 and 2, and ShchedrinÕs Piano Concerto No. 5 with Valery Gergiev and the Mariinsky Orchestra in the famed Mariinsky Concert Hall. Among the many awards he has received is the Five Star rating of BBC Music Magazine and the Presidential Council for Culture and ArtÕs Honored Artist of Russia. He holds the titles of PeopleÕs Artist of Republic of North Ossetia-Alania and PeopleÕs Artist of Republic of Adygea. Mr. Matsuev is a laureate of the prestigious ShostakovichÕs Prize in Music and State Prize of Russian Federation in Literature and Arts, and is a PeopleÕs Artist of Russia. He is also Honorary Professor of Moscow State University and became the head of The Public Council under The Ministry of Culture of the Russian Federation.

Photo: Alexander Shapunov

WINTER 2015

WINTER 2015

Photo: Ben Ealovega-Decca

MARIINSKY ORCHESTRA

WINTER 2015

Photo: Pavel Antonov

41

WINTER 2015

MARIINSKY ORCHESTRA

UMS ARCHIVES

This weekendÕs concerts mark the 12th and 13th UMS performances by Valery Gergiev and the Mariinsky Orchestra. Maestro Gergiev and the Orchestra made their UMS debuts as the Kirov Orchestra of St. Petersburg in November 1992 at Hill Auditorium. The Orchestra most recently appeared in Ann Arbor in October 2012 at Hill Auditorium with piano soloist Denis Matsuev. Mr. Matsuev makes his fourth appearance under UMS auspices on Sunday afternoon following his UMS debut in October 2010 as soloist with the Mariinsky Orchestra and Maestro Gergiev at Hill Auditorium. UMS welcomes pianist Behzod Abduraimov, who makes his UMS debut this evening.

MARIINSKY ORCHESTRA

Valery Gergiev, Music Director
FIRST VIOLIN
Stanislav Izmaylov, Principal
Alexei Lukirsky
Leonid Veksler
Anton Kozmin
Mikhail Rikhter
Khristian Artamonov
Dina Zikeyeva
Kristina Minosian
Viktoria Boezhova
Danara Urgadulova
Vsevolod Vasiliev
Andrei Tyan
Tatiana Moroz
SECOND VIOLIN
Zumrad Ilieva, Principal
Elena Luferova
Viktoria Shchukina
Anastasia Lukirskaya
Andrei Pokatov
Inna Demchenko
Natalia Polevaya
Alexei Krasheninnikov
Elena Shirokova
Mikhail Zagorodnyuk
Olga Timofeyeva
Svetlana Petrova
VIOLA
Yuri Afonkin, Principal
Dinara Muratova
Lina Golovina
Alexander Shelkovnikov
Yevgeny Barsov
Roman Ivanov
Mikhail Anikeyev
Ilya Vasiliev
Andrei Petushkov
Andrei Lyzo
CELLO
Oleg Sendetsky, Principal
Anton Gakkel
Dmitry Ganenko
Viktor Kustov
Yekaterina Larina
Omar Bairamov
Daniil Bryskin
Vladimir Yunovich
Oxana Moroz
Anton Valner
DOUBLE BASS
Kirill Karikov, Principal
Vladimir Shostak
Vladislav Ryabokon
Denis Kashin
Yevgeny Ryzhkov
Sergey Akopov
Boris Markelov
Sergei Trafimovich
FLUTE
Nikolai Mokhov
Sofia Viland
Tatiana Khvatova
Alexander Marinesku
Mikhail Pobedinskiy
Aglaya Shuplyakova
OBOE
Pavel Kundyanok
Alexander Levin
Alexei Fyodorov
Ilya Ilin
CLARINET
Viktor Kulyk
Ivan Stolbov
Nikita Vaganov
Vitaly Papyrin
Dmitry Kharitonov
Yuri Zyuryaev
BASSOON
Rodion Tolmachev
Yuri Radzevich
Ruslan Mamedov
Alexander Sharykin
HORN
Stanislav Tses
Dmitry Vorontsov
Alexander Afanasiev
Alexei Pozin
Vladislav Kuznetsov
Yuri Akimkin
Pyotr Rodin
Dmitry Lezhnin
TRUMPET
Timur Martynov
Sergei Kryuchkov
Vitaly Zaitsev
Yuri Fokin
TROMBONE
Andrei Smirnov
Alexei Lobikov
Alexander Dzhurri
Mikhail Seliverstov
TUBA
Nikolai Slepnev
Boris Dzhioev
PERCUSSION
Andrei Khotin
Arseny Shuplyakov
Dmitry Gabbasov
Yuri Alexeyev
Yevgeny Zhikalov
Mikhail Vedunkin
Vladislav Ivanov
HARP
Sofia Kiprskaya
Maria Krushevskaya
KEYBOARD
Olga Okhromenko
ORCHESTRA MANAGER
Vladimir Ivanov
STAGE HANDS
Victor Belyashin
Nikolai Prozherov
COLUMBIA ARTISTS MANAGEMENT LLC.
Tour Direction:
R. Douglas Sheldon, Senior Vice
President
Karen Kloster, Tour
Coordinator
Marcus Lalli, Executive
Assistant
Ann Woodruff, Tour Manager
Maria Keith, Backstage
Manager
Renee OÕBanks, Hotel
Advance
Maestro! Travel & Touring,
Hotels
Sintec-Tur, Air and Cargo

43

UMS EDUCATIONAL &
COMMUNITY ENGAGEMENT EVENTS

TUNE IN WITH UMSÊ
Tune In with UMS for a brief pre-performance talk before select performances. Just
15 minutes long, each Tune In will offer interesting information and provocative questions for thinking about, listening to, and watching the performance. 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.

eighth blackbird
Saturday, January 17, 2015, 7:30 pm
Rackham Building,
Earl Lewis Room, Third Floor

MendelssohnÕs Elijah
Saturday, February 14, 7:30 pm
Hill Auditorium, Mezzanine Lobby
with special guest: conductor Jerry Blackstone
Trisha Brown Dance Company
Saturday, February 21, 2015, 7:30 pm
Power Center Lobby
Bill Frisell
Thursday, March 12, 2015, 7:00 pm
Michigan League Henderson Room,
Third Floor

Photo: Bill Frisell; photographer: Monica Frisell

UMS.ORG/LEARN

49

BE PRESENT

UMS NATIONAL COUNCIL
The UMS National Council is composed 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
Chair
Andrew Bernstein
Kathleen G. Charla
Jacqueline Davis
Marylene Delbourg-Delphis
John and Betty Edman
Janet Eilber
Barbara Fleischman
Maxine Frankel
Eugene Grant
Charles Hamlen
Katherine D. Hein
David Heleniak
Patti Kenner
Wallis C. Klein
Jerry and Dale Kolins
Zarin Mehta
Jordan Morgan
James A. Read
Herbert Ruben
James and Nancy Stanley
Russell Willis Taylor
Ann and Clayton Wilhite

UMS CORPORATE COUNCIL
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.

WINTER 2015

A. Douglas Rothwell
Chair
Albert Berriz
Bruce Brownlee
Robert Buckler
Robert Casalou
Richard L. DeVore
Nolan Finley
Stephen R. Forrest
Michele Hodges
Mary Kramer
David Parsigian
Vivian Pickard
Sharon Rothwell
Frederick E. Shell
Michael B. Staebler
James G. Vella
Stephen G. Palms,
Ex-Officio

UMS STUDENTS
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
Andrew Bader
Megan Boczar
Rebecca Boelzner
Clare Brennan
Gabrielle Carels
Abigail Choi
Catherine Cypert
Anna Darnell
Kathryn DeBartolomeis
Sophia Deery*
Adam DesJardins
Thomas Erickson
Katrina Fasulo
Mysti Hawkins
Trevor Hoffman
Marina Hogue
Annie Jacobson
Garret Jones
Travis Jones
Ayantu Kebede
Meredith Kelly
Saba Keramati
Scott Kloosterman
Emily Kloska
Caitlyn Koester
Alexandra Koi
Bridget Kojima
Flores Komatsu*
Hillary Kooistra*
Jordan Miller
Gunnar Moll
Claire Pegram
Elias Rodriguez
Nisreen Salka
Elizabeth Seidner*
Marissa Solomon
Priyanka Srivastava
Haylie Stewart
Rachel Stopchinski
Edward Sundra
Jocelyn Weberg
* 21st Century Artist Interns

27

BE PRESENT

UMS FACULTY INSIGHT GROUP
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
Clare Croft
Philip J. Deloria
Angela Dillard
Gillian Eaton
Linda Gregerson
Marjorie Horton
Joel Howell
Daniel Klionsky
Lawrence La Fountain-
Stokes
Tim McKay
Lester Monts
Melody Racine
Katie Richards-Schuster
Sidonie Smith
Emily Wilcox

UMS TEACHER INSIGHT GROUP
Through UMS Teacher Insight, we stay aware of trends, changing resources, and new opportunities for learning in the K-12 classroom.

WINTER 2015

Robin Bailey
Jennifer Burton
Jeff Gaynor
Neha Shah
Cecelia Sharpe
Karen McDonald
Melissa Poli
Rebeca Pietrzak
Mark Salzer

UMS AMBASSADORS
UMS Ambassadors (formally known as the Advisory Committee) advance the goals of UMS, champion the UMS mission through community engagement, provide and secure financial support, and assist UMS in countless other ways.

Pat Bantle
Chair
Louise Taylor
Vice Chair
Connie Rizzolo Brown
Secretary
Jane Holland
Treasurer
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
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
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

29

UMS

UMS STAFF
The UMS Staff works hard to inspire individuals and enrich communities by connecting audiences and artists in uncommon and engaging experiences.

ADMINISTRATION & FINANCE
Kenneth C. Fischer
President
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
DEVELOPMENT
Margaret McKinley
Director of Development
Esther Barrett
Development Coordinator
Susan Bozell Craig
Associate Director of Development, Corporate Partnerships & Major Gifts
Rachelle Lesko
Annual Fund Manager
Lisa Michiko Murray
Senior Manager of Foundation & Government Relations
Marnie Reid
Associate Director of Development, Major Gifts
Cindy Straub
Manager of Volunteers & Special Events
Mary A. Walker
Associate Director of Development, Major Gifts
EDUCATION & COMMUNITY ENGAGEMENT
James P. Leija
Director of Education & Community Engagement
Shannon Fitzsimons
Campus Engagement Specialist
Teresa C. Park
Education Coordinator
Mary Roeder
Associate Manager of Community Engagement
MARKETING & COMMUNICATIONS
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
PROGRAMMING & PRODUCTION
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 Rosenthal
Associate Programming Manager
TICKET OFFICE
Christina Bellows
Ticket Services Manager
Kate Gorman
Front-of-House Manager
Ellen Miller
Ticket Office/Front-of-House Assistant
AnnŽ Renforth
Ticket Services Coordinator
Anna Simmons
Assistant Ticket Services Manager
Melanie Toney
Ticket Services Assistant
Dennis Carter, Bruce Oshaben, Brian Roddy
Head Ushers
UMS CHORAL UNION
Jerry Blackstone
Conductor & Music Director
Arianne Abela
Assistant Conductor
Kathleen Operhall
Chorus Manager
Nancy Heaton
Chorus Librarian
Jean Schneider
Accompanist
Scott VanOrnum
Accompanist

WINTER 2015

LEADERSHIP.

30

Support.
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.

NOW IS THE TIME.

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 www.ums.org/support
or call Margaret McKinley at 734.647.1177.

31

GENEROUS
UMS DONORS.

CAMPAIGN GIFTS AND MULTI-YEAR PLEDGES
To help ensure the future of UMS, the following donors have made pledges that 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
Eugene and Emily Grant Family Foundation
The Andrew W. Mellon Foundation
Candis J. and Helmut F. Stern
$100,000Ð$499,999
Anonymous
Bert Askwith and Patti Askwith Kenner
Emily W. Bandera
Dennis Dahlmann
Sharon and Dallas Dort
Susan and Richard Gutow
Wallis Cherniack Klein
Norma and Dick Sarns
Ron and Eileen Weiser
Max Wicha and Sheila Crowley
Ann and Clayton Wilhite
$75,000Ð$99,999
David and Phyllis Herzig
$50,000Ð$74,999
Essel and Menakka Bailey
Penny and Ken Fischer
Mohamad Issa/Issa Foundation
Miller, Canfield, Paddock and Stone, P.L.C.
Mr. and Mrs. 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
$25,000Ð$49,999
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
Martin Family Foundation
Lois Stegeman
Stout Systems
Karen and David Stutz
Dody Viola
$15,000Ð$24,999
Michael and Suzan Alexander
Ronald and Linda Benson
Valerie and David Canter
Sara and Michael Frank
Wendy and Ted Lawrence
M. Haskell and Jan Barney Newman
Eleanor Pollack
$5,000Ð$14,999
Barbara Anderson and John Romani
John and Lillian Back
Suzanne A. and Frederick J. Beutler
Tim and Robin Damschroder
Michele Derr
Ann Martin and Russ Larson
Eric and Ines Storhok

33

ENDOWED FUNDS
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

WINTER 2015

PLANNED GIFTS/BEQUESTS
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
Lou and Janet Callaway
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
Dr. Sid Gilman and Dr. Carol Barbour
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
Irena Politano
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
Richard W. Solt
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

LIFETIME GIVING OF $500,000 OR MORE
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

WINTER 2015

UMS SUPPORT Ð JULY 1, 2013 Ð DECEMBER 1, 2014
The following list includes donors who made gifts to UMS between July 1, 2013 and December 1, 2014. Due to space restraints, 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 ums.org.
# indicates the donor made a contribution to a UMS Endowment Fund

PRODUCERS
($500,000 OR MORE)
Ilene H. Forsyth #
Eugene and Emily Grant Family Foundation
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 System
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
Linda and Stuart Nelson
Ann and Clayton Wilhite
MAESTROS
($20,000Ð$49,999)
Ann Arbor Area Community Foundation
Anonymous
Anonymous #
Essel and Menakka Bailey #
Emily W. Bandera
John R. Edman and Betty B. Edman #
Esperance Family Foundation
Charles H. Gershenson Trust
Susan and Richard Gutow #
KeyBank
Masco Corporation Foundation
Montague Foundation #
Roger and Coco Newton #
Philip and Kathy Power
Sharon and Doug Rothwell #
Norma and Dick Sarns
Jane and Edward Schulak
Toyota
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
Joseph A. Bartush, LSA, Class of Ô71
Bell Tower Hotel
Bendit Foundation
The Dahlmann Campus Inn
Alice Dobson
Jim and Patsy Donahey
Penny and Ken Fischer
Stephen and Rosamund Forrest
Anne and Paul Glendon #
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
Thomas and Deborah McMullen
McMullen Properties
Mrs. Robert E. Meredith #
Miller, Canfield, Paddock, and Stone, P.L.C.
Mr. and Mrs. 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
PNC Foundation
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
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
Barbara A. Anderson and John H. Romani
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
Jerry and Dale Kolins #
Samuel and Marilyn Krimm
Linda Langer and Paula McCracken
Ted and Wendy Lawrence #
Richard and Carolyn Lineback
The Mardi Gras Fund
Martin Family Foundation
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
Tim and Sally Petersen
Eleanor Pollack #
Prue and Ami Rosenthal
Herbert and Ernestine Ruben
SavaÕs Restaurant
John W. and Gail Ferguson Stout
Stout Systems
Karen and David Stutz #
The Summer Fund of the Charlevoix County Community Foundation
Bruce G. Tuchman
United Way of Washtenaw County
University of Michigan Third Century Initiative
Dody Viola
LEADERS
($2,500Ð$4,999)
Jim and Barbara Adams
Michael and Suzan Alexander
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
Anne Beaubien and Phil Berry
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 O'Meara
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
Carolyn and Paul Lichter
Lawrence and Rebecca Lohr
E. Daniel and Kay Long #
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
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
Ed and Natalie Surovell
Judy and Lewis Tann
Louise Taylor
Ted and Eileen Thacker
Keturah Thunder-Haab
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
Christiane and William 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
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
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
Mac and Nita Cox
Tim and Robin Damschroder #
Susan T. Darrow
Charles and Kathleen Davenport #
Elena and Nicholas Delbanco
Monique and Dennis Deschaine
Michele Derr
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
Susan Fisher and John Waidley
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
Fred and Barbara Goldberg
Cozette Grabb
Martha and Larry Gray
Leslie and Mary Ellen Guinn
Marlys Hamill
Steven and Sheila Hamp
Jeff Hannah and Nur Akcasu
Randall L. and Nancy Caine Harbour #
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 #
David H. and Gretchen Kennard
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
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
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
James H. McIntosh and Elaine K. Gazda
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
Huda Karaman Rosen
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
Alyce K. Sigler
Carl Simon and Bobbi Low
Nancy and Brooks Sitterley
Michael Sivak and Enid Wasserman
Barbara Furin Sloat
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
DJ and Kate Sullivan
Charlotte B. Sundelson
Elaine and Jim Tetreault
Jeff and Lisa Tulin-Silver
Marianne Udow-Phillips and Bill Phillips
Susan B. Ullrich #
Jack and Marilyn van der Velde
Florence S. Wagner
Bob and Liina Wallin
Shaomeng Wang and Ju-Yun Li #
Joyce Watson and Marty Warshaw
Harvey and Robin Wax
Karl and Karen Weick
Steven Werns MD
W. Scott Westerman, Jr.
Roy and JoAn Wetzel #
Lauren and Gareth Williams
Beth and I. W. Winsten
Max and Mary Wisgerhof
Charles Witke and Aileen Gatten
The Worsham Family Foundation
BENEFACTORS
($500Ð$999)
Jan and Sassa Akervall
Roger Albin and Nili Tannenbaum
Gordon and Carol Allardyce #
Neil P. Anderson
Catherine M. Andrea
Ann Arbor Area Convention and Visitors Bureau
Ann Arbor Optometry
Anonymous
Sandy and Charlie Aquino
Penny and Arthur Ashe
Stephany and Jim Austin
Laurence R. and Barbara K. Baker
Lisa and Jim Baker
Reg and Pat Baker
Barbara and Daniel Balbach
Bank of America Charitable Foundation
Pat Bantle
Nancy Barbas and Jonathan Sugar
Rosalyn, Joshua, and Beth Barclay
David and Monika Barera
Frank and Lindsay Tyas Bateman
Astrid B. Beck
The Benevity Community Impact Fund
Merete Blšndal Bengtsson
Kathleen G. Benua
Helen V. Berg
L. S. Berlin and Jean McPhail
Maria and Terry Bertram
Sara Billmann and Jeffrey Kuras
William and Ilene Birge
John Blankley and Maureen Foley
R.M. Bradley and C.M. Mistretta
David and Sharon Brooks
Pamela Brown
Lawrence and Valerie Bullen
Sean Burton and
Dr. Jennifer Scott-Burton
Susan and Oliver Cameron
Campus Realty
Jack and Susan Carlson
Janet and Bill Cassebaum
Albert C. Cattell
John and Camilla Chiapuris
Alice S. Cohen
Jon Cohn and Daniela Wittmann
Conlin Travel
Connie and Jim Cook
Arnold and Susan Coran
Katherine and Clifford Cox
Clifford and Laura Craig #
John and Mary Curtis
Joseph R. Custer MD
Roderick and Mary Ann Daane
Christopher Dahl and Ruth Rowse
Dennis Dahlmann and Patricia Garcia
David and Nancy Deromedi
Macdonald and Carolin Dick
Linda Dintenfass and Ken Wisinski
Andrzej and Cynthia Dlugosz
Heather and Stuart Dombey
Julie and Bruce Dunlap
Don and Kathy Duquette
Dr. and Mrs. W. Duvernoy
Dykema
Alan S. Eiser
David Engelke and Alexandra Krikos
Ernst & Young Foundation
Etymotic Research,Inc.
Michael and Michaelene Farrell
Margaret and John Faulkner
Kay Felt
Carol Finerman
George W. Ford
David Fox and Paula Bockenstedt
Otto W. and Helga B. Freitag
Philip and RenŽe Woodten Frost
Carol Gagliardi and David Flesher
Luis and April Gago
Janet and Charles Garvin
Bob and Julie Gates
David and Maureen Ginsburg
Meidee Goh and David Fry #
Mr. and Mrs. Charles and Janet Goss #
Marla Gousseff
Christopher and Elaine Graham #
Dr. and Mrs. Robert A. Green
Linda and Roger Grekin
Raymond Grew
Werner H. Grilk
Ken and Margaret Guire
Arthur W. Gulick
Talbot and Jan Hack
Dr. Don P. Haefner and
Dr. Cynthia J. Stewart
Helen C. Hall
Alan Harnik and Professor
Gillian Feeley-Harnik
Dan and Jane Hayes
Katherine D. Hein MD
Diane S. Hoff
Jane and Thomas Holland
Kay Holsinger and Douglas C. Wood
Ronald and Ann Holz
Mabelle Hsueh
Jim and Colleen Hume
Ann D. Hungerman
Isciences, L.L.C.
Debbie Jackson
Elizabeth Jahn
Mattias Jonsson and Johanna Eriksson
Mark and Madolyn Kaminski
Don and Sue Kaul
Christopher Kendall and Susan Schilperoort
John Kennard and Debbi Carmody
Rhea K. Kish
Paul and Dana Kissner
Jean and Arnold Kluge
Regan Knapp and John Scudder
Joseph and Marilynn Kokoszka
Dr. Melvyn Korobkin and Linda Korobkin
Mary L. Kramer #
Paul Krutko and Ellya Jeffries
Ken and Maria Laberteaux
Donald J. Lachowicz
Jane Fryman Laird
David Lampe and Susan Rosegrant
Henry M. Lederman
Derick and Diane Lenters #
Sue Leong
Jennifer Lewis and Marc Bernstein
James and Jean Libs
Rod and Robin Little
Marilyn and Frode Maaseidvaag
Brigitte and Paul Maassen
Melvin and Jean Manis
Betsy Yvonne Mark
Geri and Sheldon Markel
Howard L. Mason
Judythe and Roger Maugh
Olivia Maynard and Olof Karlstrom
Martha Mayo and Irwin Goldstein
Margaret E. McCarthy
Jordan McClellan
Margaret McKinley
Joanna McNamara and Mel Guyer
Bernice and Herman Merte
Lee Meyer
Gene and Lois Miller
Louise Miller
Candice and Andrew Mitchell
Bert and Kathy Moberg
Olga Ann Moir
Lewis and Kara Morgenstern
Drs. Louis and Julie Jaffee Nagel
Erika Nelson and David Wagener
John and Ann Nicklas
Len Niehoff, Lisa Rudgers, and
J.J. Niehoff
Arthur S. Nusbaum
Constance and David Osler
Marysia Ostafin and George Smillie
M. Joseph and Zoe Pearson
Jack and Jean Peirce
Wesen and William Peterson
Joyce Plummer
Diana and Bill Pratt
Wallace and Barbara Prince
Quest Productions
Doug and Nancy Roosa
Nancy Rugani
Mariam Sandweiss
Ashish and Norma Sarkar
David W. Schmidt
Matthew Shapiro and Susan Garetz
George and Gladys Shirley
John Shultz Photography
Bruce M. Siegan
Sandy and Dick Simon
Sue and Don Sinta
JŸrgen Skoppek
Cheryl Soper
Cynthia Sorensen and Henry Rueter
Robbie and Bill Stapleton
Allan and Marcia Stillwagon
Sandy Talbott and Mark Lindley
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
Anonymous
Ralph and Elaine Anthony
Phil and Lorie Arbour
Eric and Nancy Aupperle
Brian and Elizabeth Bachynski
Robert and Mary Baird
Barbara Barclay
Alex and Gloria Barends
Kenneth and Eileen Behmer
Christina Bellows and Joe Alberts
Christy and Barney Bentgen
Rodney and Joan Bentz
Dan Berland and Lisa Jevens
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
Dennis J. Carter
Susie Carter
John and Marsha Chamberlin
Prof. J. Wehrley Chapman and
Mrs. Patricia Chapman
Samuel and Roberta Chappell
Mark and Joan 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
Susie Bozell Craig
Mrs. C. Merle Crawford
Jean Cunningham and Fawwaz Ulaby
Marylee Dalton and Lynn Drickamer
Connie D'Amato
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
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
Kay Felt
James and Flora Ferrara
Jeff Fessler and Sue Cutler
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
Greg Grieco and Sidonie Smith
Milton and Susan Gross
Susan C. Guszynski and
Gregory F. Mazure
Lawrence Hack
George and Mary Haddad
Michael Halpern
Susan R. Harris
Naomi Gottlieb Harrison and Theodore Harrison DDS
Dorothy J. Hastings
Gabrielle Hecht
Wendel and Nancy Heers
Rose and John Henderson
J. Lawrence Henkel and
Jacqueline Stearns
Therese and Alfred Hero
Elaine Hockman
Gideon and Carol Hoffer
Daniel Hoffman
James S. and Wendy Fisher House
Harold L. Ingram #
Joan and John Jackson
Drs. Maha Hussain and Sal Jafar
Hank and Karen Jallos
Mark and Linda Johnson
Paul and Olga Johnson
Janet and Jerry Joseph
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
John and Marcia Knapp
Michael Koen
Rosalie and Ron Koenig
Brenda Krachenberg
Gary and Barbara Krenz
Mary Krieger
Bert and Geraldine Kruse
Lucy and Kenneth Langa
Linda M. Langer
Neal and Anne Laurance
John and Theresa Lee
James Leija and Aric 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
Barbara and Michael Lott
William and Lois Lovejoy
Roger E. Lyons
Dr. Donald and Jane MacQueen
Martin and Jane Maehr
William and Jutta Malm
Tom Marini
Margaret and Harris McClamroch
Bill and Ginny McKeachie
Frances McSparran
Gerlinda Melchiori
Warren and Hilda Merchant
Fei Fei and John Metzler
Robin and Victor Miesel
Jack and Carmen Miller
John and Sally Mitani
Gordon and Kimberly Mobley
Mei-ying Moy
Mark and Lesley Mozola
Trevor Mudge and Janet Van Valkenburg
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
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
Jessica C. Roberts
Carrol K. Robertsen
Jonathan and Anala Rodgers
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
Suzanne Schluederberg
Larry and Bev Seiford
Suzanne Selig
Harriet Selin
Ananda Sen and Mousumi Banerjee
Fred Shapiro
David and Elvera Shappirio
Jamie Sharkey
Patrick and Carol Sherry
Janet and David Shier
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
James and Barbara Varani
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
Mary Ann Whipple
James B. White and Mary F. White
Nancy Wiernik
Nancy P. Williams
Robert J. and Anne Marie Willis
Pat and John Wilson
Robert Winfield and Lynda Chandler
Sarajane Winkelman
Lawrence and Mary Wise
Steven and Helen Woghin
Charlotte A. Wolfe
Drs. Margo and Douglas R. Woll #
Gail and David Zuk

37

VIRTUOSOS (CONTINUED).

UMS

WINTER 2015

SUPPORT.

38

PATRONS (CONTINUED).

39

PATRONS (CONTINUED).

UMS

WINTER 2015

SUPPORT.

40

BENEFACTORS (CONTINUED).

WINTER 2015

41

ASSOCIATES (CONTINUED).

UMS

WINTER 2015

SUPPORT.

42

TRIBUTE GIFTS
Gifts have been given in memory of the following people:

Mel Barclay MD
Erling Blšndal Bengtsson
Al Berland
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
George Killoran
Ian Krieg
Mort Lazar
Barbara Ann Lipinski
Josip Matovinovi. MD
Sharon Anne McAllister
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
Terril Tompkins
Neil Van Riper
Douglas O. Wayland
Angela Welch
Barbara R. Wykes

Gifts have been given in honor of the following people:

The 2013Ð14 UMS Ambassadors Executive Committee
Jeffrey Andonian
Nancy L. Ascione
Rachel Bendit
Sara Billmann
Jean W. Campbell
Beverly Carlisle
Pat Chapman
Judy Cohen
Mary Sue Coleman
Kenneth C. Fischer
Heather Gates
Jenny Graf
Susan and Dick Gutow
Emanuel Joshua
Michael Kondziolka
Katherine Moran
Sharon McAllister
Susan McClanahan
Donald and Antoinette Morelock
Ann Meredith
John M. Nicklas
John Reed
Dianne Widzinski
Ann and Clayton Wilhite
Bai Xianyong

SEARCH

OUR HISTORY.
IN YOUR HANDS.

For the last several years, weÕve been digitizing all of the information from our rich 136-year history. Performance records, program books, photos, and much more are now available online. WeÕre proud to announce the launch of our online archives.
We encourage you to explore.

UMSREWIND.ORG

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.

45

BE PRESENT

HOW TO BUY TICKETS.

ONLINE
www.ums.org
IN PERSON
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.
BY PHONE
734.764.2538
(Outside the 734 area code,
call toll-free 800.221.1229)
BY MAIL
UMS Ticket Office
Burton Memorial Tower
881 North University Avenue
Ann Arbor, MI 48109-1011

WINTER 2015

TICKET DONATIONS/UNUSED TICKETS
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.
ACCESSIBILITY
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 www.ums.org/about/accessibility. There is no elevator access to Power Center, Michigan Theater, or Lydia Mendelssohn Theatre balconies. Ushers are available for assistance.
LISTENING SYSTEMS
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.
LOST AND FOUND
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 am to 5 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
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.

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PARKING
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. 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.
FOR UP-TO-DATE PARKING INFORMATION, PLEASE VISIT
WWW.UMS.ORG/PARKING.
POLICIES.
SMOKE-FREE UNIVERSITY
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.
TICKET EXCHANGES
Subscribers may exchange tickets free of charge up until 48 hours prior to the performance. Non-subscribers may exchange tickets for a $6 per ticket exchange fee up until 48 hours prior to the performance. Exchanged tickets must be received by the Ticket Office 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 umstix@umich.edu. 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/FAMILIES
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 www.ums.org. 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 www.ums.org/kids.
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GETTING INVOLVED.
For more detailed information on how to get involved with UMS, please visit www.ums.org/volunteer.
STUDENT WORK-STUDY/VOLUNTEER
INTERNSHIP PROGRAM
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 www.ums.org/jobs.
UMS STUDENT COMMITTEE
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 umsscboard@umich.edu.
USHERING
Usher orientation sessions are held twice annually for new and returning ushers. You must attend an orientation to be eligible for ushering. Information about upcoming sessions is available at www.ums.org/volunteer as sessions are scheduled. For more information, contact Kate Gorman at 734.615.9398 or fohums@umich.edu.
UMS CHORAL UNION
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 kio@umich.edu or 734.763.8997.
UMS AMBASSADORS (FORMERLY KNOWN AS UMS ADVISORY COMMITTEE)
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 Ambassadors may be a great match for you. To learn more, please contact Cindy Straub at cstraub@umich.edu or 734.647.8009.

WINTER 2015

51

UMS ADVERTISING

50 Ann Arbor Area Community Foundation
8 Ann Arbor Symphony Orchestra
22 Bank of Ann Arbor
2 Center for Plastic and Reconstructive Surgery
32 Charles Reinhart Co. Realtors
48 Community Foundation for Southeast Michigan
36 Donaldson & Guenther Dentistry
36 Dykema
22 Gilmore International Keyboard Festival
4 Honigman Miller Schwartz and Cohn LLP
22 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
50 Mainstreet Ventures
39 Maryanne Telese, Realtor
34 Michigan Psychoanalytic Institute
and Society
6 Michigan Radio
36 Old National Bank
34 Real Estate One
52 Red Hawk and Revive + Replenish
32 Retirement Income Solutions
24 Silver Maples of Chelsea
34 Smith Haughey Rice & Roegge
52 Tom Thompson Flowers
46 U-M Alumni Association
20 UMS Prelude Dinners
IBC WEMU
24 WGTE
28 WKAR
IBC = Inside back cover

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