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UMS Concert Program, March 13-25, 2015: Kyle Abraham/Abraham.In.Motion; Chicago Symphony Winds; Academy St. Martin in the Fields

UMS Concert Program, March 13-25, 2015: Kyle Abraham/Abraham.In.Motion; Chicago Symphony Winds; Academy St. Martin in the Fields image UMS Concert Program, March 13-25, 2015: Kyle Abraham/Abraham.In.Motion; Chicago Symphony Winds; Academy St. Martin in the Fields image UMS Concert Program, March 13-25, 2015: Kyle Abraham/Abraham.In.Motion; Chicago Symphony Winds; Academy St. Martin in the Fields image UMS Concert Program, March 13-25, 2015: Kyle Abraham/Abraham.In.Motion; Chicago Symphony Winds; Academy St. Martin in the Fields image UMS Concert Program, March 13-25, 2015: Kyle Abraham/Abraham.In.Motion; Chicago Symphony Winds; Academy St. Martin in the Fields image UMS Concert Program, March 13-25, 2015: Kyle Abraham/Abraham.In.Motion; Chicago Symphony Winds; Academy St. Martin in the Fields image UMS Concert Program, March 13-25, 2015: Kyle Abraham/Abraham.In.Motion; Chicago Symphony Winds; Academy St. Martin in the Fields image UMS Concert Program, March 13-25, 2015: Kyle Abraham/Abraham.In.Motion; 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Chicago Symphony Winds; Academy St. Martin in the Fields image UMS Concert Program, March 13-25, 2015: Kyle Abraham/Abraham.In.Motion; Chicago Symphony Winds; Academy St. Martin in the Fields image UMS Concert Program, March 13-25, 2015: Kyle Abraham/Abraham.In.Motion; Chicago Symphony Winds; Academy St. Martin in the Fields image UMS Concert Program, March 13-25, 2015: Kyle Abraham/Abraham.In.Motion; Chicago Symphony Winds; Academy St. Martin in the Fields image UMS Concert Program, March 13-25, 2015: Kyle Abraham/Abraham.In.Motion; Chicago Symphony Winds; Academy St. Martin in the Fields image UMS Concert Program, March 13-25, 2015: Kyle Abraham/Abraham.In.Motion; Chicago Symphony Winds; Academy St. Martin in the Fields image UMS Concert Program, March 13-25, 2015: Kyle Abraham/Abraham.In.Motion; Chicago Symphony Winds; Academy St. Martin in the Fields image UMS Concert Program, March 13-25, 2015: Kyle Abraham/Abraham.In.Motion; Chicago Symphony Winds; Academy St. Martin in the Fields image UMS Concert Program, March 13-25, 2015: Kyle Abraham/Abraham.In.Motion; Chicago Symphony Winds; Academy St. Martin in the Fields image UMS Concert Program, March 13-25, 2015: Kyle Abraham/Abraham.In.Motion; Chicago Symphony Winds; Academy St. Martin in the Fields image UMS Concert Program, March 13-25, 2015: Kyle Abraham/Abraham.In.Motion; Chicago Symphony Winds; Academy St. Martin in the Fields image UMS Concert Program, March 13-25, 2015: Kyle Abraham/Abraham.In.Motion; Chicago Symphony Winds; Academy St. Martin in the Fields image UMS Concert Program, March 13-25, 2015: Kyle Abraham/Abraham.In.Motion; Chicago Symphony Winds; Academy St. Martin in the Fields image UMS Concert Program, March 13-25, 2015: Kyle Abraham/Abraham.In.Motion; Chicago Symphony Winds; Academy St. Martin in the Fields image UMS Concert Program, March 13-25, 2015: Kyle Abraham/Abraham.In.Motion; Chicago Symphony Winds; Academy St. Martin in the Fields image UMS Concert Program, March 13-25, 2015: Kyle Abraham/Abraham.In.Motion; Chicago Symphony Winds; Academy St. Martin in the Fields image UMS Concert Program, March 13-25, 2015: Kyle Abraham/Abraham.In.Motion; Chicago Symphony Winds; Academy St. Martin in the Fields image UMS Concert Program, March 13-25, 2015: Kyle Abraham/Abraham.In.Motion; Chicago Symphony Winds; Academy St. Martin in the Fields image UMS Concert Program, March 13-25, 2015: Kyle Abraham/Abraham.In.Motion; Chicago Symphony Winds; Academy St. Martin in the Fields image UMS Concert Program, March 13-25, 2015: Kyle Abraham/Abraham.In.Motion; Chicago Symphony Winds; Academy St. Martin in the Fields image UMS Concert Program, March 13-25, 2015: Kyle Abraham/Abraham.In.Motion; Chicago Symphony Winds; Academy St. Martin in the Fields image UMS Concert Program, March 13-25, 2015: Kyle Abraham/Abraham.In.Motion; Chicago Symphony Winds; Academy St. Martin in the Fields image UMS Concert Program, March 13-25, 2015: Kyle Abraham/Abraham.In.Motion; Chicago Symphony Winds; Academy St. Martin in the Fields image UMS Concert Program, March 13-25, 2015: Kyle Abraham/Abraham.In.Motion; Chicago Symphony Winds; Academy St. Martin in the Fields image UMS Concert Program, March 13-25, 2015: Kyle Abraham/Abraham.In.Motion; 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Chicago Symphony Winds; Academy St. Martin in the Fields image UMS Concert Program, March 13-25, 2015: Kyle Abraham/Abraham.In.Motion; Chicago Symphony Winds; Academy St. Martin in the Fields image UMS Concert Program, March 13-25, 2015: Kyle Abraham/Abraham.In.Motion; Chicago Symphony Winds; Academy St. Martin in the Fields image UMS Concert Program, March 13-25, 2015: Kyle Abraham/Abraham.In.Motion; Chicago Symphony Winds; Academy St. Martin in the Fields image UMS Concert Program, March 13-25, 2015: Kyle Abraham/Abraham.In.Motion; Chicago Symphony Winds; Academy St. Martin in the Fields image UMS Concert Program, March 13-25, 2015: Kyle Abraham/Abraham.In.Motion; Chicago Symphony Winds; Academy St. Martin in the Fields image UMS Concert Program, March 13-25, 2015: Kyle Abraham/Abraham.In.Motion; Chicago Symphony Winds; Academy St. Martin in the Fields image UMS Concert Program, March 13-25, 2015: Kyle Abraham/Abraham.In.Motion; Chicago Symphony Winds; Academy St. Martin in the Fields image UMS Concert Program, March 13-25, 2015: Kyle Abraham/Abraham.In.Motion; Chicago Symphony Winds; Academy St. Martin in the Fields image UMS Concert Program, March 13-25, 2015: Kyle Abraham/Abraham.In.Motion; Chicago Symphony Winds; Academy St. Martin in the Fields image UMS Concert Program, March 13-25, 2015: Kyle Abraham/Abraham.In.Motion; Chicago Symphony Winds; Academy St. Martin in the Fields image UMS Concert Program, March 13-25, 2015: Kyle Abraham/Abraham.In.Motion; Chicago Symphony Winds; Academy St. Martin in the Fields image UMS Concert Program, March 13-25, 2015: Kyle Abraham/Abraham.In.Motion; Chicago Symphony Winds; Academy St. Martin in the Fields image UMS Concert Program, March 13-25, 2015: Kyle Abraham/Abraham.In.Motion; Chicago Symphony Winds; Academy St. Martin in the Fields image UMS Concert Program, March 13-25, 2015: Kyle Abraham/Abraham.In.Motion; Chicago Symphony Winds; Academy St. Martin in the Fields image UMS Concert Program, March 13-25, 2015: Kyle Abraham/Abraham.In.Motion; Chicago Symphony Winds; Academy St. Martin in the Fields image UMS Concert Program, March 13-25, 2015: Kyle Abraham/Abraham.In.Motion; 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Chicago Symphony Winds; Academy St. Martin in the Fields image UMS Concert Program, March 13-25, 2015: Kyle Abraham/Abraham.In.Motion; Chicago Symphony Winds; Academy St. Martin in the Fields image UMS Concert Program, March 13-25, 2015: Kyle Abraham/Abraham.In.Motion; Chicago Symphony Winds; Academy St. Martin in the Fields image UMS Concert Program, March 13-25, 2015: Kyle Abraham/Abraham.In.Motion; Chicago Symphony Winds; Academy St. Martin in the Fields image UMS Concert Program, March 13-25, 2015: Kyle Abraham/Abraham.In.Motion; Chicago Symphony Winds; Academy St. Martin in the Fields image UMS Concert Program, March 13-25, 2015: Kyle Abraham/Abraham.In.Motion; Chicago Symphony Winds; Academy St. Martin in the Fields image UMS Concert Program, March 13-25, 2015: Kyle Abraham/Abraham.In.Motion; Chicago Symphony Winds; Academy St. Martin in the Fields image UMS Concert Program, March 13-25, 2015: Kyle Abraham/Abraham.In.Motion; Chicago Symphony Winds; Academy St. Martin in the Fields image UMS Concert Program, March 13-25, 2015: Kyle Abraham/Abraham.In.Motion; Chicago Symphony Winds; Academy St. Martin in the Fields image
Day
13
Month
March
Year
2015
Rights Held By
University Musical Society
OCR Text

View Uncorrected Scanned Text

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.

3
7
15
21

FRIDAY, MARCH 13 THROUGH
WEDNESDAY, MARCH 25, 2015
THE WATERSHED
KYLE ABRAHAM/ABRAHAM.IN.MOTION
Friday, March 13, 8:00 pm
Power Center
WHEN THE WOLVES CAME IN
KYLE ABRAHAM/ABRAHAM.IN.MOTION
Saturday, March 14, 8:00 pm
Power Center
CHICAGO SYMPHONY WINDS
Sunday, March 22, 4:00 pm
Rackham Auditorium
ACADEMY OF ST. MARTIN IN THE FIELDS
Wednesday, March 25, 7:30 pm
Hill Auditorium

We want this program book to engage you in a conversation that deepens your experience and connection to the performance both inside the theater and after you leave it. We are always conserving resources at UMS. If you are coming to multiple performances within a program book edition, please keep your book and return with it.

WHATÕS YOUR LEGACY?

Frank Legacki and Alicia Torres believe that Ann Arbor is a great place to live and work and want to ensure that the high quality of life Ann Arbor has to offer continues for generations to come. They feel that UMS is a vital part of the community and attracts the best faculty, students, and businesses to the area. To back up that belief, they made a bequest intention which includes $1 million to endow support for dance programming at UMS.
Contact Margaret McKinley at 734.647.1177 or at margiem@umich.edu for information about a planned or endowed gift to UMS, or to notify UMS if you already have included UMS in your estate plans. University of Michigan investment professionals are available to work with you and your attorney on the charitable giving plan that is right for you.

WE LIKE ALL OF THE ENTERTAINMENT AT UMS, BUT WE SPECIFICALLY LOVE DANCE. THE VISUAL ASPECT IS JUST SO SPECTACULAR, AND THE ARTISTS PUT IN SO MUCH TIME AND ENERGY.
Ñ ALICIA TORRES

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+.

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
THE WATERSHED

Performed by
Abraham.In.Motion
Choreographer
Kyle Abraham
Dancers
Kyle Abraham, Matthew Baker, Vinson Fraley, Tamisha Guy, Hiroki Ichinose, Catherine Ellis Kirk, Penda NÕdiaye, Jeremy ÒJaeÓ Neal, Jordan Morley, Connie Shiau
Friday Evening, March 13, 2015 at 8:00
Power Center ¥ Ann Arbor

59th Performance of the 136th Annual Season
24th Annual Dance Series
Photo: The Watershed; photographer: Ian Douglas.

3

CREATIVE TEAM

Choreography
Kyle Abraham in collaboration with Abraham.In.Motion
Music
Fredric Chopin, Inga Copeland, Aretha Franklin, Jimmy Hughes, Gu.nad—ttir, Barbara Mason, BJ Nilsen, Otis Redding, Ryuichi Sakamoto, Demdike Stare, Stilluppsteypa, Christopher Tignor, Giuseppe Verdi
Lighting Design and Video Design
Dan Scully
Set Design
Glenn Ligon
Costumes
Karen Young
Sound Design
Sam Crawford
Scenic Production Coordinator
Joseph Silovsky
Production Manager
Dan Stearns
Choreographic Associate
Matthew Baker
Rehearsal Assistant
Tamisha Guy

WINTER 2015

PROGRAM

The Watershed (2012Ð14)
The Watershed is approximately ..85 minutes in duration and is performed with one intermission.

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 a grant from the New England Foundation for the ArtsÕ National Dance Project, the Arts Midwest Touring Fund, and the National Endowment for the Arts.
Media partnership is provided by WEMU 89.1 FM.
Special thanks to the following partners for their participation in events surrounding Abraham.In.MotionÕs residency: Grace Lehman and the Ann Arbor Y; Clare Croft, Mary Cole, Sophia Deery, Charles Gunshue, Marcus White, and the U-M Dance Department; Roberto Perez, Linh Nguyen, and the U-M Office of Multi-Ethnic Student Affairs; the U-M Trotter Multicultural Center; Sidonie Smith, Amanda Krugliak, Patrick Tonks, and the U-M Institute for the Humanities; and Dean Hubbs, Heidi Bennett, and the U-MÊInstitute for Research on Women and GenderÕsÊLesbian-Gay-Queer Research Initiative.
Abraham.in.Motion appears by arrangement with Lotus Arts Management.

THE WATERSHED

DIRECTOR'S NOTE

Thank you for joining us for these presentations of The Watershed (Friday) and When the Wolves Came In (Saturday). Created during my tenure as a Resident Commissioned Artist at New York Live Arts from 2012Ð14, this program draws inspiration from jazz legend Max RoachÕs seminal album, We Insist! Max RoachÕs Freedom Now Suite. This album, originally intended to be released in 1963 to mark the centennial of the Emancipation Proclamation, was released in the fall of 1960 due to the severity sparked by the sit-ins in Greensboro, North Carolina and the urgency of the growing civil rights movement in the US and South Africa.
As over-arching commentary for both evenings, I keep going back to RoachÕs response when asked about the song ÒFreedom DayÓ: ÒFreedom itself was so hard to grasp...we donÕt really understand what it really is to be free.Ó At this point in my life, I am very well aware of the freedoms I possess. But as a Black Gay American man, I am equally aware of my limitations and those that exist for so many in a poly-phobic society of our current times.
I began working on The Watershed and When the Wolves Came In after a visit to the Hector Pieterson Museum in Soweto, South Africa. While there, I became fixated on the power of perception, and the ways that the 13-year-old PietersonÕs death in an anti-Apartheid protest shines a spotlight on questions of personal choice and collective rights in the struggle for freedom. For Michael Brown, Tyler Clementi, Eric Garner, Islan Nettles, and the countless other faceless and nameless women and men facing violence and discrimination, these questions still have terrible resonance.
Max RoachÕs album timelessly tackles these very same issues and questions; his jazz work figures as an evaluation of rights perceived through his experience and expressed through his art. As dance works, The Watershed and its companion piece When the Wolves Came In were created to live in a skin well aware of the cyclical hardships of our history, and the very present fear of an unknowable future.
Ñ Kyle Abraham

WINTER 2015

Please refer to page 10 in your program book for complete company biographies for Abraham.In.Motion.

Scan for behind-the-scenes photos! U-M musical theater
student and UMS intern Sophia Deery spent five weeks with
Abraham.In.Motion this summer. She shares her photos
and experiences.
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
WHEN THE
WOLVES CAME IN

Performed by
Abraham.In.Motion
Choreographer
Kyle Abraham
Dancers
Kyle Abraham, Matthew Baker, Vinson Fraley, Tamisha Guy, Hiroki Ichinose, Catherine Ellis Kirk, Penda NÕdiaye, Jeremy ÒJaeÓ Neal, Jordan Morley, Connie Shiau
Saturday Evening, March 14, 2015 at 8:00
Power Center ¥ Ann Arbor

60th Performance of the 136th Annual Season
24th Annual Dance Series
Photo: When the Wolves Came In; photographer: Ian Douglas.

7

UMS

CREATIVE TEAM

Choreography
Kyle Abraham in collaboration with Abraham.In.Motion
Lighting Design and Video Design
Dan Scully
Costumes
Reid Bartelme (When the Wolves Came In
and Hallowed)
Karen Young (The GettinÕ)
Music
Nico Muhly (When the Wolves Came In)
Cleo Kennedy, Bertha Gober (Hallowed)
Robert Glasper and The Robert Glasper Trio (The GettinÕ)
Scenic Design Glenn Ligon
Sound Editing
Sam Crawford
Production Manager
Dan Stearns
Choreographic Associate
Matthew Baker
Rehearsal Assistant
Tamisha Guy

WINTER 2015

TonightÕs performance is sponsored by the University of Michigan Health System.
Funded in part by a grant from the New England Foundation for the ArtsÕ National Dance Project, the Arts Midwest Touring Fund, and the National Endowment for the Arts.
Media partnership is provided by WEMU 89.1 FM.
Special thanks to the following partners for their participation in events surrounding Abraham.In.MotionÕs residency: Grace Lehman and the Ann Arbor Y; Clare Croft, Mary Cole, Sophia Deery, Charles Gunshue, Marcus White, and the U-M Dance Department; Roberto Perez, Linh Nguyen, and the U-M Office of Multi-Ethnic Student Affairs; the U-M Trotter Multicultural Center; Sidonie Smith, Amanda Krugliak, Patrick Tonks, and the U-M Institute for the Humanities; and Dean Hubbs, Heidi Bennett, and the U-MÊInstitute for Research on Women and GenderÕsÊLesbian-Gay-Queer Research Initiative.
Abraham.in.Motion appears by arrangement with Lotus Arts Management.

WHEN THE WOLVES CAME IN

8

PROGRAM

When the Wolves Came In
When the Wolves Came In
Matthew Barker, Hiroki Ichinose, Tamisha Guy, Catherine Ellis Kirk, Jordan Morley, Penda NÕdiaye, Connie Shiau
Hallowed
Tamisha Guy, Catherine Ellis Kirk, Jeremy ÒJaeÓ Neal
INTERMISSION
The GettinÕ
Matthew Barker, Vinson Fraley, Tamisha Guy, Catherine Ellis Kirk, Jeremy ÒJaeÓ Neal, Connie Shiau
When the Wolves Came In is approximately 90 minutes in duration and is performed with one intermission.

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.

WINTER 2015

9

UMS

ARTISTS

The mission of KYLE ABRAHAM/ABRAHAM.IN.MOTION (A.I.M.) is to create an evocative interdisciplinary body of work. Born into hip-hop culture in the late 1970s and grounded in AbrahamÕs artistic upbringing in classical cello, piano, and the visual arts, the goal of the movement is to delve into identity in relation to a personal history. The work entwines a sensual and provocative vocabulary with a strong emphasis on sound, human behavior, and all things visual in an effort to create an avenue for personal investigation and exposing that on stage. A.I.M. is a representation of dancers from various disciplines and diverse personal backgrounds. Combined together, these individualities create movement that is manipulated and molded into something fresh and unique.

A 2013 MacArthur Fellow, KYLE ABRAHAM began his dance training at the Civic Light Opera Academy and the Creative and Performing Arts High School in Pittsburgh, Pennsylvania. He continued his dance studies in New York, receiving a BFA from SUNY Purchase and an MFA from NYUÕs Tisch School of the Arts.
In November 2012, Mr. Abraham was named the newly appointed New York Live Arts Resident Commissioned Artist for 2012Ð14. Just one month later, Alvin Ailey American Dance Theater premiered his newest work, Another Night, at New YorkÕs City Center to rave reviews.
Rebecca Bengal of Vogue writes, ÒWhat Abraham brings to Ailey is an avant-garde aesthetic, an original and politically minded downtown sensibility that doesnÕt distinguish between genres but freely draws on a vocabulary that is as much Merce and Martha as it is Eadweard Muybridge and Michael Jackson.Ó
That same year, Mr. Abraham was named the 2012 JacobÕs Pillow Dance Award recipient and 2012 USA Ford Fellow. He received a prestigious Bessie Award for ÒOutstanding Performance in DanceÓ for his work in The Radio Show, and a Princess Grace Award for Choreography in 2010. The previous year, he was selected as one of Dance MagazineÕs Ò25 To WatchÓ, and received a Jerome Travel and Study Grant in 2008.
His choreography has been presented throughout the US and abroad, most recently at On The Boards, South Miami-Dade Cultural Arts Center, REDCAT, Philly Live Arts, PortlandÕs Time Based Arts Festival, JacobÕs Pillow Dance Festival, Danspace Project, Dance Theater Workshop, Bates Dance Festival, Harlem Stage, Fall for Dance Festival at New YorkÕs City Center, Montreal, Germany, Jordan, Ecuador, DublinÕs Project Arts Center, The Okinawa Prefectural Museum & Art Museum located in Okinawa Japan, The Andy Warhol Museum, and The Kelly-Strayhorn Theater in his hometown of Pittsburgh.
In addition to performing and developing new works for his company, Abraham.In.Motion, Mr. Abraham is currently touring The Serpent and The Smoke, a new pas de deux for himself and acclaimed Bessie Award-winning and former New York City Ballet principal dancer Wendy Whelan as part of Restless Creature. He also choreographed a new commissioned work entitled Counterpoint for Hubbard Street Dance Chicago and the Chicago Dancing Festival. In 2011, OUT Magazine labeled Mr. Abraham as the Òbest and brightest creative talent to emerge in New York City in the age of Obama.Ó

MATTHEW BAKER (dancer and choreographic associate) hails from Ann Arbor, Michigan, where he began his movement exploration as a gymnast and soccer player. He attended Western Michigan University where he received his BFA in dance. In 2014, he was the recipient of a Distinguished Alumni Award from his alma mater. After graduation, he made his way to New York City, and has since been creating and performing with Keigwin + Company under the artistic direction of Larry Keigwin since 2009 and with Kyle Abraham/Abraham.In.Motion since 2012.
VINSON FRALEY (dancer) hails from Atlanta, Georgia and began his training at the age of 14 under the direction of Lynise and Denise Heard. He also was immersed in a wide range of art crafts while attending DeKalb School of the Arts. He is now enrolled in the dance program within Tisch School of the Arts at NYU. Mr. Fraley has been fortunate enough to work with many choreographers and instructors such as Bill T. Jones, Rashaun Mitchell, Cora Bos Kroese, Gus Solomons Jr., Cindy Salgado, and Sean Curran.
HIROKI ICHINOSE (dancer) began dancing at the age of three in his native Maui, Hawaii. He received his BFA from NYU and has had additional training from the San Francisco Conservatory and Springboard Danse Montreal. Throughout his studies, he performed works by Crystal Pite, Fernando Melo, Mark Morris, Ohad Naharin, Tom Weinberger, Shannon Gillen, Alex Ketley, and Roderick George. He is currently working as freelance dancer in New York City and has had the privilege of working with companies including Aszure Barton and Artists, Rashaun Mitchell, Danielle Russo, Wendy Osserman, Una Projects, and the Santa Fe Opera.
TAMISHA GUY (dancer and rehearsal assistant), a native of Trinidad and Tobago, began her formal dance training at Ballet Tech, the New York City Public School for Dance under the direction of Eliot Feld. Later she attended Fiorello H. LaGuardia High School and SUNY Purchase College as a double major in dance and arts management. Ms. Guy has completed summer programs with Complexions Contemporary Ballet, Springboard Danse Montreal, and Nathan Trice. She has performed works by William Forsythe, Pam Tanowitz, Loni Landon, Mark Morris, and Martha Graham. Ms. Guy graduated with honors in 2013 from SUNY Purchase College. She is currently dancing for the Martha Graham Dance Company and Kyle Abraham/Abraham.in.Motion.
CATHERINE ELLIS KIRK (dancer) was born and raised in Dallas, Texas, studied dance at Booker T. Washington High School for the Performing and Visual Arts, and received her BFA from NYUÕs Tisch School of the Arts. She also holds a yoga certification through Mind Body Dancer Teacher Training. Ms. Kirk has completed summer programs with Movement Invention Project, San Francisco Conservatory of Dance, the Gaga Intensive in Tel Aviv, and Springboard Danse Montreal, and has had the opportunity to perform works by Fernando Melo, Ohad Naharin, Peter Chu, Andrea Miller, Robert Battle, Alex Ketley, and Helen Simoneau. She has had the pleasure of working with Danaka Dance and Sidra Bell Dance New York, and is currently dancing for Chihiro Shimizu and Artists, UNA Projects, and Kyle AbrahamÕs Abraham.In.Motion.
JORDAN MORLEY (dancer) is a skinny man with a wide imagination. He creates physical performance through dance, video, and puppetry. His work has been shown at REDCAT, Los Angeles; Baryshnikov Arts Center, New York; STUFFED at Judson Church/Bailout Theater, New York; Dixon Place, New York; and Triskelion Arts, Brooklyn. He has danced for/in the original cast of PunchdrunkÕs Sleep No More, Phantom Limb, Christopher Williams, Ron De Jesus, Wanda Gala, and Mira Kingsley. Currently he dances for Jessica Mitrani, Amber Sloan, and Keely Garfield. Mr. Morley joined Abraham.In.Motion in 2013.
PENDA NÕDIAYE (dancer) is a native of Denver, Colorado, and began her dance training at Cleo Parker Robinson Dance, and later became an apprentice with the company. Ms. NÕdiaye continued her studies at NYU's Tisch School of the Arts where she received her BFA in dance in 2010. There, she worked with Solomons Jr., Robert Battle, Doug Varone, Ron K. Brown, and Kyle Abraham. Ms. NÕdiaye has studied at the Alvin Ailey School, Deeply Rooted Productions, Springboard Danse Montreal, and the Salzburg Experimental Academy of Dance in Salzburg, Austria. She apprenticed with David Dorfman Dance and later joined DanceIquail! and Forces of Nature Dance Theatre. This is her first season with Kyle Abraham/Abraham.in.Motion.
JEREMY ÒJAEÓ NEAL (dancer and public programs assistant) was born and raised in Michigan and received his training from Western Michigan University. There, he performed in professional works such as Strict Love by Doug Varone, Temporal Trance by Frank Chavez, and Harrison McEldowneyÕs Dance Sport. Since relocating to New York, Mr. Neal has had the privilege of working with SYREN Modern Dance, Christina Noel Reaves, Catapult Entertainment, Katherine Helen Fisher Dance, Nathan Trice, and now Abraham.In.Motion.
CONNIE SHIAU (dancer) grew up in Tainan, Taiwan and was accepted into the dance conservatory at SUNY Purchase college in 2008 after training at the high school program at Taipei National University of the Arts. She has had the privilege to work with Gallim Dance, Kevin Wynn Collective, and Adam Burrach Dance. Ms. Shiau is a recipient of the 2014 Reverb Dance Festival ÒBest DancerÓ award. She was also given the title of Honorable Mention for the 2014 Jadin Wong Award for ÒEmerging Asian American Dancer.Ó Ms. Shiau joined Kyle Abraham/Abraham.In.Motion in May 2013 and has assisted Mr. Abraham in setting new repertory work at Princeton University and Point Park University.
GLENN LIGON (set design) lives and works in New York. Mr. Ligon received a Bachelor of Arts from Wesleyan University in 1982 and attended the Whitney Museum Independent Study Program in 1985. His text-based, conceptual works have been featured in solo shows at the Hirshhorn Museum and Sculpture Garden in Washington, DC, the San Francisco Museum of Modern Art, the Walker Art Center in Minneapolis, the Studio Museum in Harlem, and the Power Plant in Toronto. A major retrospective of his work, Glenn Ligon: AMERICA, opened at the Whitney Museum of American Art in New York in 2011 and traveled nationally.
KAREN YOUNG (costume design) creates costumes for dance, performance, and contemporary art that have been seen in theaters and museums internationally. Her recent projects include Wendy WhelanÕs Restless Creature, Third Rail ProjectsÕ highly acclaimed immersive show Then She Fell, and teaching at the Rhode Island School of Design. Her design work for dance includes the Martha Graham Dance Company, Brian Brooks, Armitage Gone! Dance, American Ballet Theater, Morphoses, Dusan Tynek, Pam Tanowitz, and Keigwin + Company. Her design for video art includes David MichalekÕs Slow Dancing, Matthew BarneyÕs Cremaster 5 and Cremaster 1, Toni DoveÕs Lucid Possession, and Eve SussmanÕs 89 Seconds at Alcazar. For more information, visit
www.karenyoungcostume.com.
DAN SCULLY (lighting and video design) is a New York-based lighting and projection designer, and has been designing for Kyle Abraham/Abraham.In.Motion for over 10 years, including the full-length evening works Pavement, Live! The Realest M.C., and the Bessie Award-winning The Radio Show. Recent work includes Rocky (Broadway), Jedermann (Salzburger Festspeile), The Orchestra Rocks! (Carnegie Hall), and Another Night (Alvin Ailey). Regional work includes: Trinity Rep., GEVA, Asolo Rep., Cleveland Playhouse, Hudson Valley Shakespeare Festival, and Two River Theater Company. Mr. Scully holds an MFA from NYUÕs Tisch School of the Arts.
DAN STEARNS (production manager) is a lighting designer, scenic designer, and production manager interested in the intersections of dance, theater, music, and video. In addition to Abraham.In.Motion, recent collaborations include Pavel Zu.tiak/Palissimo, LeeSaar The Company, Scott Ebersold, Paul H. Bedard/Theater in Asylum, Tara Ahmadinejad/Piehole, and Tami Stronach. He has worked in venues such as BAM, The Joyce, New York Live Arts, La MaMa, Abrons Arts Center, HERE, Dixon Place, and 3LD in New York; and internationally from France to Korea and many places in between. He is a graduate of NYUÕs Tisch School of the Arts.
UMS welcomes Kyle Abraham and Abraham.In.Motion in their UMS debut performances this weekend.

WINTER 2015

Photo: John D. & Catherine T. MacArthur Foundation.

WHEN THE WOLVES CAME IN

10

BE PRESENT

WINTER 2015

11

UMS

WINTER 2015

WHEN THE WOLVES CAME IN

12

BE PRESENT

WINTER 2015

ABRAHAM.IN.MOTION

Kyle Abraham, Artistic Director
JJ Lind, Executive Director
Liz Sargent, General Manager
Dan Stearns, Tour and Production Manager
Alexander Leslie Thompson, Manager of
Communications and Community
Jeremy ÒJaeÓ Neal, Public Programs Assistant
For more information, please visit:
www.abrahaminmotion.org. A.I.M. merchandise is available at www.abrahaminmotion.bigcartel.com.
Abraham.In.Motion is a proud supporter of Dancers Responding to AIDS.
Project Support
The Watershed and When the Wolves Came In was commissioned and produced by New York Live Arts through its Resident Commissioned Artist Program, with lead support from The Andrew W. Mellon Foundation.

The Watershed and When the Wolves Came In is supported, in part, by the New England Foundation for the ArtsÕ National Dance Project, with lead funding from the Doris Duke Charitable Foundation and The Andrew W. Mellon Foundation.

The work was developed, in part, through a production residency at On the Boards with support from the National Dance Project, with funding from The Andrew W. Mellon Foundation.
Support was also provided to New York Live Arts for the commissioning of this work by MAP Fund, a program of Creative Capital supported by the Doris Duke Charitable Foundation and The Andrew W. Mellon Foundation.

Sets for The Watershed were commissioned, in part, by Rick Beyer.

13

THIS AFTERNOONÕS VICTOR FOR UMS:
CHARLES A. SINK
MEMORIAL FUND
PROVIDING ENDOWED SUPPORT FOR THIS
AFTERNOONÕS PERFORMANCE BY THE CHICAGO SYMPHONY WINDS.

UMS PRESENTS
CHICAGO
SYMPHONY WINDS

Elizabeth Tiscione, Xiomara Mass, Oboes
John Bruce Yeh, Teresa Reilly, Clarinets
David Tuttle, Susan Warner, Basset Horns
Miles Maner, Drew Pattison, Bassoons
Daniel Gingrich, James Smelser, Oto Carrillo, David Griffin, Horns
Daniel Armstrong, Double Bass
Sunday Afternoon, March 22, 2015 at 4:00
Rackham Auditorium ¥ Ann Arbor

61st Performance of the 136th Annual Season
52nd Annual Chamber Arts Series
Photo: Clarinets, 1952; photographer: © The Brett Weston Archive/CORBIS.

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UMS

PROGRAM

Wolfgang Amadeus Mozart
Serenade No. 12 in c minor, K. 388
Allegro
Andante
Menuetto and Trio
Allegro
INTERMISSION
Mozart
Serenade No. 10 in B-flat Major, K. 361
Largo: Molto Allegro
Menuetto
Adagio
Menuetto: Allegretto
Romance: Adagio
Tema con variazioni
Finale: Molto Allegro

Endowed support from the Charles A. Sink Memorial Fund.
Media partnership provided by WGTE 91.3 FM.
Special thanks to Kipp Cortez for coordinating the pre-concert music on the Charles Baird Carillon.

WINTER 2015

CHICAGO SYMPHONY WINDS

16

BE PRESENT

NOW THAT YOUÕRE IN YOUR SEATÉ

Serenades and divertimentos Ñ the two terms cannot always be clearly separated Ñ were music for entertainment in the 18th century. Often performed outdoors, they were not expected to plumb great emotional depths or display rare levels of compositional sophistication. They were functional pieces, often serving as background music and quite happy in that subordinate role Ñ except, that is, when the composerÕs name was Wolfgang Amadeus Mozart.
Mozart wrote his first serenade at the age of 13. Orchestral serenades were extremely popular in his native Salzburg, where they were regularly used at weddings, birthday parties, and university functions. After his move to Vienna, Mozart wrote compositions of this type only occasionally. Therefore, the two great serenades performed at this afternoonÕs concert, both products of the Vienna years, occupy a special place among MozartÕs works.

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Serenade No. 12 in c minor,
K. 388 (1782)
Wolfgang Amadeus Mozart
Born January 27, 1756 in Salzburg, Austria
Died December 5, 1791 in Vienna
UMS premiere: Stratford Festival Orchestra of Canada conducted by Oscar Shumsky, July 1967 at the UMS Fair Lane Festival in Dearborn.
SNAPSHOTS OF HISTORYÉIN 1782:
Â¥
The Postal Service Act, establishing theÊUS Post Office Department, is signed by President Washington

Â¥
Francis II, Holy Roman Emperor, the last emperor, takes office

Â¥
US PresidentÊGeorge WashingtonÊvetoesÊa bill designed to apportion representatives amongÊUS states, the first time the presidential veto is used in the US

Â¥
Mary WollstonecraftÕs A Vindication of the Rights of Woman is published

Serenades are not usually written in c minor. A serenade in c minor is even something of a contradiction in terms, given the light-hearted nature of the genre, usually destined for some type of festive, celebratory occasion and the dark, even tragic connotations carried by the minor mode, and c minor in particular. Yet Mozart would not let his imagination be restricted by such considerations, and he attempted a bold stylistic ÒcrossoverÓ with this wind octet, an ambitious work written for the Harmoniemusik, or wind ensemble, at the court of Emperor Joseph II.
The workÕs serious character is reflected by the fact that it is in four movements like a symphony, rather than six or more like most serenades and divertimentos. The frequent unisons, diminished-seventh sonorities and sudden sforzatos (accents) are typical features of the dramatic Òstorm and stressÓ style found in many minor-mode symphonies and chamber works from the 1770s and 1780s. It should come as no surprise that of all of his wind serenades, this is the one that Mozart reworked five years later, in 1787, as a string quintet with two violas (K. 406).
The third-movement ÒMenuettoÓ is a strict canon between the oboes and the bassoons. HaydnÕs Symphony No. 47 may have served as a model for the ÒTrio in canone al rovescioÓ (Trio in inverted canon) in the third movement of MozartÕs work. In this trio, the first oboeÕs melody is an inversion of the second oboe part Ñ that is, each ascending interval is replaced of a descending interval of the same size, and vice versa. The two bassoons play their own inverted canon against that of the oboes Ñ a learned artifice not usually associated with the serenade genre.
The other movements are in standard forms: sonata form in the first two, and a theme-and-variation in the finale, where the previous tensions are finally resolved by a much-awaited switch to the major mode Ñ though not before the very end of the piece.

Serenade No. 10 in B-flat Major,
K. 361, ÒGran PartitaÓ (1781)
Mozart
UMS premiere: Netherlands Wind Ensemble, February 2005 in Rackham Auditorium.
SNAPSHOTS OF HISTORYÉIN 1781:
Â¥
Christian Gottlob Neefe takes on the young Ludwig van Beethoven as a pupil

Â¥
Felix Fontana uses a microscope to describe the axon of a brain cell

Â¥
The Articles of Confederation are ratified by Maryland, the 13th and final state to do so

Â¥
The city of Los Angeles is founded by a group of 44 Spanish settlers

The Serenade in B-flat Major for 13 instruments is the last Mozart work to use that title (recent research indicates that it was written after the c-minor Serenade, which Kšchel had placed later in his chronological catalog.) The work was commissioned by clarinetist Anton Stadler, for whom Mozart later wrote his clarinet quintet (K. 581) and concerto (K. 622). StadlerÕs group performed four of the movements in Vienna in March 1784.
Scored for two oboes, two clarinets, two basset horns (lower-pitched clarinets), four horns, two bassoons, and double bass, the Serenade uses an instrumentation eminently suited for outdoor performances (although StadlerÕs partial premiere took place at the National Court Theater). The title ÒGran Partita,Ó which appears in the manuscript (but not written in MozartÕs hand) refers to outdoor music for winds according to the usage of the day.
The work has seven movements. The first, a sonata allegro, begins with a striking ÒLargoÓ introduction that combines solemn and lyrical elements. The second-movement ÒMenuettoÓ has two trios, resulting in the scheme Minuet Ð Trio I Ð Minuet Ð Trio II Ð Minuet. The second trio is in the darker minor mode. The third movement is the heartpiece of the work. Even among MozartÕs compositions, this ÒAdagioÓ stands out for its atmospheric beauty, the unique sound colors resulting from the alternating solos for clarinet, basset horn, and oboe against a palpitating rhythmic accompaniment.
The fourth movement, another ÓMenuetto,Ó differs in character from the first one: the earlier movement emphasized grace and suppleness while the second one is more determined and energetic. Again, there are two trios, the first of which is in the key of b-flat minor, a key Mozart almost never used. It is a dramatic and turbulent episode in an otherwise cloudless movement.
The fifth movement is a ÒRomanceÓ in adagio tempo with a faster middle section that sounds light and playful despite its c-minor tonality that is usually associated with more somber moods. Next comes a theme with six variations that puts the virtuosity of the entire ensemble to a test; the closing rondo ÒFinale,Ó finally, is sparkling and cheerful throughout, with a minor-mode episode in MozartÕs so-called ÒTurkishÓ idiom (well-known from the A-Major Piano Sonata, the A-Major Violin Concerto, and the opera The Abduction from the Seraglio).
Program notes by Peter Laki.

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CHICAGO SYMPHONY WINDS

BE PRESENT

ARTISTS

The CHICAGO SYMPHONY WINDS (CSW) were organized in 1978 by then-principal oboist of the Chicago Symphony Orchestra, Ray Still. During the subsequent decades, the CSW has performed on chamber music series and at universities around the US and made two recordings, including the 1986 Grammy Award-nominated Mozart: Music for Basset Horns album on CBS Masterworks. A landmark project of the group was the presentation of the complete wind music of Mozart at the University of Chicago. This project was so successful that a return visit was arranged in order to present the monumental wind symphonies of Richard Strauss. The Chicago Symphony WindsÕ 1983 recording of MozartÕs Serenade K. 375 and Willard ElliotÕs delightful transcription of GriegÕs Four Lyric Pieces was performed direct-to-disc for Sheffield Lab Records on the historic movie soundstage in Culver City, California, site of so many legendary MGM film classics.
The Chicago Symphony Winds, now in their fourth decade, together with a new generation of Chicago Symphony Orchestra wind players and distinguished colleagues, continue to breathe life into the great masterpieces of the repertoire.

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UMS ARCHIVES

This afternoon marks the second UMS performance by the Chicago Symphony Winds following the ensembleÕs April 1993 debut at Rackham Auditorium. Members of the ensemble have also appeared in numerous UMS performances with the Chicago Symphony Orchestra as part of the OrchestraÕs past visits to Ann Arbor.

19

TONIGHTÕS VICTORS FOR UMS:
MASCO CORPORATION FOUNDATION
Ñ
LINDA SAMUELSON AND JOEL HOWELL
Ñ
GARY AND DIANE STAHLE
Ñ
ANN AND CLAYTON WILHITE
Ñ
MARINA AND ROBERT WHITMAN
SUPPORTERS OF THIS EVENINGÕS PERFORMANCE BY THE ACADEMY OF ST. MARTIN IN THE FIELDS AND JEREMY DENK.

UMS PRESENTS
ACADEMY OF
ST. MARTIN IN
THE FIELDS

Jeremy Denk
Director and Piano
Wednesday Evening, March 25, 2015 at 7:30
Hill Auditorium ¥ Ann Arbor

62nd Performance of the 136th Annual Season
136th Annual Choral Union Series
Photo: Academy of St. Martin in the Fields; photographer: Bill Page.

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PROGRAM

Igor Stravinsky
Concerto in D Major
Vivace
Arioso: Andantino
Rondo: Allegro
Johann Sebastian Bach
Concerto for Keyboard No. 1 in d minor, BWV 1052
Allegro
Adagio
Allegro
Mr. Denk
INTERMISSION
Bach
Concerto for Keyboard No. 5 in f minor, BWV 1056
Allegro
Largo
Presto
Mr. Denk
Stravinsky
Apollon musagte
Premier Tableau: Naissance DÕApollon: Largo
Second Tableau: Variation DÕApollon
Pas DÕAction: Moderato
Variation de Calliope: Allegretto
Variation de Polymnie: Allegro
Variation Terpsichore: Allegretto
Variation DÕApollon: Lento
Pas de Deux: Adagio
Coda: Vivo
ApothŽose: Largo e tranquillo

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ACADEMY OF ST. MARTIN IN THE FIELDS

TonightÕs performance is sponsored by MASCO Corporation Foundation.
TonightÕs performance is supported by Linda Samuelson and Joel Howell, Gary and Diane Stahle, Ann and Clayton Wilhite, and Marina and Robert Whitman.
Media partnership provided by WGTE 91.3 FM and WRCJ 90.9 FM.
Special thanks to Linda Gregerson, professor of English Language and Literature at U-M, for speaking at tonightÕs Prelude Dinner.

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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.
The ASMF gratefully acknowledges the American Friends of the Academy of St. Martin in the Fields for their ongoing support.
The Academy of St. Martin in the Fields and Mr. Denk appear by arrangement with Opus 3 Artists, New York, NY.
Mr. Denk is a Steinway Piano Artist.

NOW THAT YOUÕRE IN YOUR SEATÉ

For all his reputation as a musical revolutionary, Igor Stravinsky was drawn to reliving and re-imagining the past his entire life, though he was inspired by different kinds of past at different times. His so-called .neo-classicalÓ period, which lasted about 30 years (roughly 1920Ð50), was longer than either his early .RussianÓ or his late .serialÓ periods, and was devoted to an endless variety of creative games played with various aspects of the musical tradition.
One of StravinskyÕs major influences during his neo-classical period was Johann Sebastian Bach, making a Bach-Stravinsky program a very attractive idea. One finds echoes of BachÕs music in many Stravinsky works from the Piano Concerto (1924) to Dumbarton Oaks (1938); there was a time when commentators liked to refer to neo-classicism in general as a movement .back to Bach.Ó While this is an obvious oversimplification, by putting StravinskyÕs music side by side with BachÕs, we will be able to hear the specific connection in some of the rhythmic patterns. In 1956, Stravinsky freely arranged BachÕs variations on the chorale Vom Himmel hoch for chorus and orchestra, crowning a lifetime of engagement with Bach's music.

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Concerto in D Major (1946, revised 1961)
Igor Stravinsky
Born June 17, 1882 in Oranienbaum (now
Lomonosov), near St. Petersburg, Russia
Died April 6, 1971 in New York, New York
UMS premiere: StravinskyÕs Concerto in D Major has never been performed on a UMS concert.
SNAPSHOTS OF HISTORYÉIN 1946:
Â¥
The first meeting of the United Nations is held at Methodist Central Hall Westminster in London

Â¥
The Central Intelligence Group is established

Â¥
Ho Chi Minh is elected President of North Vietnam

Â¥
UNICEF (the United Nations ChildrenÕs Emergency Fund) is founded

Â¥
President Harry S. Truman delivers Proclamation 2714, which officially ends hostilities in World War II

Stravinsky first collaborated with the Swiss conductor Paul Sacher (1906Ð99) in 1930, when he played the solo part of his Capriccio for Piano and Orchestra under SacherÕs direction in Basle. Within a few years, Sacher, who had founded the Basle Chamber Orchestra, emerged as one of the worldÕs most important champions of new music. His commissions gave the world such masterpieces as Bart—kÕs Music for Strings, Percussion, and Celesta and Richard StraussÕs Metamorphosen, to name but two. Stravinsky wrote two works for Sacher: the present Concerto and A Sermon, a Narrative, and a Prayer (1963).
Stravinsky had left Europe in 1939 and settled in the US, living for many years in Southern California. By the end of the war, he was eager to renew his European contacts Ñ and Sacher was responsible for his first European commission in more than a decade. Stravinsky started working on the piece even before mailing his letter of acceptance to Switzerland.
The 12-minute Concerto in D Major (also known as the Basle Concerto) employs motoric rhythm inspired by the Baroque era, melodic fragments alluding to Romanticism, and a sophisticated handling of the string instruments that wouldnÕt have been possible before the 20th century Ñ all in StravinskyÕs own inimitable manner. All three movements are based, in one way or another, on alternating half-steps. The first movement continually hovers between major and minor, with numerous rhythmic and melodic surprises that break the patterns as soon as they have been established. Later, the tempo slows down for a middle section with languid harmonies and expressive syncopations, followed by a more energetic transition. After a series of startling chords played by solo violas and cellos, both earlier sections are recapitulated. The harmonics of the first cello and four double basses serve as a bridge to the second-movement .Arioso,Ó which spins a romantic, and ever sweeter, singing line from a simple alternation of two pitches. The final .RondoÓ unfolds over a constant background of agitated tremolos, where this whirling and buzzing activity plays the role of the rondo theme, contrasting with those moments where that activity briefly stops.

Concerto for Keyboard No. 1 in
d minor, BWV 1052 (1738)
Johann Sebastian Bach
Born March 21, 1685 in Eisenach, Germany
Died July 28, 1750 in Leipzig
UMS premiere: Harpsichordist Kenneth Gilbert with the Chicago Symphony Baroque Orchestra conducted by Jean Maritnon, June 1967 at the UMS Fair Lane Festival in Dearborn.
SNAPSHOTS OF HISTORYÉ IN 1738:
Â¥
Pierre Louis Maupertuis publishes Sur la figure de la terre, which confirms NewtonÕs view that the earth is an oblate spheroid slightly flattened at the poles

Â¥
Black Forest clockmaker Franz Ketterer produces one of the earliest cuckoo clocks

Â¥
The Great Plague of 1738, an outbreak of bubonic plague, begins to spread from Banat across
central Europe

Â¥
Serse, an Italian opera by George Frideric Handel, premieres in London

Â¥
The Imperial Ballet School at Saint Petersburg is founded with Jean-Baptiste LandŽ as its principal

Since the appearance of the solo concerto in the early 1700s, most concertos were written for the violin. The cello and various wind instruments were also occasionally given a chance. The harpsichord, however, was relegated to the role of Cinderella: always present as a continuo instrument, providing indispensable harmonic support, but rarely noticed as a separate entity. The reason for this may have been that early concerto writers such as Vivaldi and Torelli were string players; keyboard virtuosos such as Domenico Scarlatti had either no interest in writing concertos, or no opportunities to do so.
As far as we know, J.S. Bach was the first to write concertos for a keyboard instrument. The virtuoso harpsichord part in the Brandenburg Concerto No. 5 (which also includes solos for flute and violin) inaugurated a new genre that was destined for a great future. About a decade after the Brandenburg set, Bach wrote seven solo concertos for the harpsichord when he was the director of the Collegium Musicum that performed at ZimmermannÕs coffee house in Leipzig. But for some reason, he doesnÕt seem to have thought of the harpsichord/string orchestra combination as an independent medium that could stand on its own feet: instead of composing original works, he merely transcribed some of his earlier concertos for the keyboard. For three of the seven, the originals are well known. The Brandenburg Concerto No. 4 (in G) became a harpsichord concerto in F Major; and the two violin concertos in
a minor and E Major were reincarnated as harpsichord concertos in g minor and
D Major, respectively.
For the other concertos, the originals have not survived. Nevertheless, scholars are sure they existed, and have even attempted reconstructions. In the case of the d-minor concerto, the keyboard part has many features that are conspicuously violinistic, such as the wide leaps in the theme and a particular repeated-note pattern that would have been played to special effect on the violin, using alternating strings. But other details in the solo part, such as the arpeggios, are so idiomatic to the keyboard that a reconstruction of the original violin version is by no means a mechanical task.
We donÕt know for sure when the original violin concerto was written, though we may assume that it was during the Cšthen years (1717Ð1723), the period when Bach wrote his known violin concertos. In the 1720s, Bach used the musical material of the d-minor concerto in two of his church cantatas. Cantata 146 opens with the first movement of the concerto as an instrumental introduction or Sinfonia, already featuring a solo keyboard instrument (the organ). The second movement of this cantata is identical to the second movement of the concerto, with the chorus singing the words ÒWir mŸssen durch viel TrŸbsal in das Reich Gottes eingehenÓ (We must enter GodÕs kingdom through many tribulations). Another cantata, No. 188, uses the concertoÕs last movement as its Sinfonia, again with a concertant organ solo.
The Concerto for Keyboard No. 1 in d minor is a remarkably daring work that treats Baroque concerto form with a great deal of freedom: in one moment, the music follows a strict logic based on sequential progressions and consistent melodic development, and in the next, it surprises us with an outburst of rhapsodic passagework. The unusualness starts right at the beginning: the ritornello, or recurrent theme, is played in unison, which enhances the dramatic power of the dissonant intervals (tritone, diminished sevenths, minor ninths) in which the theme abounds. It is one of the most passionate instrumental movements Bach ever wrote.
Like the first movement, the second starts with a unison theme featuring wide leaps, including dissonant ones. The melody stays in the bass, its presence uninterrupted as the soloistÕs right hand plays an extremely ornate singing melody, expressive of the line about tribulations applied to this music in Cantata 146.
The finale doesnÕt quite have the chromatic asperities of the first two movements, but it is still not exactly a light movement. Despite some playful elements in the rhythm, the tensions never completely go away.
This concerto had a major influence on BachÕs son Carl Philipp Emanuel, who made his own arrangement of it, and who developed the dramatic side of his fatherÕs writing further in his own music. The highly charged emotional style of C.P.E. Bach in turn influenced the composers of the Classical era, including Haydn, Mozart, and Beethoven.

Concerto for Keyboard No. 5 in
f minor, BWV 1056 (1738)
Bach
UMS premiere: BachÕs Concerto No. 5 in f minor has never been performed on a UMS concert.
The genesis of all seven of BachÕs extant solo keyboard concertos is complicated, to say the least. All are arrangements, dating from the mid-to-late 1730s, of earlier works by Bach, some of which are lost. But, as recent research has shown, the case of the f-minor work is even more complex. Bach apparently used a work by another composer, namely Georg Philipp Telemann, as a model for his slow movement; he had used a theme from a Telemann concerto in his Cantata 156 (1729) before returning to it for the second time in the harpsichord concerto. The fast movements were apparently written several years later, though no exact dates of composition can be established.
Although both Bach concertos on the present program are in the minor mode, they differ considerably in their mood. The dance rhythms and playful echo effects of the f-minor concerto make it a more light-hearted work, at least as far as the opening and closing movements are concerned. The lyrical cantilena of the second movement, where the accompanying ensemble plays pizzicato (plucking the strings), is an emotionally heightened elaboration of the Telemann, followed by a ÒPrestoÓ where Bach carefully indicates the alternation between forte and piano as a special and rather novel musical effect.

Apollon musagte (1928)
Stravinsky
UMS premiere: Zurich Chamber Orchestra with Edmond de Stoutz conducting, February 1980 in Rackham Auditorium.
SNAPSHOTS OF HISTORYÉIN 1928:
Â¥
English bacteriologist Frederick Griffith reports the results of GriffithÕs experiment, indirectly proving the existence of DNA

Â¥
The Michigan Theater opens in Ann Arbor

Â¥
The first regular schedule of television programming begins in Schenectady, New York

Â¥
The animated short Plane Crazy is released by Disney Studios in Los Angeles, featuring the first appearances of Mickey and Minnie Mouse

Â¥
Aviatrix Amelia Earhart becomes the first woman to make a successful transatlantic flight as a passenger

Stravinsky had a special affinity for ballet throughout his career. Just as The Firebird, Petrushka, and The Rite of Spring were the most outstanding works of his early, Russian period, his neo-Classical period was also marked by his love for dance theater. His second ballet trilogy, created in the 1920s and 1930s, began with Apollo, which was commissioned by Elizabeth Sprague Coolidge for the Library of Congress in Washington, DC. The European premiere was given by DiaghilevÕs Ballets Russes, the legendary company that had catapulted Stravinsky to fame about a decade and a half earlier. The second trilogy was completed by The FairyÕs Kiss (1928) and Jeu de cartes (1936).
Several of the great Stravinsky works from the 1920s and 1930s were inspired by Greek mythology. Apollo came soon after the opera-oratorio Oedipus Rex, and a few years before the melodrama Persephone. Yet unlike those works, it eschews all dramatic conflicts; Stravinsky clearly wanted to write a real .ApollonianÓ work, free from all .DionysianÓ impulses. (The contrast between Apollo, the calm god of beauty and Dionysus, the personification of ecstasy, dominated European artistic thinking since NietzscheÕs Birth of Tragedy [1872].)
Stravinsky envisioned a so-called ballet blanc (white ballet) in which all the ballerinas wore white, and the choreography remained close to the classical tradition. There is no plot to speak of in the conventional sense. After the prologue, which represents ApolloÕs birth, the Muses appear. There are only three of them, not nine as in the mythological tradition. Apollo dances with all three one after the other, before the muses come forward perform successive solos. This is followed by a pas de deux between Apollo and Terpsichore, the muse of dance; then all four characters dance together, and the .leader of the musesÓ escorts his companions to Mount Parnassus.
The musical equivalent of a .white balletÓ is, of course, the diatonic scale made up of the white keys of the piano; Apollo is one of the most consonant of all of StravinskyÕs works. Yet the absence of conflict doesnÕt mean monotony since there are plenty of changes of tempo and rhythm. Stravinsky was able to achieve an enormous variety of timbres with an ensemble consisting entirely of strings: in the course of the 30-minute ballet, we hear a wide range of sonorities from unaccompanied violin solo to the rich sound of multiple divisi (divided parts).
Program notes by Peter Laki.

ACADEMY OF ST. MARTIN IN THE FIELDS

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ACADEMY OF ST. MARTIN IN THE FIELDS

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ARTISTS

The ACADEMY OF ST. MARTIN IN THE FIELDS is renowned for its polished and refined sound, rooted in outstanding musicianship. Formed by Sir Neville Marriner in 1958 from a group of leading London musicians, the Academy gave its first performance in its namesake church in November 1959. Originally directed by Sir Neville from the leaderÕs chair, the collegiate spirit and flexibility of the original small, conductor-less ensemble remains an Academy hallmark which continues today with virtuoso violinist Joshua Bell as its music director. Together they explore symphonic repertoire to perform Òchamber music on a grand scale.Ó
Highlights of this season include London concerts and international tours with pianist Jeremy Denk, clarinetist Martin Fršst, and violinist Julia Fischer. Principal guest conductor Murray Perahia tours with the orchestra to Europe in August and September and on an exciting tour of Asia in November. Mr. Bell himself will undertake four tours with the Academy this season, traveling as far as South America and the Middle East, as well as two tours of Europe.
In addition to concerts, the players of the Academy continue to reach out to young musicians and adult learners through Outward Sound, the AcademyÕs education program. This yearÕs projects include workshops for school children, professional development partnerships, and lifelong learning schemes, which create opportunities for the public to connect and create music with the orchestra.
With over 500 recordings to date, the Academy is one of the most recorded chamber orchestras in the world. The orchestra received their first gold disc for their recording of VivaldiÕs Four Seasons in 1969, and the 2007 recording of the same piece with Mr. Bell reached number one on the Billboard Classical Chart. Their soundtrack for the film Amadeus won 13 gold discs alone, while in 1996 The English Patient picked up an Academy Award for ÒBest Music,Ó with a soundtrack performed by the Academy. In March 2013 the orchestra and Mr. Bell released their first recording on Sony Classical under his leadership, performing BeethovenÕs Symphonies Nos. 4 and 7.
The AcademyÕs US tours are supported by the American Friends of the Academy of St. Martin in the Fields. If you would like to join the American Friends, please send an email to
afasmf@gmail.com for more details. For more information, please visit www.asmf.org. Follow the Academy on Facebook, Google+, and on Twitter at
@ASMForchestra.

One of AmericaÕs most thought-provoking, multi-faceted, and compelling artists, pianist JEREMY DENK is the winner of a 2013 MacArthur ÒGeniusÓ Fellowship, the 2014 Avery Fisher Prize, and Musical AmericaÕs 2014 ÒInstrumentalist of the YearÓ award. He has appeared as a soloist with the Los Angeles Philharmonic, the Philadelphia Orchestra, as well as the symphony orchestras of Boston, Chicago, San Francisco, and London. He regularly gives recitals in New York, Washington, Boston, Philadelphia, and throughout the US. In the 2014Ð15 season, Mr. Denk launches a four-season tenure as an artistic partner of the Saint Paul Chamber Orchestra; makes debuts with the Cleveland Orchestra and the New York Philharmonic; appears as a soloist with the Los Angeles Philharmonic and San Francisco Symphony; and performs Bach concertos on tour with the Academy of St. Martin in the Fields.
Mr. Denk is known for his original and insightful writing on music, which Alex Ross praises for its Òarresting sensitivity and wit.Ó His blog, Think Denk, was selected for inclusion in the Library of Congress web archives, and he has written pieces for the New Yorker, the New York Times, and the New York Review of Books. One of his New Yorker contributions, ÒEvery Good Boy Does Fine,Ó forms the basis of a memoir for future publication by Random House. In 2014 he served as music director of the Ojai Music Festival, for which he performed, curated, and wrote the libretto for a comic opera. The opera will be presented by Carnegie Hall in the 2014Ð15 season.
Mr. DenkÕs debut recording for Nonesuch Records juxtaposed LigetiÕs ƒtudes with BeethovenÕs final sonata, and was included on many ÒBest of 2012Ó lists, including those of the New Yorker, Washington Post, and NPR Music. His second recording for the label, Bach: Goldberg Variations, was released in September 2013. It reached number one on BillboardÕs ÒClassical AlbumsÓ chart.

WINTER 2015

Photo: Michael Wilson

ACADEMY OF ST. MARTIN IN THE FIELDS

WINTER 2015

UMS ARCHIVES

This eveningÕs concert marks the Academy of St. Martin in the FieldsÕ seventh performance under UMS auspices following its UMS debut in November 1980 at Hill Auditorium with violinist Iona Brown. The Academy most recently appeared in Ann Arbor in April 2012 at Hill Auditorium with Joshua Bell where they received the 2012 UMS Distinguished Artist Awards. Tonight marks Jeremy DenkÕs fourth concert under UMS auspices following his UMS debut in February 2007 with Joshua Bell at Hill Auditorium. Mr. Denk most recently appeared under UMS auspices in March 2012 as part of the San Francisco SymphonyÕs American Mavericks Festival where he performed as piano soloist in Henry CowellÕs Concerto for Piano at Hill Auditorium and in a chamber concert performance of Lukas FossÕ Echoi with members of the Symphony at Rackham Auditorium.

ACADEMY OF ST. MARTIN IN THE FIELDS

FIRST VIOLIN
Tomo Keller
Harvey de Souza
Robert Salter
Martin Gwilym-Jones
Raja Halder
Clare Hayes
Clare Hoffman
SECOND VIOLIN
Helen Paterson
Fiona Brett
Amanda Smith
Mark Butler
Anna Blackmur
VIOLA
Robert Smissen
Stephen Upshaw
Alex Koustas
Martin Humbey
CELLO
Stephen Orton
Judith Herbert
Morwenna del Mar
DOUBLE BASS
Lynda Houghton
Cathy Elliott

WINTER 2015

ADMINISTRATION
Sir Neville Marriner CBE, Life President
Joshua Bell, Music Director
Murray Perahia KBE, Principal Guest
Conductor
STAFF
Gabriel van Aalst, Chief Executive
Andrew McGowan, Head of Development
Sally Sparrow, Orchestra Personnel Manager
Ina Wieczorek, Concerts and Recordings
Manager
Cecilia Sala, Development Manager
Katherine Adams, Orchestra Manager
and Librarian
Kim Perkins, Education & Outreach Manager
Creative Producer
Peter Fisher, Marketing Manager
Patrick McEntee, Concerts and Administration
Assistant
Danielle Scott, Development Assistant
Clare Thompson, Orchestral Administration
Trainee
Rebecca Driver, Media Relations,
PR Consultant
BOARD OF DIRECTORS
Paul Aylieff, Chairman
Heather Benjamin
Elizabeth Bennett
Sir Peter Coulson
Mark David
Catherine Morgan
Trevor Moross
Simon Morris
Charlotte Richardson
Richard Skinner
Harvey de Souza
Peter Stott
DEVELOPMENT BOARD
Paul Aylieff
Cyrille Camilleri
Gareth Davies
Jill Hoffbrand
Christine Jasper
Alan Kerr
Trevor Moross, Chairman
Mark Oshida
Peter Stott
OPUS 3 ARTISTS
David V. Foster, President & CEO
Leonard Stein, Senior Vice President, Director,
Touring Division
Robert Berretta, Vice President, Senior
Director, Artists & Attractions Booking,
Manager, Artists & Attractions
Irene Lšnnblad, Associate, Touring Division
Samantha Cortez, Associate, Attractions
Kay McCavic, Tour Manager

ACADEMY OF ST. MARTIN IN THE FIELDS

Eugene M. Grant: Victor for
the Arts
UMS thanks U-M alumnus Eugene M. Grant (LSA, Ô38) for making the New York Philharmonic residency possible. EugeneÕs $1,000,000 gift supports the first phase of this partnership that will bring the New York Philharmonic to campus three times over the next five years.

Hill Auditorium ceiling emblem

2015 HOMECOMING WEEKEND:
New York Philharmonic in Hill Auditorium
Three Amazing Concerts in one
Extraordinary Weekend
October 9-11, 2015
The U-M campus is brimming with experiences to come home to Ñ a crisp walk through the Diag, an epic football game, and an evening spent with one of the worldÕs best orchestras. As part of an extended UMS artistic residency, the New York Philharmonic will perform three concerts in Ann ArborÕs Hill Auditorium during the U-M Homecoming Weekend. Performing a different program each night, the orchestraÕs residency includes a performance of Leonard BernsteinÕs live score to the 1954 classic, On the Waterfront, starring Marlon Brando. Full details and programs available at ums.org/nyphil.
TICKETS
New York Philharmonic Weekend Packages go on sale starting Monday, March 16 2015. Tickets to individual performances go on sale on August 3.
734.764.2538 / UMS.ORG

"I believe the arts are a critical piece of a well-rounded education and should be a part of the Michigan experience for all students, through affordable tickets, in-class experiential learning, and exposure to world-class performers on and off the stage. As a New Yorker and as a Michigan man, I am thrilled to help bring together my 'hometown' orchestra and
my alma mater."

Eugene M. Grant

2015-16
SEASON ANNOUNCEMENT!

The 2015Ð16 UMS season is positively brimming with must-see performances. In fact, there are so many incredible options that weÕre announcing the Choral Union and Chamber Arts series early this season, with subscriptions to these packages on sale now. Take a peek, mark your calendars, and plan something special.

137TH ANNUAL
CHORAL UNION SERIES
10/9-11
New York Philharmonic
Alan Gilbert, music director
10/29
Chicago Symphony Orchestra
Riccardo Muti, music director and conductor
11/20
Leif Ove Andsnes, piano
1/11
Royal Philharmonic Orchestra
Pinchas Zukerman, principal guest
conductor and violin
2/6
Igor Levit, piano
2/20
Sir Andr‡s Schiff, piano
The Last Sonatas of Haydn, Mozart, Beethoven, and Schubert
3/19
Montreal Symphony
Kent Nagano, music director
Daniil Trifonov, piano
3/26
Bach Six Solos
Gil Shaham, violin
With video installation by David Michalek
4/16
Bavarian Radio Orchestra
Mariss Jansons, music director
53RD ANNUAL
CHAMBER ARTS SERIES
9/27
Sphinx Virtuosi with the Catalyst Quartet and Gabriela Lena Frank
11/6
Danish String Quartet
12/2
Tak‡cs Quartet
1/22
Chamber Music Society of Lincoln Center
2/16 & 2/18
Sir Andr‡s Schiff, piano
4/8
Jerusalem String Quartet

The remainder of the 2015-16 season
will be announced in late April.

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.

47

BE PRESENT

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.
.

WINTER 2015

49

BE PRESENT

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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