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UMS Concert Program, October 09-11, 2015 - New York Philharmonic

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

Welcome to the UMS experience. We’re glad you’re present.
Enjoy the performance.


When you attend a UMS performance,
you’re part of a larger equation:


in the greater Ann Arbor Area

$100 million annually
Together, we invest in our local community’s vibrancy.

Ann Arbor Area

Community Foundation

University of Michigan

UMS President

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delighted that you’re joining us in our 137th season, one
of the most exciting, diverse, and engaging in our history.
In addition to what you’ll see on stage, UMS has a robust
education program serving people of all ages and also
oversees the 175-voice Grammy Award-winning UMS
Choral Union. We invite you to learn more about all of
our programs at and to become engaged with
UMS, whether it’s by making a gift to our campaign,
joining us at the Ann Arbor Y for a community dance
class with a visiting dance company, or buying a ticket
to a performance. We’re always eager to hear from you,
too! Join the conversation and share your thoughts after a
performance at If you have any comments,
questions, or concerns, please be in touch with UMS
President Ken Fischer at 734.647.1174 or at We hope to see you again soon.


Welcome to this UMS performance. We’re

UMS Board of Directors


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Table of
Season Calendar

Corporate Champions

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Leadership Donors

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Rachel Streu, MD

Art and medicine
performing in concert

Generous Donors
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Season Calendar

NT Live in HD:
Arthur Miller’s
A View from the Bridge


UMS Season Opener!
My Brightest Diamond
with the Detroit Party
Marching Band and
special guest Shigeto


RSC Live in HD:
Shakespeare’s Othello

Abdullah Ibrahim &
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Sankai Juku

Hubbard Street Dance


NT Live in HD: George
Bernard Shaw’s
Man and Superman

Chicago Symphony
Riccardo Muti, conductor


Sphinx Virtuosi
with the Catalyst Quartet
and Gabriela Lena Frank,




Danish String Quartet

Chucho Valdés:
Irakere 40

Youssou N’Dour and
Super Étoile de Dakar
NT Live in HD:
Shakespeare’s Hamlet

New York Philharmonic
Alan Gilbert, conductor


Antigone by Sophokles
Starring Juliette Binoche
Directed by Ivo van Hove





Takács Quartet

Handel’s Messiah
UMS Choral Union
Ann Arbor Symphony
Scott Hanoian, conductor

RSC Live in HD:
Shakespeare’s Henry V

A Christmas Carol
National Theatre of
Directed by Graham



The Gloaming



Audra McDonald


Leif Ove Andsnes, piano


What’s in a Song?
A song recital evening
curated by Martin Katz

Jamie Barton,

Royal Philharmonic
Pinchas Zukerman,
conductor and violin

Jazz at Lincoln Center
Orchestra with
Wynton Marsalis


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Young Jean Lee’s
Theater Company
Untitled Feminist Show &
Straight White Men

The Triplets of Belleville
Benoît Charest,

Zafir: Musical Winds
from North Africa to
Simon Shaheen, music



Chamber Music Society
of Lincoln Center

Ms. Lisa Fischer and
Grand Baton



The Chieftains

Nufonia Must Fall
Kid Koala, DJ, producer,
and graphic novelist

Bavarian Radio Orchestra
Mariss Jansons, conductor
Leonidas Kavakos, violin

The Bad Plus
Joshua Redman


Apollo’s Fire & Apollo’s
Bach’s St. John Passion



Taylor Mac
A 24-Decade History
of Popular Music:

Montreal Symphony
Kent Nagano, conductor
Daniil Trifonov, piano

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Tanya Tagaq in concert
with Nanook of the North





Gil Shaham, violin
with original films by
David Michalek
Bach Six Solos

Camille A. Brown &



Igor Levit, piano


UMS Choral Union and
Love is Strong as Death
Scott Hanoian, conductor
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Sir András Schiff, piano
The Last Sonatas
of Haydn, Mozart,
Beethoven, and Schubert

American Ballet Theatre
The Sleeping Beauty


Mariachi Vargas de

Jerusalem String Quartet

Mnozil Brass

Dentistry as
a Fine Art
Unparalleled Attention to Detail

Photography © Kirk Donaldson

We blend creativity and expertise to
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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 invite you
to participate in events inside and outside of the theater.


Photo: You Can Dance with in March 2015. Photographer: Peter Smith Photography.


The law firm of Dykema
applauds the University
Musical Society for bringing
the spirit of harmony to our
community with one sound
performance after another.

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Daniil Trifonov, 2014 Gilmore Keyboard Festival © Chris McGuire

to the

APRIL 29 TO MAY 14, 2016



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In our 137th 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 Handel’s 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 now presents the
very best from a wide spectrum of the performing arts: internationally
renowned recitalists and orchestras, dance and chamber ensembles, jazz
and global music performers, and contemporary stagework and classical
theater. Through educational programming, the commissioning of new
works, youth programs, artist residencies, and collaborative projects, we
continue to strengthen our reputation for artistic distinction and innovation.
Photo: Hill Auditorium in 1928.


We recognize the donors who have made or completed multi-year
campaign commitments of $100,000 or more during the last year. In
addition, we recognize the individuals who have committed $50,000 or
more in support of the 2015–16 season.
B E RT R A M A S K W I T H ( 1 9 1 1 -2 0 1 5 )
“The arts have made a significant difference in my life and
my daughter’s 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 — Bert’s Ticket — to introduce them to
a cultural experience at Michigan.”

“It could almost be said that we chose to move to Ann Arbor
post-career because of UMS. Who wouldn’t want to live in a
city that can attract such talent, and fill a 3,500-seat hall with
so many enthusiastic audiences? Now, we enjoy each season
all the more because, as donors, we’re an active part of UMS.
What a privilege!”

“As students, we benefited from low-cost student tickets,
fostering a lifelong love of the performing arts. Our donation
will help to ensure that affordable tickets will be available to
today's students.”

“I 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.”



“We are delighted to partner with UMS for the fifth
year of the Renegade Series. Supporting Renegade
programming allows UMS to provide experiences for
the curious, adventurous, and experimental audience
member — allowing us to challenge our existing beliefs
and push our own boundaries.”

“We 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.”

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"We enjoy classical and contemporary music, theater,
and dance, and feel privileged to add our endowment
to that of others to help ensure that UMS continues to
present adventuresome performances to the university
and Southeast Michigan communities."

"Thousands and thousands of lives have been made
richer and more profoundly aware through the music,
theater, and dance offerings of UMS. It’s hard to imagine
another institution that has had such an enormous
impact on so many over such a long time. UMS’s work
is enormously valuable and deserves generous support
from anybody who believes in the liberating power of the
performing arts."


We thank the following businesses for their commitments of $5,000 or more
for the 2015–16 season.
President, Ann Arbor Automotive
“We at Ann Arbor Automotive are pleased to support the artistic
variety and program excellence given to us by UMS.”

President and CEO, Bank of Ann Arbor
“We take seriously our role as a community bank. 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. We are firm believers that the arts are vital to the
vibrancy of our cities, both culturally and economically.”

Ann Arbor Region President, Comerica Bank
“As a company with a long-standing commitment to diversity
and our community, Comerica is proud to continue its support of
UMS. We salute UMS on its efforts to enrich our community by
showcasing the talents of performing artists from around the world.
Congratulations to the leader and best in the performing arts.”

President, DTE Energy Foundation
“The DTE Energy Foundation is pleased to support exemplary
organizations like UMS that inspire the soul, instruct the mind, and
enrich the community.”


“We are proud to support UMS in its tradition of program
excellence and outreach that enriches our thoughts, our
families, and our community.”


Founders, Faber Piano Institute

President, Ford Motor Company Fund
“Experiencing the world through music and the arts makes
us better as individuals while bringing us together as a
community. We are proud to support UMS and the important
role it plays in enriching our lives.”
CMYK Form (preferred)

Ann Arbor Office Managing Partner, Honigman Miller
Schwartz and Cohn LLP

Black and White Form


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Ford Fund Master

“In our firm’s 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.”
Text: Black

Director, Issa Foundation
“The 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.”

Michigan Market President, KeyBank
“KeyBank 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.”


Director of Business Development, Level X Talent
“Level X Talent enjoys supporting UMS and its ongoing success
bringing world-class artistic talent to the community. Please join
us in congratulating UMS. As with the arts, consistently finding
and attracting exceptional talent in Advanced Technology can
be difficult. Level X Talent partners with our clients to meet that

President and Chief Executive Officer, Masco
“Masco is proud to support UMS and salutes its commitment to
providing excellent and diverse programs that spark a lifelong
passion for creativity. Thank you, UMS, for allowing all of us to
experience the transformative power of the performing arts!”

CEO, McKinley, Inc.
“The 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.”

President and CEO, McMullen Properties
“In the fifth grade, I began taking cornet lessons from Roger Jacobi,
a young man right out of the U-M School of Music who years later
would become President of the Interlochen Arts Academy. Roger
gave me not only love of music, but also deep appreciation for
what UMS does for school kids and adults alike.”

Owner, Mainstreet Ventures, Inc.
“As 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.”


“Miller Canfield proudly supports UMS for enhancing our
quality of life by bringing the unfiltered immediacy of live
performing arts to our community.”


Principal, Miller, Canfield, Paddock and Stone, P.L.C.

Regional President, Old National Bank
“At Old National Bank, we’re committed to community
partnership. That’s why, last year alone, we funded over $5
million in grants and sponsorships and our associates donated
almost 100,000 volunteer hours. It’s also the reason we’re
pleased to once again support UMS as a corporate sponsor
for the 2015–16 season.”

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

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

Chief Executive Officer, Savco: Hospitality
“One of Ann Arbor’s greatest assets is UMS, which brings
amazing, best-in-class performances to our city season after
season. Savco Hospitality is honored to support UMS and its
mission of engaging, educating, transforming, and connecting
the arts to our community.”


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

President, Stout Systems
“Supporting UMS is really a labor of love — 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.”

Owner, Tom Thompson Flowers
“Judy and I are enthusiastic participants in the UMS family. We
appreciate how our lives have been elevated by this relationship.”

President, Toyota Motor Engineering & Manufacturing
North America, Inc.
“Toyota 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.”

President, University of Michigan Credit Union
“Thank 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.”


“The University of Michigan is proud to support UMS as
a natural extension of our academic enterprise. UMS’s
outstanding performances and educational programs add
tremendous value for our students, faculty, alumni, and
regional community.”


President, University of Michigan

Executive Vice President for Medical Affairs, University of
Michigan, and CEO, University of Michigan Health System
We are proud to partner with UMS for its 2015–16 season.
Music improves the quality of life for all of us, and,
increasingly, is recognized as an important ingredient for
better health.”

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Foundation, Government,
& 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

Charles H. Gershenson Trust

Benard L. Maas Foundation
The Seattle Foundation
University of Michigan Third Century Initiative


As a long-time patron of the arts,
Honigman and its Ann Arbor attorneys
are proud to support UMS.
Fernando Alberdi
Christopher A. Ballard
Maurice S. Binkow
Cynthia M. Bott
Anna M. Budde
Thomas W. Forster II
Carl W. Herstein
Richard D. Hoeg
Ann T. Hollenbeck
J. Michael Huget
Barbara A. Kaye

Tara E. Mahoney
Cyril Moscow
Leonard M. Niehoff
David N. Parsigian
Julie Kretzschmer Reitz
Eric J. Sosenko
James E. Stewart
Bea Swedlow
Sara E. Waidelich
Bill Winsten

For more information, please contact
David Parsigian at 734.418.4250 or


New York
Alan Gilbert
Music Director and Conductor
October 9–11, 2015
Hill Auditorium
Ann Arbor

Concert 1
Friday, October 9, 8:00 pm


Concert 2
Saturday, October 10, 8:30 pm


Concert 3
Sunday, October 11, 3:00 pm


Residency Activities


New York
Alan Gilbert
Inon Barnatan
New York Philharmonic Artist-in-Association
Friday Evening, October 9, 2015 at 8:00

Sixth Performance of the 137th Annual Season
137th Annual Choral Union Series

Tonight’s performance is supported by the Eugene and Emily Grant Family Foundation.
UMS orchestral residency programs are funded in part by a grant from The Andrew W. Mellon Foundation.
Media partnership provided by WGTE 91.3 FM, Michigan Radio 91.7 FM, and WRCJ 90.9 FM.
The Steinway piano used in this evening’s concert is made possible by William and Mary Palmer.
Special thanks to Tom Thompson of Tom Thompson Flowers, Ann Arbor, for his generous contribution
of lobby floral art for this evening’s concert.
Special thanks to Dean Aaron Dworkin, Christopher Kendall, Melody Racine, Richard Aaron, Danielle
Belen, Mark Clague, Kenneth Kiesler, Nancy Ambrose King, Jeffrey Lyman, Adam Unsworth, Emily
Avers, Sarah Rau, and the U-M School of Music, Theatre & Dance; John Pasquale and the Michigan
Marching Band; Jerry Davis and the U-M Interdisciplinary Committee on Organizational Studies; the
U-M EXCEL Initiative; U-M Arts Enterprise; and Caryl Flinn for their support and participation in
events surrounding the New York Philharmonic residency.
The New York Philharmonic This Week, nationally syndicated on the WFMT Radio Network, is
broadcast 52 weeks per year; visit for information.
The New York Philharmonic’s concert-recording series, Alan Gilbert and the New York Philharmonic, is
available for download at all major online music stores. Visit for more information.
Follow the New York Philharmonic on Facebook, Twitter, Instagram, Tumblr, Pinterest, and YouTube.
In consideration of the artists and the audience, please refrain from the use of electronic devices
during the performance.
The photography, sound recording, or videotaping of this performance is prohibited.
In the interests of saving both dollars and the environment, please either retain this program book and
return with it if you attend other performances this weekend, or return it to your usher when leaving
the venue.

Magnus Lindberg
Ludwig van Beethoven
Piano Concerto No. 1 in C Major, Op. 15
Allegro con brio
Rondo: Allegro
Mr. Barnatan


Symphony No. 7 in A Major, Op. 92
Poco sostenuto — Vivace
Allegro con brio

On September 10, UMS received the National Medal of Arts from
President Barack Obama at the White House. We are deeply honored to be
the first university-based presenter to receive this recognition, which is
the highest award given to artists and arts patrons by the US government.
Please accept our sincerest thanks for your participation and generous
patronage, all of which have played a critical role in UMS being recognized
at the highest level. Artists tell us time and time again that “UMS
audiences are the best” and we wholeheartedly agree. This medal belongs
to all of us.

N O W T H AT Y O U ' R E
I N Y O U R S E AT. . .
When major orchestras go on
tour, they typically program a
representative mix of standard
repertory works, rarities, and new
compositions, including recent
commissioned works. Paired with
two beloved works by Beethoven,
the New York Philharmonic offers
a brand-new piece by Magnus
Lindberg, former Marie-Josée Kravis
Composer-in-Residence at the
New York Philharmonic, and one
of the most prominent orchestral
composers of our time. Spanning
more than 200 years, the music
on this concert will make us think
about the past in the present and
the present in the past: Beethoven
continues to resonate with us today
and Lindberg, for all his modernity,
builds many bridges to tradition.


VIVO (2015)
Magnus Lindberg
Born June 27, 1958, in Helsinki, Finland, where he currently lives
UMS Premiere: This piece has never been performed on a UMS concert.
Work composed: 2015, on commission from Carnegie Hall for the New York
Philharmonic and by the Royal Stockholm Philharmonic Orchestra.
World premiere: earlier this week, on October 7, 2015, by Alan Gilbert and the
New York Philharmonic at Carnegie Hall.
Estimated duration: eight minutes
Magnus Lindberg — who served from
2009 to 2012 as The Marie-Josée
Kravis Composer-in-Residence of
the New York Philharmonic — first
emerged on the international music
scene in the 1980s as one of a handful
of groundbreaking Finnish composers
of his generation who studied at the
Sibelius Academy in Helsinki with the
renowned composer and pedagogue
Paavo Heininen. Lindberg also worked
there with another senior eminence
of Finnish music, the composer
Einojuhani Rautavaara.
Lindberg and Esa-Pekka Salonen
were involved in founding Toimii,
an instrumental ensemble that
helped both composers investigate
novel instrumental possibilities and
compositional procedures. Lindberg
was also active as a pianist, appearing
in concert and on recordings,
especially in contemporary
repertoire. In 1981 he left Finland
for Paris, where he studied with
Vinko Globokar and Gérard Grisey.
Other formative training came from
Franco Donatoni (in Siena) and Brian
Ferneyhough (in Darmstadt), as
well as at the EMS Electronic Music

Studio (in Stockholm). His work has
been honored with such awards as
the UNESCO International Rostrum
for Composers (1982 and 1986), Prix
Italia (1986), Nordic Council Music
Prize (1988), Royal Philharmonic
Society Prize (1993), and Wihuri
Sibelius Prize (2003).
Apart from his former New York
Philharmonic affiliation, Lindberg has
served as composer-in-residence with
the SWR Radio Symphony Orchestra
Stuttgart (2011–12) and currently
occupies an analogous position
with the London Philharmonic
Orchestra (2014–17) that will yield
the upcoming premieres of his
Accused for soprano and orchestra
(with Barbara Hannigan) and his
Violin Concerto No. 2 (for Frank
Peter Zimmermann). The New York
Philharmonic will also be reuniting
with its former composer-inresidence and Mr. Zimmermann,
the Orchestra’s Mary and James G.
Wallach Artist-in-Residence, for the
final year of Lindberg’s tenure, for the
US premiere of the latter work, which
the Philharmonic co-commissioned,
in January 2016.

During the 1980s Lindberg revealed
a penchant for complexity, which
led him to be uncompromising in
the difficulties he set before his
musicians. “Only the extreme is
interesting,” he proclaimed. “Striving
for a balanced totality is nowadays
an impossibility. … An original
mode of expression can only be
achieved through the marginal — the
hypercomplex combined with the
primitive.” As the decade unrolled he
grew preoccupied with the intricacies
of rhythmic interaction on multiple
levels; this led to the composition in
1983, of his Zona for solo cello and
chamber ensemble, which brought
his investigations of rhythmic
complexity to the practical limit of
the unaided human mind. His next
major work was the award-winning
Kraft, for orchestra plus an ancillary
ensemble playing on both traditional
musical instruments and such “found
objects” as chair legs and car springs.
For this work he devised a computer
program to assist in generating even
more meticulous calculations to fuel
his composition. Other computer
programs would follow, keeping up
with advances in technology.
Composers drawn to complexity
sometimes arrive at a breaking point
and then move on to create within
a sound world that appears far
simpler. So it is that, following the
intense difficulty of Zona and Kraft,
Lindberg proceeded to soundscapes
that often seem more relaxed and less
insistently on overload. Some might
fairly be described even as smooth
or spacious. That said, many of
Lindberg’s scores, even in the modern
“classicist” mode, remain generally
vigorous, colorful, dense, and kinetic,

and despite the extreme refinement
of his compositional method, his
scores manage to sound spontaneous.
His new work, Vivo, is subtitled
“Concert Opener for Orchestra,” which
describes how it was conceived and
how it is presented tonight. “Vivo” is
a standard Italian tempo marking,
connoting “lively”; however, when
asked if one would be wrong to think
of it instead as the Spanish for “I live,”
Lindberg expressed considerable
delight over that possibility, and
pointed out that he has used a number
of Spanish titles over the years.
Faced with the prospect of writing
such a piece, Lindberg toyed with the
idea of surprising listeners by writing
something slow (“like in Lohengrin”),
but eventually he settled on a fast,
rhythmically vibrant movement of
about eight minutes, though one with
an ending that listeners might not
predict. In his larger works, Lindberg
explains, he likes “to play around
with many different characters and
gradually set up a plot or story. In a
case like this, you need to get directly
into it.”
In an interview, the composer
offered these observations about his
new work:
When I was asked to write a concert
opener for the opening night of the
Carnegie Hall season, which is obviously
a special occasion, I looked to see
what else would be on the concert. The
program would end with Ravel’s Daphnis
and Chloé Suite No. 2, so I explored what
I could do to connect my piece with that
score, which I love so much. I’ve spent so
much time with Daphnis, and it includes
a particular sequence of chords that is
one of my true favorites, near the end

of the Danse générale — G, E, C-sharp in
the bass line, so Ravellian. It is almost as
sophisticated as Ravel’s harmony ever
got. I don’t quote it literally, but I almost
do. Vivo is definitely linked to Daphnis
and Chloé.
Since it is a short piece, I was
much more constrained to keep it in
very tight focus, more than I would
be with a longer piece. I needed to
establish immediately exactly what
it is about. Using a limited palette of
instrumental color, immediately I set up
a contrast between a couple of different
characters. They work together, but
with the faster bit always prominent.
This is a work for a standard big
Romantic orchestra, though with four
percussionists, but the colors are often
grouped in instrumental families. I hope
the title speaks for itself: It is a lively
piece with a quite direct character.


P I A N O C O N C E R T O N O . 1 I N C M A J O R , O P. 1 5 ( 1 7 9 5 / 1 8 0 0 )
Ludwig van Beethoven
Born December 16, 1770 in Bonn, Germany
Died March 26, 1827 in Vienna, Austria
UMS Premiere: Pianist Josef Lhevinne with the Chicago Symphony Orchestra
conducted by Frederick Stock, May 22, 1920 in Hill Auditorium.
Work composed: Apparently in 1795, but revised to its final form for a
performance in 1800. It is dedicated to Princess Barbara Odescalchi.
World premiere: December 18, 1795, in Vienna, with the composer at the keyboard.
Cadenzas: In this performance Inon Barnatan performs cadenzas by Beethoven.
Estimated duration: 37 minutes
Snapshots of History…In 1795:
· The University of North Carolina opens in Chapel Hill as the first state
university in the US
· The British Royal Navy makes the use of lemon juice mandatory to
prevent scurvy
· The metric system is adopted in France
· The 11th Amendment to the US Constitution is passed
It is customary to point out that
Beethoven’s Piano Concerto No. 1
was actually his Piano Concerto
No. 2 and that the concerto
designated his Second was his First.
The so-called Piano Concerto
No. 1 in C Major appears to date from
1795 (it was premiered on December
18 of that year), while the so-called
Piano Concerto No. 2 in B-flat Major
occupied Beethoven sporadically
through the decade of the 1790s
and may have been premiered as
early as March 29, 1795. Both works
were released to the public in 1801,
by different publishing houses
in different cities, and both were
probably revised shortly before they

were engraved; the C-Major certainly
was revised in 1800. But the C-Major
Concerto was brought out in print
before the B-flat-Major, with the
result that the C-Major, played here,
was identified as the composer’s
Piano Concerto No. 1 and the B-flatMajor, though composed earlier, was
labeled his Second.
Beethoven was an adept keyboard
player from early on. In June 1782 he
had filled in as deputy court organist
when his teacher, Christian Gottlob
Neefe, left the loft at the court church
in Bonn unoccupied during a brief
trip out of town. Nine months later
Neefe contributed a glowing report
of his 11-year-old pupil to Cramer’s

Magazine der Musik, noting that
“he plays the piano very skillfully
and with power, reads at sight very
well, and … would surely become a
second Wolfgang Amadeus Mozart
if he were to continue as he has
begun.” Soon Beethoven was serving
as keyboard player and violist in the
court orchestra in Bonn, and in 1784
he began receiving a small salary for
his efforts. In 1787 he took a trip to
Vienna, where it seems that he met
Mozart and may have taken piano
lessons from him. He also met Joseph
Haydn when that eminent figure
passed through Bonn either on his way
to London in 1790 or on his way back
home to Austria in 1792. In November
of the latter year Beethoven moved to
Vienna, which would be his home for
the rest of his life.
Shortly after arriving in Vienna he
signed up for lessons with Haydn. The
relationship turned out to be mostly
cordial but not particularly fruitful,
and when Haydn left Vienna for his
second English residency, in 1794,
Beethoven seized the opportunity
to sign on as a pupil of Johann Georg
Albrechtsberger, the Kapellmeister
of St. Stephen’s Cathedral. A
more thorough academician than
Haydn was, Albrechtsberger put
Beethoven through his paces in
contrapuntal writing at various
levels of complexity, from simple
note-against-note exercises through
double fugue, triple counterpoint, and
strict canon. Thus did Beethoven’s
native talent as a composer become
refined to a degree that enabled him
to master and, in his way, exceed the
musical lingua franca of his time and
place, which, thanks to Haydn and
Mozart, had already achieved the

status of a Golden Age.
Anyone writing a piano concerto
in Vienna in the last decade of the
18th century did so in the shadow of
the late lamented Mozart, several of
whose concertos Beethoven had in his
performance repertoire. Indeed there
is much that is Mozartian in this work,
particularly in sections that make
prominent use of the trumpets, horns,
and timpani that Mozart was fond of
using in C-Major orchestral pieces,
including three of his four piano
concertos in that key. Yet, on the
whole, this concerto of Beethoven’s
exhibits assertive originality.
The first movement displays the
subtlety of a profound musical
intelligence, and connoisseurs
can profitably investigate its
structural niceties, particularly in
the magical development section
in its middle. The “Largo” is moody
and contemplative, prefiguring such
famous slow movements as that of
the Pathétique Sonata, which would
follow within a few years. But it is
in the finale that we glimpse the
most unmistakably Beethovenian
traits, including a boisterous sense of
humor, an appetite for mixing high
sophistication with less elevated
references, and an abiding fondness
for surprise.


S Y M P H O N Y N O . 7 I N A M A J O R , O P. 9 2 ( 1 8 1 1 – 1 2 )
UMS premiere: Boston Symphony Orchestra conducted by Arthur Nikisch,
May 10, 1892 in University Hall.
Work composed: 1811 through April 13, 1812.
World premiere: December 8, 1813, at the University of Vienna, with
Beethoven conducting. It is dedicated to Count Moritz von Fries.
Estimated duration: 42 minutes
Snapshots of History…In 1812:
· The Siege of Fort Mackinac takes place in Michigan as one of the first
engagements of the War of 1812
· Charles Dickens is born
· Louisiana is admitted as the 18th US state
· The first volume of Grimms’ Fairy Tales is published in Germany
The Age of Beethoven coincided in
large part with the Age of Napoleon.
At the time, it must have often seemed
that Beethoven was wreaking as much
havoc in the musical world of the
early 19th century as Napoleon was
in the political universe. Beethoven
was enthusiastic about Napoleon at
first, supposing that the Frenchman
would abolish the aristocratic tyranny
that reigned over Europe in favor of
a more humanitarian social order.
However, in the spring of 1804, just
as Beethoven completed his Third
Symphony as a symphonic tribute to
Napoleon, news arrived that Napoleon
had crowned himself Emperor, that
the standard-bearer of republicanism
had seized power as a dictator of
absolutism. Beethoven’s fervor
collapsed, and he famously scratched
Napoleon’s name from the manuscript
of what would from then on be re12

dubbed the Sinfonia eroica.
Napoleon seemed unstoppable until
1812, when the tide began to turn. His
armies were repulsed from Moscow
that autumn, and in June 1813 Arthur
Wellesley, Duke of Wellington,
engineered a decisive victory in the
Battle of Vitoria, which effectively
spelled French defeat in the Iberian
Peninsula. On March 31, 1814, the
European allies entered Paris; a
week later Napoleon abdicated to
his marshals and within a month he
and an entourage of a thousand loyal
men began their exile on the Italian
island of Elba, where Napoleon was
installed as Emperor and officially
ruled over the locals. Nine months
later he sneaked back in an attempt to
conquer France again, and his forces
picked up considerable steam before
being squashed for good in the Battle
of Waterloo in June 1815 — after

which Napoleon was sent to spend
the remaining five and a half years of
his life on the remote South Atlantic
island of St. Helena.
Beethoven monitored all of this
with great interest. On December 8,
1813, two of his works were unveiled
in a concert at the University of
Vienna organized for the benefit of
troops wounded five weeks earlier in
the Battle of Hanau: his descriptive
symphonic fantasy Wellington’s
Victory, or The Battle of Vitoria,
and his Seventh Symphony. (In
between, the audience was treated
to marches by other composers in
which the orchestra accompanied a
mechanical trumpet-playing machine,
the creation of Johann Mälzel, better
remembered as the inventor of the
metronome.) Both of Beethoven’s
pieces were warmly received
(as indeed was the mechanical
trumpeter), so much so that the
program was repeated four days
later as a second benefit. The second
movement of the symphony had to be
encored on both occasions.
The Seventh became one
of Beethoven’s most popular
symphonies, and it evoked admiring
comment from a “Who’s Who” of
people who should know — beginning
with Beethoven himself, who, in an
1815 letter to the impresario Johann
Peter Salomon, cited his “Grand

Symphony in A” as “one of my best
works.” Richard Wagner proclaimed
it “the Apotheosis of the Dance; the
Dance in its highest condition; the
happiest realization of the movements
of the body in an ideal form.” Vincent
d’Indy objected that “in the rhythm of
the first movement there is certainly
nothing dance-like; it seems rather
as if inspired by the song of a bird”
— and if we are able to put aside
Wagner’s famous characterization,
we may find that d’Indy was onto
something. Wagner was also struck by
the Seventh Symphony’s extremes of
But compare the roughness of the
opening and the concluding movements
of this work with the grace, loftiness,
and even deep devotional feeling of its
middle sections, and we are presented
with similar puzzling contrasts to those
so often found in Beethoven’s life, where,
in his journals and letters, we find
religious and personal appeals to God
worthy of one of the Hebrew Psalmists,
side by side with nicknames and jokes
which befit a harlequin.

Hector Berlioz, noting that the
Symphony’s “Allegretto” was its most
famous movement, proclaimed, “This
does not arise from the fact that the
other three parts are any less worthy
of admiration; far from it.”

Program notes by James M. Keller, New York Philharmonic Program Annotator, The
Leni and Peter May Chair. Mr. Keller is also Program Annotator of the San Francisco
Symphony. His book Chamber Music: A Listener’s Guide was published by Oxford
University Press.

Please turn to page 37–41 for complete artist biographies and an orchestra roster.

New York
Alan Gilbert
Saturday Evening, October 10, 2015 at 8:30

Seventh Performance of the 137th Annual Season
137th Annual Choral Union Series

Tonight’s performance is supported by the Eugene and Emily Grant Family Foundation.
UMS orchestral residency programs are funded in part by a grant from The Andrew W. Mellon Foundation.
Media partnership provided by WGTE 91.3 FM, Michigan Radio 91.7 FM, and WRCJ 90.9 FM.
The Steinway piano used in this evening’s concert is made possible by William and Mary Palmer.
Special thanks to Tom Thompson of Tom Thompson Flowers, Ann Arbor, for his generous contribution
of lobby floral art for this evening’s concert.
Special thanks to Dean Aaron Dworkin, Christopher Kendall, Melody Racine, Richard Aaron, Danielle
Belen, Mark Clague, Kenneth Kiesler, Nancy Ambrose King, Jeffrey Lyman, Adam Unsworth, Emily
Avers, Sarah Rau, and the U-M School of Music, Theatre & Dance; John Pasquale and the Michigan
Marching Band; Jerry Davis and the U-M Interdisciplinary Committee on Organizational Studies; the
U-M EXCEL Initiative; U-M Arts Enterprise; and Caryl Flinn for their support and participation in
events surrounding the New York Philharmonic residency.
The New York Philharmonic This Week, nationally syndicated on the WFMT Radio Network, is
broadcast 52 weeks per year; visit for information.
The New York Philharmonic’s concert-recording series, Alan Gilbert and the New York Philharmonic, is
available for download at all major online music stores. Visit for more information.
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In consideration of the artists and the audience, please refrain from the use of electronic devices
during the performance.
The photography, sound recording, or videotaping of this performance is prohibited.
In the interests of saving both dollars and the environment, please either retain this program book and
return with it if you attend other performances this weekend, or return it to your usher when leaving
the venue.

Esa-Pekka Salonen
LA Variations


Richard Strauss
Ein Heldenleben (A Hero’s Life), Op. 40
The Hero —
The Hero’s Adversaries —
The Hero’s Companion —
The Hero’s Deeds of War —
The Hero’s Works of Peace —
The Hero’s Retirement
Frank Huang, Violin

On September 10, UMS received the National Medal of Arts from
President Barack Obama at the White House. We are deeply honored to be
the first university-based presenter to receive this recognition, which is
the highest award given to artists and arts patrons by the US government.
Please accept our sincerest thanks for your participation and generous
patronage, all of which have played a critical role in UMS being recognized
at the highest level. Artists tell us time and time again that “UMS
audiences are the best” and we wholeheartedly agree. This medal belongs
to all of us.

N O W T H AT Y O U ' R E
I N Y O U R S E AT. . .
In pairing an iconic late Romantic
tone poem with an exciting piece
from the last years of the 20th
century, tonight’s program also
brings together two great conductorcomposers, who wrote orchestral
music armed with a great deal of
first-hand podium experience.
Esa-Pekka Salonen, the New York
Philharmonic’s Marie-Josée Kravis
Composer-in-Residence, is a noted
Richard Strauss conductor himself: he
led a production of Elektra at the Aixen-Provence Festival in 2013 which
was the last work of the great French
stage director Patrice Chéreau.


L A V A R I AT I O N S ( 1 9 9 6 )
Esa-Pekka Salonen
Born June 30, 1958 in Helsinki, Finland
Currently resides in London, England, and Los Angeles, California
UMS premiere: This piece has never been performed on a UMS concert.
Work composed: 1996, on commission from the Los Angeles Philharmonic.
World premiere: January 16, 1997, at the Dorothy Chandler Pavilion in
Los Angeles, with the composer conducting the Los Angeles Philharmonic.
Estimated duration: 20 minutes
Snapshots of History…In 1996:
· The Summer Olympic Games take place in Atlanta, Georgia
· The O.J. Simpson civil trial begins in Santa Monica, California
· Dolly the sheep, the first mammal to be successfully cloned from an
adult cell, is born in Scotland
· First Lady Hillary Rodham Clinton testifies before a grand jury
concerning her investments in Whitewater
With the 2015–16 season, EsaPekka Salonen begins a three-year
appointment as The Marie-Josée
Kravis Composer-in-Residence at
the New York Philharmonic. He has
served as principal conductor of the
Swedish Radio Symphony Orchestra
(1984–95) and music director of the
Los Angeles Philharmonic Orchestra
(1992–2009). He has been principal
conductor and artistic advisor of the
Philharmonia Orchestra in London
since 2006, and in 2014–15 he held
the first-ever “creative chair” at
Zurich’s Tonhalle Orchestra.
Salonen studied horn, conducting,
and composition at the Sibelius
Academy in Helsinki during the 1970s
— his composition teachers included
the eminent Einojuhani Rautavaara
— and pursued advanced composition

work in Italy with Niccolò Castiglioni
and Franco Donatoni. His early
identity as a “conducting composer”
changed in 1983 when, at short
notice, he took over a performance
of Mahler’s Third Symphony with the
Philharmonia Orchestra in London;
that performance catapulted him into
the major league at the podium and
transformed him into “a composing
conductor.” Nonetheless, in 1998 he
told a reporter: “It may sound a bit
crazy, but I actually think of myself
more as a composer than a conductor.
It just so happens that the conducting
side has outweighed the composing.”
In 1996 Salonen took time out
from his conducting schedule to
write LA Variations, his first major
orchestral piece in some time, and in
2000 he took a year’s sabbatical from

the podium to devote more energy
to composition. He cited the need to
clear his schedule for composing as a
central factor in his decision to step
down from directing the Los Angeles
Philharmonic in 2009, at which
point he was named that ensemble’s
conductor laureate.
Major retrospectives of Salonen’s
work were presented at Helsinki’s
Musica Nova (2003), at the Stockholm
International Composer Festival
(2004), and in Los Angeles and
Cologne (2005). In 2006 he was
named “Musician of the Year” by
Musical America, and in 2010 he was
elected a foreign honorary fellow
of the American Academy of Arts
and Sciences. His Violin Concerto
earned him the 2012 Grawemeyer
Award for Music composition,
with that organization citing it as
“such an exciting piece that from
the first measure it grips you and
doesn’t let you go.” His work with
the Philharmonia Orchestra has
included the groundbreaking Re-Rite
and Universe of Sound installations,
as well as the developing of the
interactive iPad application The
Orchestra, which have provided novel
perspectives on selected orchestral
masterworks by enabling the
public to experience the sensations
of conducting, playing with, and
stepping inside the orchestra.
Salonen’s official concert-program
biography notes that he was “trained
in the austere world of European
modernism and [is] enjoying a close
relationship with the sunny city
of Los Angeles.” That is a telling
assessment, although even some of
his compositions from the 1980s
already displayed an approachability

that was unusual in new music circles
at the time. One supposes that the
Toimii contemporary music group,
which he co-founded in 1980 with
fellow composers Magnus Lindberg
and Otto Romanowski, served as a
laboratory for exploring his creative
ideas and refining his appreciation
of the practical possibilities of
performance. Moving to Los Angeles
in the early 1990s proved liberating.
“Only after a couple of years here,”
he told critic Mark Swed of the Los
Angeles Times, “did I begin to see that
the European canon I blindly accepted
was not the only truth. Over here, I
was able to think about this rule that
forbids melody. It’s madness.”
The works of his maturity make
virtuosic but realizable demands
on instrumentalists, yielding
orchestration of kaleidoscopic color.
Favorite composers sometimes
look in from the sidelines of his
scores. In LA Variations, the section
Salonen describes (see page 21) as
“Scherzando, leggiero” suggests his
affection for Messiaen. Just after in
the work’s mid-point, we may find
echoes of Stravinsky’s Three Pieces
for String Quartet in the “Canon in
three different tempos,” and the
composer specifically acknowledges
Sibelius in the brawny brass chords
of the ensuing “Big Machine.” Still,
such stimuli are thoroughly absorbed
into Salonen’s distinctive language,
which is marked by playful rhythms,
buoyant (if sometimes quirky)
melodies, and dramatic climaxes.

LA Variations is essentially variations on two chords, each consisting of six
notes. Together they cover all 12 notes of a chromatic scale. Therefore the basic material of LA Variations has an ambiguous character: sometimes (most of
the time, actually) it is modal (hexatonic), sometimes chromatic, when the two
hexachords are used together as a 12-tone structure. This ambiguity, combining serial and non-serial thinking, is characteristic of my work since the mid80s, but LA Variations tilts the balance drastically towards the non-serial.
This piece is very clear in its form and direct in its expression. The two
hexachords are introduced in the opening measures of the piece together in
the chromatic phenotype. Alto flute, English horn, bass clarinet, and two bassoons, shadowed by three solo violas, play a melody which sounds like a kind
of synthetic folk music, but in fact is a horizontal representation of the two
hexachords transposed to the same pitch. Some of the variations that follow
are based on this melody, others are the deeper, invisible (or inaudible) aspects
of the material. There are also elements that never change, like the dactyl
rhythm first heard on the timpani and percussion halfway through the piece.
This is a short description of the geography of LA Variations:
1. Two hexachords together as an
ascending scale. Movement slows
down to …
2. Quasi folk-music episode (as
described above).
3. First Chorale (winds only).
4. Big Chord I. The two hexachords
are interpreted three times in
three different ways in a very
large chord.
5. Scherzando, leggiero.
6. A machine that prepares for the
even semi-quaver movement of …
7. Variation of the melody in trumpets and violin I.
8. Fastest section of the piece.
First woodwinds in the highest
register, then bass instruments in
the lowest register. An acrobatic
double bass solo.
9. Variation for winds, percussion,
harp, celesta.
10. Canon in three different tempos,
scored for chamber ensemble.

11. A tutti string passage leads to Big
Machine I. Percussion prepares
[a] mantra rhythm. Brass chords
in the Big Machine are my homage to Sibelius.
12. Second Chorale.
13. A new aspect of the melody in
unison strings.
14. Canon à 3.
15. Big Machine II. Probably the most
joyful music in the piece.
16. Big Chord II. This time two different interpretations of the hexachords. Repeated mantra rhythm
in timpani, roto-toms, and log
drums grow to maximum power.
17. Coda. Two hexachords together as
at the beginning. Scored for eight
muted cellos, eight muted violins,
and piccolo.
— Esa-Pekka Salonen


E I N H E L D E N L E B E N ( A H E R O ’ S L I F E ) , O P. 4 0 ( 1 8 9 7 – 9 8 )
Richard Strauss
Born June 11, 1864 in Munich, Bavaria
Died September 8, 1949 in Garmisch-Partenkirchen, Germany
UMS premiere: Chicago Symphony Orchestra conducted by Frederick Stock,
May 12, 1934 in Hill Auditorium.
Work composed: 1897–98, completed in Berlin on December 27 of the latter
year. It is dedicated to Willem Mengelberg and the Concertgebouw Orchestra
of Amsterdam.
World premiere: March 3, 1899, by the Frankfurt Museum Orchestra, with the
composer conducting.
Estimated duration: 47 minutes
Snapshots of History…In 1898:
· New York City annexes land from surrounding counties and is
geographically divided into five boroughs
· Annie Oakley promotes the service of women in combat situations with
the US military
· Marie and Pierre Curie announce the discovery of radium
· The University of Michigan football team wins its first Western
Conference (now Big Ten Conference) championship after an
undefeated season
One of the most enduring
contributions of the “Music of the
Future” camp of Berlioz, Liszt, and
Wagner was the orchestral genre
known as the symphonic (or tone)
poem. One of the circle’s ancillary
figures was Alexander Ritter,
an Estonian-born violinist and
composer who married a niece of
Wagner’s, composed six symphonic
poems of his own, and served as
associate concertmaster of the
Meiningen Court Orchestra, which
was conducted by the eminent Hans
von Bülow. In Meiningen he grew
friendly with the young Richard

Strauss, whom von Bülow had brought
in as an assistant music director in
1885. Strauss would later say that it
was Ritter who revealed to him the
greatness of the music of Wagner,
Liszt, and Berlioz and, by extension,
opened his eyes to the possibilities of
the symphonic poem.
In 1886 Strauss produced what
might be considered his first
symphonic poem, Aus Italien (it is
more precisely a sort of descriptive
symphony), and he continued with
hardly a break through the series of
tone poems that many feel represent
the genre at its height: Don Juan

(1888–89), Macbeth (1888/91),
Tod und Verklärung (Death and
Transfiguration, 1888–89), Till
Eulenspiegels lustige Streiche
(Till Eulenspiegel’s Merry Pranks,
1894–95), Also sprach Zarathustra
(Thus Spake Zarathustra, 1896), Don
Quixote (1897), Ein Heldenleben
(A Hero’s Life, 1897–98), and
Symphonia Domestica (1902–03),
with Eine Alpensymphonie (An
Alpine Symphony, 1911–15) as a late
pendant to this catalogue. Strauss
was drawn to the idea (as he would
recall in his memoirs) that “new
ideas must search for new forms; this
basic principle of Liszt’s symphonic
works, in which the poetic idea was
really the formative element, became
henceforward the guiding principle
for my own symphonic work.”
Ein Heldenleben is among several
of Strauss’s works that can be read
as musical autobiography. By this
point of his career — he was 34 years
old when he conducted its premiere
— his sense of self-esteem was in
no way underdeveloped. He had
gotten his first leg up in the music
business in 1885 with his Meiningen
appointment, and he proceeded from
there to positions at the Munich Court
Opera, the Bayreuth opera house,
and the Court of the Grand Duke of
Saxe-Weimar-Eisenstadt. He was
routinely hailed at the premieres
of his new compositions, he was in
demand throughout Germany as a
guest conductor, he was on the verge
of signing a contract to become music
director of the Berlin Court Opera,
and he was enjoying a deepening
relationship with the soprano who
would soon become his wife.

It seemed to Strauss a reasonable
moment to produce a reflection
on himself and on the struggles he
had faced so far in achieving his
considerable success while navigating
the internecine politics of the musical
establishment. The proper format
would be a musical one, to be sure,
and the genre of the symphonic
poem provided a perfect framework
for such an exercise. In the event,
it would be a symphonic poem with
strong Classical leanings in terms
of its structure, a sort of expanded
“Classical symphony.” It would be set
in E-flat Major, a key resonant with
memories of Beethoven’s Sinfonia
eroica, which was initially supposed
to be a tribute to Napoleon but ended
up being re-inscribed “To celebrate
the memory of a great man” — an
idea not so very different from that
conveyed by the title “A Hero’s Life.”
And, like Beethoven’s Eroica, it would
be a work of hefty proportions —
Ein Heldenleben typically runs to
three-quarters of an hour — and its
orchestration, including eight horns
and five trumpets in its imposing
18-member brass section, would leave
the ears spinning.
Asked to explain the program of
this piece, Strauss declined, insisting:
“There is no need of a program. It is
enough to know that there is a hero,
fighting his enemies.” Of course there
was a program of some sort, even if
Strauss never tipped his hand about it,
and commentators have spilled much
ink speculating about the details of
this huge score.


In 1924 the musicologist and early
Strauss biographer Richard Specht
penned an analytical foreword for
a new edition of Ein Heldenleben
published by the distinguished
Eulenberg firm. At that time the work
was resisting the popular acclaim
that had been bestowed on others of
Strauss’s tone poems. “This defiant
confession and portrait of himself
in the form of a symphony,” wrote
Specht, “this satire on his opponents,
this musical autobiography is even
now, next to [his] Don Quixote,
the least understood work of the
composer.” He continued:
It is not quite easy to understand
why this should be so, for the
themes in the Heldenleben are
more impressive, the whole
composition more concise in form,
the fundamental “Eroica” idea
easier to grasp than any of Strauss’s
earlier compositions for orchestra.
…Is it because it is so personal that
this work has been so absurdly
misunderstood? As if Strauss
had not, just in this composition,
got into closer touch with the
traditional symphony than in
those other works in which he has
symphonically characterized some

romantic or mythical personality
with all his singularities, and as if
Strauss’s own personality were less
fascinating and important than
that of Till Eulenspiegel, Don Juan,
yes even of Coriolanus or Egmont.
…Of all Strauss’s symphonies,
there is none more classical in
its glorious themes, none more
closely knit together in the unity
of its six movements welded into
a single movement, none that is
bolder in its heroic loftiness, or
more touching in its final serene
resignation, than this symphonic
reflection of himself and his life’s
adventure, which in conscious pride
he has called “A Hero’s Life.” …The
time when it is duly appreciated
and loved will surely come. Be that
as it may; as a musical document,
as a symphonic autobiography, as
a vindication of himself toward
his fellow creatures, and as an
expression of conscious pride
and knowledge of his own worth
which with the inner conviction
of a noble man he impresses on
the envious and indifferent, it will
always retain its value. It is a free
confession of a free man, and as a
symphony a masterpiece.

Program notes by James M. Keller, New York Philharmonic Program Annotator, The
Leni and Peter May Chair. Mr. Keller is also Program Annotator of the San Francisco
Symphony. His book Chamber Music: A Listener’s Guide was published by Oxford
University Press.

Please turn to page 37–41 for complete artist biographies and an orchestra roster.

New York
David Newman
On the Waterfront: Film with Live Orchestra
Sunday Afternoon, October 11, 2015 at 3:00

Eighth Performance of the 137th Annual Season

On September 10, UMS received the National Medal of Arts from
President Barack Obama at the White House. We are deeply honored to be
the first university-based presenter to receive this recognition, which is
the highest award given to artists and arts patrons by the US government.
Please accept our sincerest thanks for your participation and generous
patronage, all of which have played a critical role in UMS being recognized
at the highest level. Artists tell us time and time again that “UMS
audiences are the best” and we wholeheartedly agree. This medal belongs
to all of us.

This afternoon’s performance is supported by the Eugene and Emily Grant Family Foundation.
UMS orchestral residency programs are funded in part by a grant from The Andrew W. Mellon Foundation.
Media partnership provided by WGTE 91.3 FM, Michigan Radio 91.7 FM, and WRCJ 90.9 FM.
The Steinway piano used in this afternoon’s concert is made possible by William and Mary Palmer.
Special thanks to Tom Thompson of Tom Thompson Flowers, Ann Arbor, for his generous contribution
of lobby floral art for this afternoon’s concert.
Special thanks to Dean Aaron Dworkin, Christopher Kendall, Melody Racine, Richard Aaron, Danielle
Belen, Mark Clague, Kenneth Kiesler, Nancy Ambrose King, Jeffrey Lyman, Adam Unsworth, Emily
Avers, Sarah Rau, and the U-M School of Music, Theatre & Dance; John Pasquale and the Michigan
Marching Band; Jerry Davis and the U-M Interdisciplinary Committee on Organizational Studies; the
U-M EXCEL Initiative; U-M Arts Enterprise; and Caryl Flinn for their support and participation in
events surrounding the New York Philharmonic residency.
The New York Philharmonic This Week, nationally syndicated on the WFMT Radio Network, is
broadcast 52 weeks per year; visit for information.
The New York Philharmonic’s concert-recording series, Alan Gilbert and the New York Philharmonic, is
available for download at all major online music stores. Visit for more information.
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In consideration of the artists and the audience, please refrain from the use of electronic devices
during the performance.
The photography, sound recording, or videotaping of this performance is prohibited.
In the interests of saving both dollars and the environment, please either retain this program book and
return with it if you attend other performances this weekend, or return it to your usher when leaving
the venue.

On the Waterfront
Produced by SAM SPIEGEL Directed by ELIA KAZAN

On the Waterfront © 1954, renewed 1982 Columbia Pictures Industries, Inc.
All Rights Reserved

This afternoon’s concert will be performed with one intermission.

Executive Producer: Paul H. Epstein for The Leonard Bernstein Office, Inc.
Producer: Eleonor M. Sandresky for The Leonard Bernstein Office, Inc.
Production Supervisor: Eleonor M. Sandresky
Technical Director: Mike Runice
Sound Engineer: Martin Bierman
Music Supervision: Garth Edwin Sunderland
Original Orchestrations by Leonard Bernstein with Marlin Skiles, and Gil Grau
Film Score Restored and Adapted by Garth Edwin Sunderland
Music Consultant: David Newman
Streamers created by: Kristopher Carter and Mako Sujishi
With special thanks to: Tom Hooper, Christopher Lane, Richard Ashton, David
Jennings, Sam Baltimore, Mark Horowitz, The Leonard Bernstein Collection at
the Library of Congress, and Ken Hahn and Sync Sound.


U-M student Evan Saddler spent several weeks working with the New York
Philharmonic during his 21st Century Internship. Find behind-the-scenes
photos of his adventures at



N O W T H AT Y O U ' R E
I N Y O U R S E AT. . .
Bernstein’s music to the awardwinning film On the Waterfront — the
only original movie score he ever
composed — is mostly known in the
form of the suite he derived from it; it
is a rare treat to hear the entire score
performed live along with the film.
The eminent Austrian-British music
critic Hans Keller once described this
music as about “the best film score
to have come out of America.” As we
watch the romance between Marlon
Brando and Eva Marie Saint unfold in
concert performance, we may see the
point made by Bernstein biographer
Burton Humphrey: On the Waterfront
can be seen as a 20th-century
equivalent of Tchaikovsky’s fantasy
overture Romeo and Juliet, with the
film’s principal characters, Terry and
Edie, as the star-crossed lovers.

Photo (previous page): Marlon Brando in the 1954 motion picture On The Waterfront.

O N T H E W AT E R F R O N T ( 1 9 5 4 )
Leonard Bernstein
Born August 25, 1918 in Lawrence, Massachusetts
Died October 14, 1990 in New York City
UMS premiere: The film has never been presented on a UMS program, and
Bernstein’s score has never been performed on a UMS concert.
World premiere: The Columbia Pictures film On the Waterfront was released
July 28, 1954, with the sound track conducted by Morris Stoloff.
Estimated duration: 108 minutes plus 20-minute intermission
Snapshots of History…In 1954:
· The first mass vaccination of children against polio begins in Pittsburgh
· The Boy Scouts of America desegregates on the basis of race
· Bill Haley & His Comets record “Rock Around the Clock,” beginning the
rock and roll craze
· The First Indochina War ends
Leonard Bernstein struggled to
balance the competing demands on
his time to a degree unusual even for
musicians. Composing and conducting
both laid claim to his calendar, but
so did his other pursuits as a pianist,
media personality, writer, educator,
social activist, and all-round celebrity.
Time for composition was potentially
the most endangered part of the mix,
and he had to take special care to see
that it didn’t get crowded out by his
day-to-day obligations as a performer.
When wearing his composer’s hat
Bernstein could be a chameleon,
turning on a dime between music of
complex modernity and pieces that
plumbed a more popular vein. He
was a success in a surprisingly broad
spectrum of musical life, producing not
only important contributions to the
symphonic repertoire but also ballets,
operas, and such Broadway classics as

On the Town and West Side Story.
Although other Bernstein
dramatic scores were used in film
adaptations (including both of those
stage musicals), the 1954 film On
the Waterfront represented the
only time he composed expressly
for the cinema. The film’s scenario
is a gritty tale of corruption and
exploitation on the docks of New
Jersey. Director Elia Kazan, working
from a screenplay by Budd Schulberg,
had already finished filming (with
an all-star cast that included Marlon
Brando, Lee J. Cobb, Karl Malden, Rod
Steiger, and Eva Marie Saint) before
he started worrying about the music.
When the producer Sam Spiegel first
approached Bernstein about the
project, the composer demurred. He
was no fan of Kazan, who had gained
notoriety as an informant to Senator
Joseph McCarthy’s House Committee

on Un-American Activities in
1952, the rabid anti-Communist
political incentive that exiled
many performing arts luminaries
to the ranks of the unemployable.
Bernstein was among the 50 arts
celebrities who, in 1947, had signed
a manifesto condemning those very
hearings. At least Kazan seemed
sincere about ruing his participation
in those hearings. He took out an
advertisement in the New York Times
rationalizing that he had cooperated
with the dark forces in the spirit of
patriotism, and On the Waterfront,
which trains its unforgiving eye on
the ethical dilemma that can pit
loyalty to family and friends against
the greater good, was a further step in
his process of personal redemption.
Even on a strictly professional level,
Bernstein did not harbor warmth for
Kazan. He may have admired much
of Kazan’s socially conscious film
achievements such as Gentleman’s
Agreement (1947, which tackled the
subject of anti-Semitism in America)
and Pinky (1949, which blazed into
the topic of racism), not to mention
A Streetcar Named Desire (1951),
but there was the unavoidable fact
that when Kazan was approached
about directing On the Town back
in 1944, he had flatly turned down
the opportunity. One might not have
predicted that the collaboration of
these two creative powerhouses
would yield happy results.

Nonetheless, Bernstein consented
to screen the film in its scoreless,
rough-cut state and was immediately
won over. He later reported:
I heard music as I watched. That was
enough. And the atmosphere of talent
that this film gave off was exactly the
atmosphere in which I love to work and
collaborate. … Day after day I sat at a
movieola, running the print back and
forth, measuring in feet the sequences
I had chosen for the music, converting
feet into seconds by mathematical
formula, making homemade cue sheets.

In all, Bernstein’s music
accompanies about 45 minutes of the
film, which reflects the propensity
of all Kazan films to use music
sparingly but with terrific impact.
On the Waterfront was nominated
for 12 Academy Awards, including
for “Best Score,” and it won eight. The
film music was passed over in favor of
Dimitri Tiomkin’s music for The High
and the Mighty. “I am furious about
the Academy Awards,” Bernstein
wrote to his personal secretary,
Helen Coates. “It is obviously politics,
and I don’t care, except that it would
have jacked up my price for the next
picture to double.” Indefensible in
retrospect, this slight may account
for why On the Waterfront remains
Bernstein’s one and only film score.
© A.M.P.A.S.

Program notes by James M. Keller, New York Philharmonic Program Annotator, The Leni
and Peter May Chair. Mr. Keller is also Program Annotator of the San Francisco Symphony.
His book Chamber Music: A Listener’s Guide was published by Oxford University Press.

Please turn to page 37–41 for complete artist biographies and an orchestra roster.

When the Leonard Bernstein Office set out to

spoken dialogue. The result is music that “feels”

make the full score of this magnificent film

loud without actually being loud. Unfortunately,

available for live performance, the first step

in live performance, there is no volume knob.

was to determine what musical materials had

The orchestra is either playing loudly or it isn’t,

been preserved. It was not a surprise to discover

and it’s not so simple as asking them to play

that no orchestral score existed. Often, films of

more quietly — this would change the character

the period were conducted from a “short score,”

of the intended sound too much. We were

which may simply indicate ”brass” or “strings”

fortunate to have the great luxury of a technical

without any more detail about what each

rehearsal with the New York Philharmonic in

instrument should be playing — it’s essentially

June, allowing me to road-test possible solutions.

a sketch.

By reducing the “density” of the orchestration

Happily, The Leonard Bernstein Collection at

— for example, using half the strings, or using

the Library of Congress includes Bernstein’s own

three brass soloists instead of a section of

archival materials from his work on the film.

10 — I was able to maintain the “big sound”

From these, I assembled a working document for

that Bernstein wanted for these passages, but

the complete film. But this was just a starting

without compromising Kazan’s authorial vision.

point; most of the cues in the archival materials

Finally, I added the detailed information that

did not exactly match the movie. It’s typical for a

the conductor uses to keep the live orchestra in

film to be edited after the score has already been

sync. The film is not a partner in this. It starts,

recorded, and this can lead in turn to strange

and then it plays until it stops, and it will not

edits within the music to make adjustments

wait for the orchestra. The conductor’s screen

for new scene timings. Kazan also overrode

displays a sequence of colored streamers to help

some of Bernstein’s choices, eliminating music

make sure the orchestra is keeping in sync. The

from some scenes to allow the dialogue to be

different streamer colors indicate significant

experienced on its own terms.

bars, show when the orchestra must make slight

Once I had reconciled the short score to

up or down “rubato” adjustments in tempo, and

the actual film, I began work on restoring

on which beats, and where the music shifts to a

the orchestration. Both the short score and

new section or changes character.

Bernstein’s own concert work, Symphonic

It has been enormously rewarding to delve

Suite from On the Waterfront, were helpful

so deeply into Bernstein’s music for this film.

references, but much of the score is omitted

The power of Kazan’s striking black and white

from the Suite, or appears in a different form

imagery and storytelling, and the performances

than it does in the film, and so much of the

from Marlon Brando, Eva Marie Saint, and the

orchestration required careful transcription

rest of the powerhouse cast are brought to

from the film sound track itself.

another level entirely by the passion and power

The next challenge was to incorporate the

of Bernstein’s music. It is an extraordinary film

studio mix of the film into the re-constructed

and a masterful score, unlike anything else in

orchestration. With recorded music, passages

Bernstein’s catalogue, and it is a privilege to have

that are played loudly can be artificially lowered

played a role in bringing it to new audiences.

in volume, usually so as not to overwhelm
— Garth Edwin Sunderland, vice president for project development and senior music editor for
The Leonard Bernstein Office

The New York Philharmonic performs its 16th, 17th, and 18th UMS concerts
during this weekend’s residency, following the orchestra’s UMS debut nearly
100 years ago in March 1916 at Hill Auditorium under the baton of Josef
Stránský. The Philharmonic’s subsequent visits over the past century have
included concerts conducted by past music directors John Barbirolli, Dimitri
Mitropoulos, Leonard Bernstein, Pierre Boulez, Lorin Maazel, and guest
conductor Seiji Ozawa. The Philharmonic most recently appeared under UMS
auspices at Hill Auditorium in February 2013.
Alan Gilbert conducts his third and fourth UMS performances this
weekend. Mr. Gilbert made his UMS debut in February 2013 at Hill Auditorium
during a weekend of two performances with the New York Philharmonic.
Piano soloist Inon Barnatan makes his third UMS appearance on Friday
evening’s concert. Mr. Barnatan made his UMS debut in February 2008 at Hill
Auditorium with the Chamber Music Society of Lincoln Center in a special
program devoted to piano music for four hands. He most recently appeared at
UMS in October 2009 in recital with cellist Alisa Weilerstein at Hill Auditorium.
UMS welcomes conductor David Newman, who makes his UMS debut
Sunday afternoon.

Alan Gilbert, the music director of the
New York Philharmonic since 2009,
introduced the positions of The MarieJosée Kravis Composer-in-Residence,
The Mary and James G. Wallach Artistin-Residence, and Artist-in-Association;
CONTACT!, the new-music series; NY
PHIL BIENNIAL, an exploration of today’s
music; and New York Philharmonic Global
Academy, collaborations with partners
worldwide offering training of preprofessional musicians, often alongside
performance residencies.
In the 2015–16 season Alan Gilbert
conducts R. Strauss’s Ein Heldenleben
to welcome concertmaster Frank Huang
and five world premieres; co-curates the
second NY PHIL BIENNIAL; and performs
violin in Messiaen’s Quartet for the End
of Time. He leads the Orchestra as part
of the Shanghai Orchestra Academy
Residency and Partnership and appears
at Santa Barbara’s Music Academy of the
West. Philharmonic-tenure highlights
include acclaimed stagings of Ligeti’s Le
Grand Macabre, Janáček’s The Cunning
Little Vixen, Stephen Sondheim’s Sweeney
Todd starring Bryn Terfel and Emma
Thompson (for which he was nominated
for an Emmy Award for “Outstanding
Music Direction”), and Honegger’s Joan
of Arc at the Stake starring Marion
Cotillard; 24 world premieres; The Nielsen
Project; Verdi Requiem; the score from
2001: A Space Odyssey alongside the film;
Mahler’s Resurrection Symphony on the
10th anniversary of 9/11; and nine tours
around the world. In August 2015 he led
the Mahler Chamber Orchestra in the
US stage premiere of George Benjamin’s
Written on Skin, co-presented as part of
the Lincoln Center–New York Philharmonic
Opera Initiative.

Conductor laureate of the Royal
Stockholm Philharmonic Orchestra and
principal guest conductor of Hamburg’s
NDR Symphony Orchestra, he regularly
conducts leading orchestras nationally
and internationally. This season Mr.
Gilbert makes debuts with four great
European orchestras — Filarmonica della
Scala, Dresden Staatskapelle, London
Symphony, and Academy of St. Martin in
the Fields — and returns to The Cleveland
Orchestra and Tokyo Metropolitan
Symphony Orchestra. Juilliard’s director
of conducting and orchestral studies, his
honors include election to The American
Academy of Arts & Sciences (2014) and a
Foreign Policy Association Medal (2015).
Celebrated for the unique approach,
probing intellect, and consummate artistry
he brings to a broad range of repertoire,
Israeli pianist Inon Barnatan currently
serves as the New York Philharmonic’s
first Artist-in-Association. This
unprecedented three-season appointment
sees him appear as soloist in subscription
concerts, take part in regular chamber
performances, and act as ambassador for
the orchestra. In the 2015–16 season, his
second season with the Philharmonic,
he will follow this appearance in Ann
Arbor by playing Mozart, conducted by
Jaap van Zweden, and Saint-Saëns on
New Year’s Eve, as well as chamber music
collaborations with musicians of the
Orchestra. Other highlights include his
Disney Hall debut with the Los Angeles
Philharmonic and Gustavo Dudamel, and a
US tour with the San Francisco Symphony
and Michael Tilson Thomas, featuring dates
at the Kennedy Center and Carnegie Hall.
Awarded the Avery Fisher Career Grant
in 2009, Mr. Barnatan has performed

extensively with many of the world’s
foremost orchestras, including those
of Cleveland, Los Angeles, New York,
Philadelphia, and San Francisco; the
Academy of St. Martin in the Fields;
Deutsches Symphonie-Orchester Berlin;
Orchestre de la Suisse Romande; and
the Jerusalem and Shanghai Symphony
Orchestras. He has worked with such
distinguished conductors as Roberto
Abbado, James Gaffigan, Matthias
Pintscher, David Robertson, Edo de Waart,
and Pinchas Zukerman. Passionate about
contemporary music, last season he
premiered new pieces composed for him
by Mr. Pintscher and Sebastian Currier.
Noted for his interpretation of works
by Schubert, Mr. Barnatan has a critically
acclaimed discography that includes Avie
and Bridge recordings of the Austrian
composer’s solo piano works, as well
as Darknesse Visible, which appeared
on The New York Times’ “Best of 2012”
list. His Chopin and Rachmaninoff duo
sonatas album, recorded with cellist Alisa
Weilerstein, will be released by Decca
Classics next season.
Mr. Barnatan first appeared with
Philharmonic musicians as part of a
February 2013 Ensembles concert at Merkin
Concert Hall, and made his subscription
debut with the full Orchestra in March 2015
performing Ravel’s Piano Concerto in G
Major, conducted by Alan Gilbert.
Conductor David Newman has scored
more than 100 films, ranging from War
of the Roses, Matilda, Bowfinger, and
Heathers to Tarzan and Serenity. Mr.
Newman’s music has brought to life the
critically-acclaimed dramas Brokedown
Palace and Hoffa; top-grossing comedies
Galaxy Quest, The Nutty Professor,
and Throw Mama From the Train; and
award-winning animated films Ice Age

and The Brave Little Toaster. His score
to the animated feature Anastasia was
nominated for an Academy Award.
Mr. Newman has conducted leading
orchestras around the world. He has led
subscription weeks with the Los Angeles
Philharmonic at Walt Disney Concert
Hall; regularly conducts the Hollywood
Bowl Orchestra at the Hollywood Bowl;
and leads the annual movie night at
the Hollywood Bowl. In July 2011, he
premiered West Side Story (film with
live orchestra) with the Los Angeles
Philharmonic at the Hollywood Bowl and
has conducted the work with numerous
orchestras in the US and abroad, including
the New York Philharmonic. Mr. Newman
has also premiered the film-with-liveorchestra projects Back to the Future
(May 2015, Lucerne, Orchestra of the 21st
Century) and E.T. — The Extra-Terrestrial
(September 2015, Los Angeles, Los
Angeles Philharmonic at the Hollywood
Bowl). He has also spent considerable
time unearthing and restoring film
music classics for the concert hall, and
headed the Sundance Institute’s music
preservation program in the late 1980s.
He has continued that work while serving
on the board of the American Youth
Symphony since 2007.
The son of nine-time Oscar-winning
composer Alfred Newman, David Newman
was born in Los Angeles in 1954. He studied
violin and piano from an early age and
earned degrees in orchestral conducting
and violin performance from the University
of Southern California. From 1977 to
1982, he worked extensively in the motion
picture and television industry.
The New York Philharmonic plays a
leading cultural role in New York City, the
United States, and the world. This season’s
projects will connect the Philharmonic

with up to 50 million music lovers through
live concerts in New York City and on its
worldwide tours and residencies; digital
recording series; international broadcasts
on television, radio, and online; and as
a resource through its wide range of
education programs and Digital Archives.
The Orchestra has commissioned
and/or premiered works by leading
composers from every era since its
founding in 1842 — including Dvořák’s
New World Symphony, John Adams’s
Pulitzer Prize–winning On the
Transmigration of Souls (dedicated to the
victims of 9/11), and Magnus Lindberg’s
Piano Concerto No. 2. Renowned around
the globe, the Philharmonic has appeared
in 432 cities in 63 countries — including
the groundbreaking 1930 tour of Europe;
the unprecedented 1959 tour to the USSR;
the historic 2008 visit to Pyongyang,
D.P.R.K., the first there by an American
orchestra; and the Orchestra’s debut in
Hanoi, Vietnam, in 2009. The New York
Philharmonic serves as a resource for its
community and the world. It complements
its annual free concerts across the city
— including the Concerts in the Parks,
Presented by Didi and Oscar Schafer —
with Philharmonic Free Fridays, a wide
range of education programs, among
them the famed, long-running Young
People’s Concerts and Philharmonic
Schools: an immersive classroom program
that reaches thousands of New York
City students. Committed to developing
tomorrow’s leading orchestral musicians,
the Philharmonic has established the
New York Philharmonic Global Academy,
collaborating with partners worldwide
offering training of pre-professional
musicians, often alongside performance
residencies. These include the Shanghai
Symphony Orchestra Academy and
Residency Partnership, collaborations

with Santa Barbara’s Music Academy of
the West, and The Shepherd School of
Music at Rice University.
The oldest American symphony orchestra
and one of the oldest in the world, the New
York Philharmonic has made almost 2,000
recordings since 1917, including several
Grammy Award winners. Its self-produced
digital recording series continues in the
2015–16 season. Music director Alan
Gilbert began his tenure in September
2009, succeeding a distinguished line of
20th-century musical giants that includes
Leonard Bernstein, Arturo Toscanini, and
Gustav Mahler.


The New York Philharmonic
Alan Gilbert, Music Director
Courtney Lewis, Assistant Conductor
Joshua Gersen, Assistant Conductor
Leonard Bernstein, Laureate Conductor, 1943–1990
Kurt Masur, Music Director Emeritus
Esa-Pekka Salonen, The Marie Josée Kravis Composer-In-Residence
Eric Owens, The Mary and James G. Wallach Artist-In-Residence
Frank Huang
The Charles E. Culpeper Chair

Sheryl Staples

Principal Associate Concertmaster
The Elizabeth G. Beinecke Chair

Michelle Kim

Assistant Concertmaster
The William Petschek Family Chair

Carol Webb
Quan Ge

Hae-Young Ham
The Mr. and Mrs. Timothy M. George

Lisa GiHae Kim
Kuan Cheng Lu
Newton Mansfield+

The Edward and Priscilla Pilcher

Kerry McDermott
Anna Rabinova
Charles Rex

The Shirley Bacot Shamel Chair

Fiona Simon
Sharon Yamada
Shanshan Yao
Elizabeth Zeltser

The William and Elfriede Ulrich

Yulia Ziskel

The Friends and Patrons Chair

Lisa Kim
Acting Principal

Soohyun Kwon***
In Memory of Laura Mitchell

Duoming Ba

The Joan and Joel I. Picket Chair

Hannah Choi
Marilyn Dubow
The Sue and Eugene Mercy, Jr. Chair

Hyunju Lee
Joo Young Oh
Daniel Reed
Mark Schmoockler
Na Sun

The Gary W. Parr Chair

Vladimir Tsypin
Jin Suk Yu
Conway Kuo++
Ji Min Lee++
Bracha Malkin++
Sarah Pratt++
David Southorn++

Cynthia Phelps
The Mr. and Mrs. Frederick P. Rose

Rebecca Young*

The Joan and Joel Smilow Chair

Irene Breslaw**

The Norma and Lloyd Chazen Chair

Dorian Rence

Katherine Greene
The Mr. and Mrs. William J.
McDonough Chair

Dawn Hannay+
Vivek Kamath
Peter Kenote
Kenneth Mirkin
Judith Nelson
Rémi Pelletier
Robert Rinehart

The Mr. and Mrs. G. Chris Andersen

Robert Meyer++
Carter Brey

The Fan Fox and Leslie R. Samuels

Eileen Moon*

The Paul and Diane Guenther Chair

Eric Bartlett
Patrick Jee

Elizabeth Dyson
The Mr. and Mrs. James E. Buckman

Alexei Yupanqui Gonzales
Maria Kitsopoulos
The Secular Society Chair

Sumire Kudo
Qiang Tu
Nathan Vickery
Ru-Pei Yeh+

The Credit Suisse Chair in honor of
Paul Calello

Wei Yu+
Wendy Sutter++
Timothy Cobb

Satoshi Okamoto***
The Herbert M. Citrin Chair

Max Zeugner***

The Herbert M. Citrin Chair

Randall Butler
The Ludmila S. and Carl B. Hess

David J. Grossman
Blake Hinson
Orin O’Brien
Daniel Tosky++
Ivy Wong++
Robert Langevin

The Lila Acheson Wallace Chair

Sandra Church*
Yoobin Son
Mindy Kaufman
Mindy Kaufman
Liang Wang

The Alice Tully Chair

Sherry Sylar*
Robert Botti

The Lizabeth and Frank Newman

Grace Shryock++
English Horn
Grace Shryock++
Anthony McGill

The Edna and W. Van Alan Clark

Mark Nuccio*

The Honey M. Kurtz Family Chair

Pascual Martínez Forteza
Kathryn Curran++
David Gould++
Dean LeBlanc++
Miles Jaques++
E-flat Clarinet
Mark Nuccio
Bass Clarinets
Miles Jaques++
Dean LeBlanc++

Judith LeClair
The Pels Family Chair

Kim Laskowski*
Roger Nye

The Rosalind Miranda Chair in
memory of Shirley and Bill Cohen

Arlen Fast

Arlen Fast
Philip Myers
The Ruth F. and Alan J. Broder Chair

Richard Deane*
R. Allen Spanjer

The Rosalind Miranda Chair

Leelanee Sterrett
Howard Wall
Alana Vegter++
David Smith++
Chad Yarbrough++
Theodore Primis++

Daniel Goble++
Lino Gomez++
Steve Kenyon++
Lawrence Feldman++
Matthew Muckey
Acting Principal
The Paula Levin Chair

Alan Baer

Markus Rhoten
The Carlos Moseley Chair

Kyle Zerna**
David DePeters++

Christopher S. Lamb
The Constance R. Hoguet Friends of
the Philharmonic Chair

Daniel Druckman*

The Mr. and Mrs. Ronald J. Ulrich

Kyle Zerna

Nancy Allen
The Mr. and Mrs. William T.
Knight III Chair

Bass Trombone
George Curran
The Daria L. and William C. Foster

New York Philharmonic
Oscar S. Schafer, Chairman
Matthew VanBesien, President

Lisa Mantone, Senior Vice

In Memory of Paul Jacobs

Paolo Bordignon

Kent Tritle

Peter Ellefson++

Honorary Members of the
Emanuel Ax
Pierre Boulez
Stanley Drucker
Zubin Mehta

William Schimmel++

Joseph Alessi

The Donna and Benjamin M. Rosen

The New York Philharmonic
uses the revolving seating
method for section string
players who are listed
alphabetically in the roster.

Miki Takebe, Vice President,

Eric Huebner

Colin Williams*
David Finlayson+

* Associate Principal
** Assistant Principal
*** Acting Associate Principal
+ On Leave
++ Replacement/Extra

June Han++

Ethan Bensdorf***
Thomas V. Smith
Kevin Cobb++
Kenneth DeCarlo++

The Gurnee F. and Marjorie L. Hart

Audio Director
Lawrence Rock

The Anna-Maria and Stephen
Kellen Piano Chair

Lawrence Tarlow

Sandra Pearson**
Sara Griffin**+
Orchestra Personnel
Carl R. Schiebler

Operations and Touring

President, Institutional
Edward Yim, Vice President,
Artistic Planning

James Eng, Operations Assistant
Katherine E. Johnson, Director,
Public and Media Relations

Valerie Petrov, Orchestra

Personnel Assistant / Auditions
Brendan Timins, Director, Touring
and Operations
Betsey Tumarkin, Artistic
Planning Manager
Galiya Valerio, Assistant to the
Music Director
Pamela Walsh, Artistic

Robert Sepulveda, Stage Crew
Gerard Urciuoli, Stage Crew

Stage Representative
Joseph Faretta

Instruments made possible, in part, by The Richard S. and Karen LeFrak Endowment Fund.
Steinway is the Official Piano of the New York Philharmonic.
Programs are supported, in part, by public funds from the New York City Department of Cultural Affairs
in partnership with the City Council, the National Endowment for the Arts, and the New York State
Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature.

This weekend, UMS at the University of Michigan and the New York
Philharmonic launch an ambitious five-year residency partnership, the
centerpiece of a larger UMS program to bring the world’s greatest orchestras
to Ann Arbor’s Hill Auditorium in extended residencies. Each residency
combines performances with educational opportunities and community
interactions for U-M students and the greater region. In addition to three
different concert programs, Philharmonic musicians and top administrators
are participating in wide-ranging educational activities including coachings,
master classes, seminars, workshops, and a side-by-side chamber concert by
Philharmonic musicians and U-M students. This combination of performance
and instruction will also feature University and community engagement,
creating a multifaceted immersion that will make the Ann Arbor campus a
hub of learning and enjoyment during the New York Philharmonic’s three
residencies through the 2019–20 season.

Thursday, October 8, 6–7 pm

Sunday, October 11, 9:30–11 am

Rackham Auditorium (915 E. Washington St.)
Keynote Address by Alan Gilbert, music director,
New York Philharmonic
Orchestras in the 21st Century: A New Paradigm

SMTD Moore Building, Britton Recital Hall (1100
Baits Drive)
Interview and Discussion with Vince Ford,
director of digital media, New York Philharmonic

Thursday, October 8, 7:30 pm

Sunday, October 11, 11 am–1 pm

Rackham Auditorium (915 E. Washington St.)
Side-by-Side Chamber Concert
With Musicians from the New York Philharmonic
and the U-M School of Music, Theatre & Dance

Various Locations, School of Music Moore Building
Public Master Classes with Principal Musicians
of the New York Philharmonic
Principal Flute Robert Langevin, Classroom 1370
Principal Oboe Liang Wang, Classroom 1374
Principal Clarinet Anthony McGill, Britton Recital
Principal Bassoon Judith LeClair, Classroom 2058
Principal Horn Philip Myers, Watkins Lecture Hall
Acting Principal Trumpet Matthew Muckey,
McIntosh Theatre
Principal Trombone Joseph Alessi, Stamps
Auditorium, Walgreen Drama Center (1226
Murfin Ave., North Campus)
Principal Tuba Alan Baer, Classroom 1378
Principal Percussion Christopher S. Lamb,
Hankinson Rehearsal Hall

Friday, October 9, 1:30–3 pm
Ross School of Business, Room R1240 (701 Tappan
Lecture by Matthew VanBesien, president, New
York Philharmonic
21st Century Orchestras and Social Impact

Friday, October 9, Various Times
Various Locations, School of Music Moore Building
Public Master Classes with Principal Musicians
of the New York Philharmonic
11 am–1 pm
Inon Barnatan, Artist-in-Association, Britton
Recital Hall
2–4 pm
Concertmaster Frank Huang, Watkins Lecture Hall
Principal Viola Cynthia Phelps, Classroom 1374
Principal Cello Carter Brey, McIntosh Theatre
3–5 pm
Principal Bass Timothy Cobb, Kevreson Rehearsal
4:30–6:30 pm
Principal Harp Nancy Allen, Classroom 1374

Sunday, October 11, 2–2:45 pm
Hill Auditorium Mezzanine Lobby (must have a
ticket to the performance to attend)
Pre-Concert Talk
Music in Character and as Character: Bernstein’s
Musical Score to On the Waterfront

Friday, October 9, 4:30–6 pm
SMTD Moore Building, Watkins Lecture Hall (1100
Baits Drive)
Seminar with Barbara Haws, archivist/historian,
New York Philharmonic
A Vision of Public Musicology: How Musicians,
Composers, and Scholars Can Use Local
Performance Histories to Connect to their



Eugene and Emily Grant
Family Foundation
Supporter of this weekend’s performances by the
New York Philharmonic.

M AY W E A L S O R E C O M M E N D . . .

Antigone by Sophokles (International Theater Series, Renegade)
Chicago Symphony Orchestra (Choral Union Series)
Danish String Quartet (Chamber Arts Series)
Chucho Valdés: Irakere 40 (Jazz and Global Series)

Tickets available at
O N T H E E D U C AT I O N H O R I Z O N . . .

You Can Dance: Sankai Juku
(U-M Dance Building, Studio A, 1310 N. University Ct., 6:30 pm)
You Can Dance: Hubbard Street Dance Chicago
(Ann Arbor YMCA, 400 W. Washington St., 2 pm)

Educational events are free and open to the public unless otherwise noted.

Still Playing
Some of the world’s
most creative minds
suffer from one of the
most devastating

Silver Maples Resident:

Lajos R.

Be a source of hope.
Help find a cure for bipolar disorder.
What makes a person bipolar, prone to
manic highs and depressed lows? We are
advancing research on the personalized
treatment of this illness that affects
close to 6 million Americans.

Make your donation at:


ilver Maples is an active community
of interesting and talented individuals,
like Lajos, who started playing the violin at
age 5 and still enjoys sharing his love of
classical music.
Joining our neighborhood opens the door
to a new phase of life. From the moment
you move in, residents of Silver Maples
become friends and family. Come by
for a visit and join our VIP wait list.

Locally-Owned, Non-Profit Jointly Sponsored by
the Chelsea-Area Wellness Foundation and United Methodist
Retirement Communities, Inc.


Those who work to bring
you UMS performances
each season

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 R. Forrest
Sarah Nicoli
Vice Chair
Rachel Bendit
Tim Petersen
A. Douglas Rothwell
Chair, Corporate Council
Stephen G. Palms
Past Board Chair
Bruce Tuchman
Chair, National Council

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
Joel Howell
Frank Legacki
Donald L. Morelock
Agnes Moy-Sarns
David Parsigian
Sharon Rothwell
Linh Song
Rick Sperling
Victor J. Strecher
Karen Jones Stutz

FA L L 2 0 1 5

UMS Board of Directors

E X- O F F I C I O
Mark S. Schlissel
President, U-M
Martha E. Pollack
Provost, U-M
Aaron P. Dworkin
Dean, U-M School of
Music, Theatre & Dance
Jeanice Kerr Swift
Ann Arbor Public Schools
Louise Taylor
Chair, UMS Ambassadors

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


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
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
Christopher Kendall
David B. Kennedy
Gloria James Kerry
Thomas C. Kinnear
S. Rani Kotha
Marvin Krislov
F. Bruce Kulp
Leo A. Legatski
Melvin A. Lester
Earl Lewis
Patrick B. Long
Helen B. Love
Cynthia MacDonald
Robert C. Macek
Jeffrey MacKie-Mason
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. O’Neal
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
Cheryl Soper
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

The UMS National Council is comprised of U-M alumni and performing
arts enthusiasts across the country committed to supporting, promoting,
and advocating for UMS with a focus on ensuring that the performing
arts are an integral part of the student experience.
Bruce Tuchman
Andrew Bernstein
Kathleen G. Charla
Jacqueline Davis
Marylene DelbourgDelphis
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
David Leichtman and
Laura McGinn


UMS National Council

Zarin Mehta
Jordan Morgan
Caroline Nussbaum
James A. Read
Herbert Ruben
James and Nancy Stanley
Christian Vesper
Ann and Clayton Wilhite
Stephen R. Forrest

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.

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

FA L L 2 0 1 5

A. Douglas Rothwell

Stephen R. Forrest

UMS Students
Students in our volunteer internship and work-study program gain
valuable experience in all areas of arts management while contributing
greatly to UMS’s continued success.
Maryam Ahmed
Andrew Bader
Madisen Bathish
Meredith Bobber*
Clare Brennan
Mysti Byrnes
Gabrielle Carels
Abigail Choi
Catherine Cypert
Anna Darnell
Kathryn DeBartolomeis
Sophia Deery

Trevor Hoffman
Annie Jacobson
Garret Jones
Travis Jones
Ayantu Kebede
Meredith Kelly
Saba Keramati
Emily Kloska
Caitlyn Koester
Bridget Kojima
Austin Land
Robert Luzynski

Christina Maxwell*
Gunnar Moll
Tsukumo Niwa*
Claire Pegram
Evan Saddler*
Nisreen Salka
Heather Shen
Priyanka Srivastava
Rachel Stopchinski
Edward Sundra
Isaiah Zeavin-Moss
*21st Century Artist Interns

No Artificial Ingredients.

Psychoanalysis helps--mind, body, and soul.
Ask one of our psychoanalysts how you, or someone you love, can
work on achieving a fuller, richer life.


Carol Barbour, PhD
Alex Barends, PhD
Ronald Benson, MD
Meryl Berlin, PhD
Robert Cohen, PhD
Susan Cutler, PhD
Sara Dumas, MD
Joshua Ehrlich, PhD
Harvey Falit, MD
Richard Hertel, PhD
Erika Homann, PhD
Howard Lerner, PhD
Barry Miller, MD
Christina Mueller, MD
Jack Novick, PhD
Kerry Kelly Novick
Jean-Paul Pegeron, MD
Dwarakanath Rao, MD
Ivan Sherick, PhD
Merton Shill, PhD
Michael Shulman, PhD
Michael Singer, PhD
Jonathan Sugar, MD
Dushyant Trivedi, MD
Jeffrey Urist, PhD
Gail van Langen, PhD
David Votruba, PhD
Margaret Walsh, PhD
Elisabeth Weinstein, MD
Mark Ziegler, PhD

For change that lasts.
Learn more about us.

137 Successful Seasons
proud supporter of

Join us for
cocktails and
dinner at our
two Ann Arbor
restaurants for
a spectacular
meal after the
Serving steaks cut in our own
market, Knight’s famous prime rib,
falling-off-the-bone ribs, burgers,
seafood, salads, daily specials,
“home-baked” bread and desserts.

Knight’s Steakhouse

P: 734.222.4776 • F: 734.222.4769

600 East Liberty • 734/887-6899
2324 Dexter Avenue • 734/665-8644

Open Daily 11 a.m. to Midnight - Liberty St.
Preferred Seating Available

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
Mark Clague
Clare Croft
Philip J. Deloria
Gillian Eaton

Linda Gregerson
Marjorie Horton
Joel Howell
Martha S. Jones

Daniel Klionsky
La FountainStokes


UMS Faculty Insight Group

Lester Monts
Melody Racine
Sidonie Smith
Emily Wilcox

UMS K-12 Think Tank
Through an annual think tank, UMS brings together K-12 educators and
administrators to help us stay aware of trends, changing resources,
and new opportunities for learning in the K-12 classroom. The following
individuals participated in May 2015:
Janet Callaway
Kathy Churchill
Colleen Conway
Amy Deller
Tia Farrell
Dayna Lang

Katie Mann
Naomi Norman
Michelle Peet
Yael Rothfeld
Sarena Shivers
Laura Wayne

Terra Webster
Amy Willacker

FA L L 2 0 1 5

Robin Bailey
Ann Marie Borders
Deb Brzoska
Jennifer Burton
Rose Marie

UMS Ambassadors
UMS Ambassadors advance the goals of UMS, champion the UMS
mission through community engagement, provide and secure financial
support, and assist in countless other ways.
Louise Taylor
William Shell
Vice Chair
Karen Bantel
Wendy K. Zellers
Pat Bantle
Past Chair
Sassa Akervall
Arlene Barnes
Astrid Beck
Gail Bendit
Corry Berkooz
Connie Rizzolo
Richard Chang

Judy Cohen
Jon Desenberg
Susan DiStefano
Annemarie Kilburn
Sharon Peterson
Gloria J. Edwards
Christina Ferris
Zita Gillis
Joan Grissing
Stephanie Hale
Jane Holland
Allison Jordon
Carol Kaplan
Nancy Karp
Barbara Kaye
Kendra Kerr
Freddi Kilburn
Ye Na Kim
Russell Larson

Michael Lee
Gloria Lewis
Laura Machida
Katie Malicke
Rita Malone
Patti McCloud
Terry Meerkov
Barbara Mulay
Magda Munteanu
Jane Nyman
Marjorie Oliver
Betty Palms
Karen Pancost
Ruth Petit
Julie Picknell
Susan Pollans
Anne Preston
Jeff Reece

Kathy Rich
Nan Richter
Carol Senneff
Arlene P. Shy
Elena Snyder
Ren Snyder
Susan Snyder
Linda Spector
Pam Tabbaa
Elaine Tetreault
Janet Torno
Martha Williams


The UMS Staff works hard to inspire individuals and enrich communities by
connecting audiences and artists in uncommon and engaging experiences.
A D M I N I S T R AT I O N &
Kenneth C. Fischer
John B. Kennard, Jr.
Director of Administration

E D U C AT I O N &
James P. Leija
Director of Education &
Community Engagement

Kathy Brown
Executive Assistant

Shannon Fitzsimons
Campus Engagement

Jenny Graf
Tessitura Systems

Teresa C. Park
Education Coordinator

Patricia Hayes
Financial Manager

Mary Roeder
Community Programs

John Peckham
Information Systems



Esther Barrett
Development Coordinator
Susan Bozell Craig
Associate Director of
Development, Corporate
Partnerships & Major Gifts
Rachelle Lesko
Annual Fund Manager
Lisa Michiko Murray
Associate Director of
Development, Foundation
& Government Relations
Cindy Straub
Manager of Volunteers &
Special Events
Mary A. Walker
Campaign Director and
Associate Director of
Development, Major Gifts

Jesse Meria
Video Production
Annick Odom
Marketing Coordinator
Anna Prushinskaya
Senior Manager of Digital
Michael J. Kondziolka
Director of Programming
Jeffrey Beyersdorf
Production Director
Alex Gay
Production Coordinator
Anne Grove
Artist Services Manager
Mark Jacobson
Senior Programming

Christina Bellows
Ticket Services Manager
Megan Boczar
Ticket Office Assistant
Katherine McBride
Group Sales &
Promotions Coordinator
Ellen Miller
Ticket Office/Front-ofHouse Assistant
Anné Renforth
Ticket Services
Anna Simmons
Assistant Ticket Services
Willie Sullivan
Dennis Carter, Bruce
Oshaben, Brian Roddy
Head Ushers

FA L L 2 0 1 5

Marnie Reid
Interim Director of

Sara Billmann
Director of Marketing &


UMS Staff

Scott Hanoian
Music Director &
Arianne Abela
Assistant Conductor
Kathleen Operhall
Chorus Manager
Nancy Heaton
Chorus Librarian
Jean Schneider
Scott VanOrnum

Liz Stover Rosenthal
Programming Manager

Trusted financial advisors
to Ann Arbor and the
university community for
more than 30 years.

Ann Arbor | 734-769-7727 |
© 2015 Retirement Income Solutions is an Independent Investment Advisor


Campaign Gifts and Multi-Year Pledges
To help ensure the future of UMS, the following donors have made gifts
to the Victors for Michigan campaign. We are grateful to these donors for
their commitments.
$50,0 0 0 –$74,999

Maxine Frankel and
James Stanley

Essel and Menakka Bailey
Daniel and Barbara Balbach
Penny and Ken Fischer
Beverley and Gerson Geltner
Mohamad Issa/Issa
Miller, Canfield, Paddock
and Stone, P.L.C.
Mr. and Mrs. Donald L.
Agnes Moy-Sarns and David
Sarns and the Sarns Family
Gil Omenn and Martha
Tim and Sally Petersen
Phil and Kathy Power
Sharon and Doug Rothwell
Linda Samuelson and Joel
Jane and Edward Schulak
Dennis and Ellie Serras
Glenn E. Watkins
Marina and Bob Whitman
Gerald B. Zelenock

$ 5 00,0 0 0 O R MO R E

Carl Cohen
Ilene H. Forsyth
Maxine and Stuart Frankel
Eugene and Emily Grant
Family Foundation
The Andrew W. Mellon
Candis J. and Helmut F. Stern
The Wallace Foundation
$ 1 00,00 0 –$ 4 99,9 9 9

Bert Askwith and Patti
Askwith Kenner
Emily W. Bandera
Dennis Dahlmann
Sharon and Dallas Dort
Stephen and Rosamund
Susan and Richard Gutow
Wallis Cherniack Klein
David Leichtman and Laura
A. McGinn
Norma and Dick Sarns
Ron and Eileen Weiser
Max Wicha and Sheila
Ann and Clayton Wilhite
$ 7 5 ,000 –$ 99,9 9 9

David and Phyllis Herzig
Nancy and James Stanley

$25,0 0 0 –$49,999

Carol Amster
Cheryl Cassidy
Junia Doan
John R. Edman and Betty B.
Barbara H. Garavaglia
Charles H. Gershenson Trust
Anne and Paul Glendon
Norman and Debbie Herbert
Carl and Charlene Herstein
Jerry and Dale Kolins

Jeffrey MacKie-Mason and
Janet Netz
Martin Family Foundation
M. Haskell and Jan Barney
Dan and Sarah Nicoli
Lois Stegeman
Stout Systems
John W. and Gail Ferguson
Karen and David Stutz
Dody Viola
$15,000– $ 24 , 999

Michael and Suzan
Linda and Ronald Benson
Valerie and David Canter
Sara and Michael Frank
Wendy and Ted Lawrence
Virginia and Gordon Nordby
Eleanor Pollack

FA L L 2 0 1 5


$5,000– $ 14 , 999

Barbara Anderson and John
John and Lillian Back
Karen Bantel and Steve
Suzanne A. and Frederick J.
Tim and Robin Damschroder
Michele Derr
Ann Martin and Russ Larson
Steve and Betty Palms
Eric and Ines Storhok




Listen online at

NPR News

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

since 1992

Contemporary Food
Locally Owned

Our Ann Arbor Attorneys:
Cheryl Chandler
Gary Eller
Sharon Kelly
Veronique Liem

Edward Lynch
William McCandless
Michael Miller
Edward Stein

316 S. State Street
@ North University


soups • custom salads • classic sandwiches


essential groceries • beer & wine

619 East University @ Zaragon Place
734-332-3366 ·

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:

FA L L 2 0 1 5

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
Dallas and Sharon Dort Endowment Fund
Doris Duke Charitable Foundation Endowment Fund
John R. and Betty B. Edman Endowment Fund
Epstein Endowment Fund
Stephen and Rosamund Forrest Student Ticket Endowment Fund
Ilene H. Forsyth Endowment Funds for Choral Union, Chamber Arts, and Theater
James Garavaglia Theater 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 Matovinović 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


Endowed Funds




September 19
Hill Auditorium

October 24
Michigan Theater

December 11
Hill Auditorium

March 12
Michigan Theater

November 7
Michigan Theater

January 16
Michigan Theater

April 9
Michigan Theater

Ann Arbor Symphony Orchestra

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.
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
Griff and Pat McDonald
Joanna McNamara
M. Haskell and Jan Barney Newman
Len Niehoff
Dr. and Mrs. Frederick O’Dell
David Parsigian
Irena Politano
Eleanor Pollack
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
Eric and Ines Storhok
Louise Taylor
Roy and JoAn Wetzel
Ann and Clayton Wilhite
Max Wicha and Sheila Crowley
Marion Wirick
Mr. and Mrs. Ronald G. Zollar

FA L L 2 0 1 5

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
Carl Cohen
Alan and Bette Cotzin
Mary C. Crichton
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
Thea and Elliot Glicksman
Debbie and Norman Herbert
Rita and Peter Heydon
John and Martha Hicks
Gideon and Carol Hoffer


Planned Gifts/Bequests

How to Make a Gift
UMS excites the imagination, sparks creativity, sharpens collaboration,
inspires new ways of thinking, and connects us in ways that only the
arts can. Your gift of any size will enable UMS to deliver world-class
performances and create outstanding educational opportunities for our
Please send gift to:
UMS Development
881 N. University Ave
Ann Arbor, MI 48109-1011
For more information, please call 734.764.8489 or visit


UMS Support – July 1, 2014 – June 30, 2015
The following list includes donors who made gifts to UMS between
July 1, 2014 and June 30, 2015. Due to space restraints, we can only list in the
UMS program book those who donated $250 or more. Donors of $1-$249 will
be included in the online list at
($5 0 0,0 0 0 OR M O R E )
Ilene H. Forsyth #
Eugene and Emily Grant Family
University of Michigan

($1 0 0,0 0 0 –$ 4 9 9, 9 9 9)
Carl and Isabelle Brauer Fund #
Ford Motor Company Fund and
Community Services
Maxine and Stuart Frankel
Karl V. Hauser #
The Andrew W. Mellon Foundation
University of Michigan Health System
The Wallace Foundation

($5 0,0 0 0 –$ 9 9, 9 9 9)
Anonymous #
Bert Askwith and Patti Askwith
Community Foundation for
Southeast Michigan
Doris Duke Charitable Foundation
DTE Energy Foundation
Masco Corporation Foundation
National Endowment for the Arts
Linda and Stuart Nelson
in honor of Ken Fischer

($20,0 00 –$ 4 9, 9 9 9)
Anonymous #
Emily W. Bandera, M.D.
Sharon and Dallas Dort #
Stephen and Rosamund Forrest #
Barbara H. Garavaglia #
in memory of Jim Garavaglia
Beverley and Gerson Geltner
Charles H. Gershenson Trust,
Maurice S. Binkow, Trustee
Susan and Richard Gutow #
Jeffrey MacKie-Mason and Janet Netz
Michigan Council for Arts and Cultural
Philip and Kathy Power
Norma and Dick Sarns #
Sesi Lincoln
Bruce G. Tuchman


U-M Third Century Initiative
Ron and Eileen Weiser
Max Wicha and Sheila Crowley
Ann and Clayton Wilhite

( $1 0,000– $1 9, 999)
Jerry and Gloria Abrams
includes gift in honor of John M.
Menakka and Essel Bailey #
Bank of Ann Arbor
Joseph A. Bartush, LS&A, Class of ‘71
Bendit Foundation
Rachel Bendit and Mark Bernstein
Maurice and Linda Binkow
Carl Cohen
Jim and Patsy Donahey
Penny and Ken Fischer
Anne and Paul Glendon
David and Phyllis Herzig
Joel Howell and Linda Samuelson
The Japan Foundation
Frank Legacki and Alicia Torres
Natalie Matovinović
in memory of Josip Matovinović
McKinley Associates, Inc.
Thomas and Deborah McMullen
McMullen Properties
Mrs. Robert E. Meredith #
Miller, Canfield, Paddock and Stone
Mr. and Mrs. Donald L. Morelock
New England Foundation for the Arts
Old National Bank
Gil Omenn and Martha Darling
Leslee and Michael Perstein
in honor of Margie McKinley
Tim and Sally Petersen #
PNC Foundation
James Read
Retirement Income Solutions
Sharon and Doug Rothwell
Agnes Moy-Sarns and David Sarns
Jane and Edward Schulak
Dennis and Ellie Serras
Gary and Diane Stahle
Nancy and James Stanley
University of Michigan Credit Union
Stanford and Sandra Warshawsky
Robert O. and Darragh H. Weisman
in honor of Jean and Sidney Silber
Robert and Marina Whitman
Gerald B. (Jay) Zelenock #

($ 5,000–$ 9,999)
Michael Allemang and Janis Bobrin
Carol Amster
Barbara A. Anderson and John H.
Ann Arbor Automotive
Linda and Ronald Benson
Andrew and Lisa Bernstein
Gary Boren
Edward and Mary Cady
Valerie and David Canter
Cheryl Cassidy
Comerica Bank
Anne and Howard Cooper
Junia Doan
Faber Piano Institute
Randall and Nancy Faber
David and Jo-Anna Featherman
Barbara G. Fleischman
Katherine and Tom Goldberg
Norman and Debbie Herbert #
Carl and Charlene Herstein
Honigman Miller Schwartz and
Cohn LLP
David and Sally Kennedy
in memory of Elizabeth Earhart
Jerry and Dale Kolins #
Samuel and Marilyn Krimm
Level X Talent
Richard and Carolyn Lineback
Benard L. Maas Foundation
Mardi Gras Fund
Martin Family Foundation #
Dan and Sarah Nicoli
P. Heydon)
M. Haskell and Jan Barney Newman
Virginia and Gordon Nordby
Rob and Quincy Northrup
Eleanor Pollack
Frances Quarton
Corliss and Dr. Jerry Rosenberg
in honor of Ken Fischer
Prue and Ami Rosenthal
Lynne Rosenthal
Savco Hospitality
Lois Stegeman
The Summer Fund of the Charlevoix
County Community Foundation
Stout Systems
John W. and Gail Ferguson Stout
Karen and David Stutz
includes gift in honor of Donald
and Antoinette Morelock
Dody Viola

# indicates that a donation was made to support a UMS Endowment Fund

($2, 5 0 0 –$ 4, 9 9 9)

( $1 ,0 0 0 – $2,499)
Katherine Aldrich
Richard and Mona Alonzo
American Title Company of
Christiane Anderson
David G. and Joan M. Anderson #
John Anderson and Lyn McHie
Dave and Katie Andrea
in honor of Jean Campbell
Dr. and Mrs. Rudi Ansbacher
Harlene and Henry Appelman
Dr. Frank J. Ascione
Bob and Martha Ause
Elizabeth R. Axelson and Donald
H. Regan
Jonathan Ayers and Teresa
Patricia Bard
Lisa and Jim Baker
Rosalyn, Joshua, and Beth Barclay
in memory of Mel L. Barclay, M.D.
John and Ginny Bareham
Anne Beaubien and Phil Berry
Cecilia Benner
in memory of David Lebenbom
Dr. Rosemary R. Berardi and Dr.
Carolyn R. Zaleon
Sara Billmann and Jeffrey Kuras
Joan Binkow
John Blankley and Maureen Foley
Blue Nile Restautent
DJ and Dieter Boehm
in honor of Sara Billmann
Margaret and Howard Bond
Rebecca S. Bonnell
Charles and Linda Borgsdorf
Laurence and Grace Boxer
Dr. and Mrs. Ralph R. Bozell
Dale E. and Nancy M. Briggs
David and Sharon Brooks
Robert and Jeannine Buchanan
Lawrence and Valerie Bullen
Joan and Charley 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
Anne Chase
Patricia Chatas

Myung Choi
Brian and Cheryl Clarkson
Ellen and Hubert Cohen
Deborah Keller-Cohen and Evan
Connie and Jim Cook
Mac and Nita Cox
Christopher Dahl and Ruth Rowse
in honor of Ken Fischer
Timothy and Robin Damschroder
Charles and Kathleen Davenport
Michele Derr
in memory of Ellwood Derr
Monique Deschaine
Molly Dobson
Peter and Grace Duren
Rosalie Edwards/Vibrant Ann
Arbor Fund of the Ann Arbor Area
Community Foundation
Charles and Julia Eisendrath
Johanna Epstein and Steven Katz
Harvey and Elly Falit
in honor of Carol and Norman
Margaret and John Faulkner
Esther Floyd
Food Art
Dan and Jill Francis
Judy and Paul Freedman
Leon and Marcia Friedman
Bill and Boc Fulton
Zita and Wayne Gillis
Barbara and Fred Goldberg #
Cozette T. Grabb
Nicki Griffith
Kenneth and Margaret Guire #
Marlys Hamill
Jeff Hannah and Nur Akcasu
Randall L. and Nancy Caine
Harbour #
Clifford and Alice Hart
Larry Hastie
Daniel and Jane Hayes
David W. Heleniak #
Sivana Heller
Eileen and Saul Hymans
IATSE Local 395
Jean Jacobson
Janet and Wallie Jeffries
Timothy and Jo Wiese Johnson
Liz Johnson
Kent and Mary Johnson
in memory of Dr. Mel Barclay
Mark and Madolyn Kaminski
Richard and Sylvia Kaufman
in honor of Ken Fischer
James A. Kelly and Mariam C.
Carolyn and Jim Knake
Michael J. Kondziolka and
Mathias-Philippe Badin
Barbara and Michael Kratchman
Donald and Jeanne Kunz
Ann Martin and Russ Larson
Jerry and Marion Lawrence
John K. Lawrence and Jeanine A.

FA L L 2 0 1 5

Jim and Barbara Adams
Michael and Suzan Alexander
Arts Midwest Touring Fund
John and Lillian Back
Karen Bantel and Steve Geiringer
Dr. Carol Barbour and Dr. Sid
Bob and Wanda Bartlett
Bradford and Lydia Bates
Kathy Benton and Robert Brown
Suzanne A. and Frederick J.
Beutler #
Carolyn M. Carty and Thomas H.
Jean and Ken Casey
Julia Donovan Darlow and John
Corbett O’Meara
Elena and Nicholas Delbanco
Alice Dobson
John Dryden and Diana Raimi
Joan and Emil Engel
George W. Ford
in memory of Steffi Reiss
Sara and Michael Frank
Prof. David M. Gates
Thomas and Barbara Gelehrter
Bill and Ruth Gilkey
John Griffith
Leslie and Mary Ellen Guinn
Lynn and Martin Halbfinger
Robert and Dannielle Hamilton
Katherine D. Hein
Connie and Tom Kinnear
Diane Kirkpatrick
Philip and Kathryn Klintworth
Ted and Wendy Lawrence
Leo and Kathy Legatski
Carolyn and Paul Lichter
Lawrence and Rebecca Lohr #
E. Daniel and Kay Long #
Jean E. Long
Ernest and Adèle McCarus
Susan McClanahan and Bill
includes a gift in honor of
Donald and Antoinette Morelock
Estate of Michael G. McGuire
Paul Morel and Linda Woodworth
Virginia Morgan and Joseph Spiegel
William Nolting and Donna
Steve and Betty Palms
Elizabeth and David Parsigian
Judith A. Pavitt
Bertram and Elaine Pitt
Jim and Bonnie Reece
John W. Reed
in honor of Ken Fischer
Anthony L. Reffells
Nathaniel and Melody Rowe

Frankie and Scott Simonds
in honor of Candis and Helmut
Ed and Natalie Surovell
Judy and Lewis Tann
Keturah Thunder Haab
Jim Toy
includes gifts in honor of Ken
Fischer and in memory of Jerry
Elise Weisbach


Dr. Carl Winberg
in honor of Margie McKinley


David Leichtman and Laura A.
Richard LeSueur
Fran Lyman
Tim and Lisa Lynch
John and Cheryl MacKrell
Edwin and Cathy Marcus
Nancy and Philip Margolis
Debbie and David Marmor
in honor of Karen and David Stutz
W. Harry Marsden
Howard L. Mason
Mary M. Matthews
Jerry A. and Deborah Orr May #
W. Joseph McCune and Georgiana
M. Sanders
Griff and Pat McDonald
James H. McIntosh and Elaine K.
Margaret McKinley
Bert and Kathy Moberg
Lester and Jeanne Monts
Moscow Philanthropic Fund
John and Ann Nicklas
Susan and Mark Orringer #
Elisa A. Ostafin
Lisa and John Peterson
Pfizer Foundation
Juliet S. Pierson
Susan Pollans and Alan Levy
Stephen and Bettina Pollock
Rick and Mary Price
Jeff Reece
Ray and Ginny Reilly
Malverne Reinhart
Huda Karaman Rosen
Victor Strecher and Jeri Rosenberg
Herbert and Ernestine Ruben
Craig and Jan Ruff
Karem and Lena Sakallah
Maya and Stephanie Savarino
Erik and Carol Serr
Janet Shatusky
Alyce Sigler
Carl Simon and Bobbi Low
Nancy and Brooks Sitterley
Michael Sivak and Enid Wasserman
Barbara Furin Sloat
Ren and Susan Snyder
Linh and Dug Song
Cheryl Soper
Michael B. Staebler and Jennifer R.
Ted St. Antoine
Virginia E. Stein #
Eric and Ines Storhok
Dalia and Stan Strasius
Charlotte Sundelson
Louise Taylor
Louise Townley
Jeff and Lisa Tulin-Silver
Susan B. Ullrich #
Jack and Marilyn van der Velde
Douglas and Andrea Van Houweling
Joyce Watson and Marty Warshaw
Harvey and Robin Wax
includes a gift in honor of Penny


Lauren and Gareth Williams
Max and Mary Wisgerhof
Charles Witke and Aileen Gatten
The Worsham Family Foundation
Thomas and Erin Zurbuchen #

( $500– $999)
Roger Albin and Nili Tannenbaum
Christine W. Alvey
Neil P. Anderson
Sandy and Charlie Aquino
Penny and Arthur Ashe
Laurence R. and Barbara K. Baker
Reg and Pat Baker
Barbara and Daniel Balbach #
David and Monika Barera
Astrid B. Beck
Rodney and Joan Bentz
James K. and Lynda W. Berg
Peggy and Ramon Berguer
in honor of Jim and Nancy Stanley
L. S. Berlin and Jean McPhail
Raymond and Janet Bernreuter
William and Ilene Birge
Ron and Mimi Bogdasarian
R.M. Bradley and C.M. Mistretta
Joel Bregman and Elaine Pomeranz
Charles C. Bright and Susan Crowell
Susan and Oliver Cameron
Thomas and Colleen Carey
Brent and Valerie Carey
Jack and Susan Carlson
Barbara Mattison Carr
Andrew Caughey MD and
Shelly Neitzel MD
Tsun and Siu Ying Chang
Samuel and Roberta Chappell
John and Camilla Chiapuris
Reginald and Beverly Ciokajlo
Mark Clague and Laura Jackson
Judy and Malcolm Cohen
Jon Cohn and Daniela Wittmann
Arnold and Susan Coran
Paul Courant and Marta Manildi
Katherine and Clifford Cox
Clifford and Laura Craig #
John and Mary Curtis
Roderick and Mary Ann Daane
Linda Davis and Bob Richter
in honor of Ken Fischer
David Deromedi
in memory of Nancy Deromedi
Andrzej and Cynthia Dlugosz
Karen Yamada and Gary Dolce
Ed and Mary Durfee
James F. Eder
Barbara and Tony Eichmuller
Alan S. Eiser
Phil and Phyllis Fellin
Carol Finerman
Susan Fisher
Scott and Janet Fogler
David Fox and Paula Bockenstedt
Christopher Friese
in honor of Jerry Blackstone
Carol Gagliardi and David Flesher

Tom Gasloli
Renate Gerulaitis
David and Maureen Ginsburg #
Ken Gottschlich and Martha Pollack
Christopher and Elaine Graham
Martha and Larry Gray
Dr. John and Renee M. Greden
Drs. Patricia and Stephen Green
Raymond Grew
Werner H. Grilk
in memory of Warren L. Hallock
Steven and Sheila Hamp
Alan Harnik and Prof Gillian FeeleyHarnik
Martin D. and Connie D. Harris
Dr. Don P. Haefner and Dr. Cynthia
J. Stewart
Helen C. Hall
Stephen Henderson
Kay Holsinger and Douglas C. Wood
Jim and Colleen Hume
Ann D. Hungerman
Isciences, L.L.C.
Hank and Karen Jallos
Mattias Jonsson and Johanna
Don and Sue Kaul
David H. and Gretchen Kennard
John Kennard and Debbi Carmody
Paul and Dana Kissner
Jean and Arnold Kluge
Barbara and Ronald Kramer
Mary L. Kramer
in honor of Ken Fischer
Gary and Barbara Krenz
Jane Fryman Laird
Joan and Melvyn Levitsky
Jennifer Lewis and Marc Bernstein
James and Jean Libs
Marty and Marilyn Lindenauer
Rod and Robin Little
Joan Lowenstein and Jonathan Trobe
Brigitte Maassen
William and Jutta Malm
Melvin and Jean Manis
Susan Martin
Judythe and Roger Maugh
Martha Mayo and Irwin Goldstein
Margaret and Harris McClamroch
Jordan McClellan
Bill and Ginny McKeachie
Semyon and Terry Meerkov
Bernice and Herman Merte
Fei Fei and John Metzler
Lee Meyer
Dr. James M. Miller and Dr. Rebecca
H. Lehto
Lewis and Kara Morgenstern
Lisa and Steve Morris
Brian and Jacqueline Morton
Drs. Louis and Julie Jaffee Nagel
Marylen S. Oberman
Elizabeth Ong
M. Joseph and Zoe Pearson
Jean and Jack Peirce
Wesen and William Peterson
Diana and Bill Pratt
Wallace and Barbara Prince

Judith Abrams
Jan and Sassa Akervall
Gordon and Carol Allardyce
James and Catherine Allen
Catherine M. Andrea
Ann Arbor Area Community
Bernard and Raquel Agranoff
Dr. Diane M. Agresta
Helen and David Aminoff
Ralph and Elaine Anthony
Lisa and Scott Armstrong
Eric and Nancy Aupperle
Rosemary and John Austgen
Robert and Mary Baird
Pat Bantle

Michael Gatti and Lisa Murray
Prof. Beth Genne and Prof. Allan
Chris Genteel and Dara Moses
J. Martin Gillespie and Tara Gillespie
Google Inc.
Mr. and Mrs. Charles and Janet
Marla Gousseff
Michael L. Gowing
Jenny Graf
Jerry M. and Mary K. Gray
Richard and Linda Greene
Linda and Roger Grekin
Carl Guldberg
George and Mary Haddad
Drs. Erik and Dina Hanby
Susan R. Harris
J. Lawrence Henkel and Jacqueline
Therese and Alfred Hero
Lorna and Mark Hildebrandt
Perry Irish Hodgson
Timothy Hofer and Valerie Kivelson
Diane S. Hoff #
Daniel Hoffman
James S. and Wendy Fisher
House #
Gaye Humphrey
Harold Ingram #
Mark and Linda Johnson
Mr. Lawrence and Mrs. Ruth Jones
Janet and Jerry Joseph
Don and Nancy Kaegi
Monica and Fritz Kaenzig
Angela Kane
Mark and Carol Kaplan
E. and M. Katz
Fred and Susan Kellam
Charles Kelly
Nancy Keppelman and Michael
Dan and Freddi Kilburn
Laurence King and Robyn FreyKing
Web and Betty Kirksey
Michael Koen
Rosalie and Ron Koenig
Joseph and Marilynn Kokoszka
Bert and Geraldine Kruse
Frank and Kim La Marca
Donald John Lachowicz
Tim and Kathy Laing
Linda Langer
Anne-Marie and Anthony La Rocca
John and Theresa Lee
James Leija and Aric Knuth
Anne and Harvey Leo
John Lesko and Suzanne
Rachelle Lesko
Gloria Kitto Lewis
Jacqueline Lewis
in honor of Ken Fischer
Michael and Debra Lisull
Dr. Len and Betty Lofstrom
Julie M. Loftin

FA L L 2 0 1 5

($25 0 – $ 4 9 9)

Barbara Barclay
Frank and Lindsay Tyas Bateman
Kenneth and Eileen Behmer
Christina Bellows and Joe Alberts
Helen V. Berg
Corry and Gahl Berkooz
Dan Berland and Lisa Jevens
Barbara and Sheldon Berry
Maria Beye
Mary E. Black
Jerry and Dody Blackstone #
Judy Bobrow and Jon Desenberg
Mr. Mark D. Bomia
Joel Bregman and Elaine Pomeranz
Gloria D. Brooks
Morton B. and Raya Brown
Tom and Lori Buiteweg
Jonathan and Trudy Bulkley
Jim and Cyndi Burnstein
Tony and Jane Burton
Jenny and Jim Carpenter
Dennis J. Carter
Susan Carter
Joan and Mark Chesler
Laurence Cheung
Hilary Cohen
Wayne and Melinda Colquitt
Dr. Lisa D. Cook
Katharine Cosovich
Susan Bozell Craig
Jean Cunningham and Fawwaz
Marylee Dalton and Lynn
Connie D’Amato
Sunil and Merial Das
Art and Lyn Powrie Davidge #
in memory of Gwen and
Emerson Powrie
Ed and Ellie Davidson
John Debbink
David L. DeBruyn
Margaret Delaney
Kenneth Wisinski and Linda
Paul and Annemarie Dolan
Elizabeth Duell
Don and Kathy Duquette
Swati Dutta
Richard and Myrna Edgar
Gloria Edwards
Morgan and Sally Edwards
Charles and Julie Ellis
Thomas Fabiszewski
Kay Felt
Jeff Fessler and Sue Cutler
Herschel and Adrienne Fink
Harold and Billie Fischer
Frederick and Kathleen Fletcher
Jessica Fogel and Lawrence Weiner
Lucia and Doug Freeth
Susan Froelich and Richard Ingram
in memory of Eugene O. Ingram
Philip and Renée Woodten Frost
Charles and Janet Garvin
Sandra Gast and Greg Kolecki
Bob and Julie Gates


Peter Railton and Rebecca Scott
Marnie Reid
Doug and Nancy Roosa
David Lampe and Susan Rosegrant
Stephanie Rosenbaum
Richard and Edie Rosenfeld
Nancy Rugani
Linda and Leonard Sahn
Mariam Sandweiss
in memory of Leon Cohan
Ashish and Norma Sarkar
Christopher Kendall and Susan
David Schmidt and Jane Myers
Ann and Tom Schriber
Matthew Shapiro and Susan Garetz
Bruce M. Siegan
Edward and Kathy Silver
Sue and Don Sinta
Cynthia Sorensen and Henry
Linda Spector and Peter Jacobson
Leslie Stainton and Steven Whiting
Allan and Marcia Stillwagon
Nancy Barbas and Jonathan Sugar
Sandy Talbott and Mark Lindley
Doris H. Terwilliger
Ted and Eileen Thacker
Claire Turcotte
Joyce Urba and David Kinsella
Erika Nelson and David Wagener
Elizabeth A. and David C. Walker
Arthur and Renata Wasserman
Deborah Webster and George
Lyndon Welch
in memory of Angela Welch
James B. White and Mary F. White
Kathy White #
Iris and Fred Whitehouse
Diane Widzinski
Thomas K. Wilson
Lawrence and Mary Wise
Dr. and Mrs. Robert Wolf
Mary Jean and John Yablonky
Richard and Kathryn Yarmain
Thomas and Karen Zelnik


Barbara and Michael Lott
Bruce Loughry
Martin and Jane Maehr
Susan C. Guszynski and Gregory F.
Joanna McNamara and Mel Guyer
Frances McSparran
Gerlinda S. Melchiori
Warren and Hilda Merchant
Dennis J. Merrick and Judith H. Mac
Scott and Julie Merz
Louise Miller
Gene and Lois Miller
John and Sally Mitani
Candy Mitchell
Arnold and Gail Morawa
Trevor Mudge and Janet Van
Gavin Eadie and Barbara Murphy
Thomas J. Nelson
Gayl and Kay Ness
Richard and Susan Nisbett
Eugene and Beth Nissen
Laura Nitzberg
Christer and Outi Nordman
Arthur S. Nusbaum
Constance Osler
Mohammad and J. Elizabeth Othman
Karen Pancost
William and Hedda Panzer
Donna D. Park
Karen Park and John Beranek
Lisa Payne
Sumer Pek and Mickey Katz-Pek
Melvin and Sharon Peters
Margaret and Jack Petersen
in honor of Jerry Blackstone
Sara Jane Peth
Marianne Udow-Phillips and Bill
Donald and Evonne Plantinga
Joyce Plummer
Thomas S. Porter #
Nancy Powell
Anne Preston
Karen and Berislav Primorac

Floretta Reynolds
Guy and Kathy Rich
Douglas and Robin Richstone
Jessica C. Roberts
Dr. and Mrs. Jonathan Rodgers
Dr. Stephen Rosenblum and Dr.
Rosalyn Sarver
Rosemarie Haag Rowney
Carol Rugg and Richard
Eugene Saenger, Jr.
Amy Saldinger and Robert Axelrod
Irv and Trudy Salmeen
in honor of Pat Chapman
Michael and Kimm Sarosi
Albert J. and Jane L. Sayed
Jochen and Helga Schacht
Mark Schlissel
Betina Schlossberg
Regan Knapp and John Scudder
Larry and Bev Seiford
Suzanne Selig
Ms. Harriet Selin
Elvera Shappirio
Laurence Shear
William and Christina Shell
Patrick and Carol Sherry
George and Gladys Shirley
Jean and Thomas Shope
Andrew and Emily Shuman
Nina Silbergleit
Terry M. Silver
Robert and Elaine Sims
Scott and Joan Singer
Loretta Skewes
Carl and Jari Smith #
Dr. and Mrs. Gregory Smith
Robert W. Smith
Greg Grieco and Sidonie Smith
David and Renate Smith
Hanna Song and Peter Toogood
Becki Spangler and Peyton Bland
Doris and Larry Sperling
Jim Spevak
Gretta Spier and Jonathan Rubin
Jeff Spindler

Paul and Judith Spradlin
Daniel and Susan Stepek
James L. Stoddard
Cynthia Straub
Brian and Lee Talbot
May Ling Tang
Carolyn and Frank Tarzia
Eva Taylor
Denise Thal and David Scobey
Bill and Marlene Thomas
John G. Topliss
Donald Tujaka
Alvan and Katharine Uhle
Karla and Hugo Vandersypen
Michael Van Tassel
James and Barbara Varani
Virginia O. Vass
Brad L. Vincent
Jack Wagoner, M.D.
Mary Walker and David Linden
Charles R. and Barbara H. Wallgren #
Bob and Liina Wallin
Jo Ann Ward
Alan and Jean Weamer
Richard and Madelon Weber #
MaryLinda and Larry Webster
Mr. and Mrs. Richard Weiermiller
Jack and Carol Weigel
Lisa and Steve Weiss
Mary Ann Whipple
Nancy P. Williams
in honor of Katie Stebbins
Robert J. and Anne Marie Willis
John and Pat Wilson
Robert Winfield
Beth and I. W. Winsten
Steven and Helen Woghin
Charlotte A. Wolfe
Frances Wright #
Gail and David Zuk
*Due to space restraints, tribute gifts
of $1-$249 will be recognized in the
online donor list at

Ad Index

Ann Arbor Area Community Foundation
Ann Arbor Symphony Orchestra
Center for Plastic and Reconstructive Surgery
Charles Reinhart Co. Realtors
Cottage Inn
Donaldson & Guenther
Dykema Gossett
Gilmore Keyboard Festival
Heinz C. Prechter Bipolar Research Fund
Honigman Miller Schwartz and Cohn LLP
Iris Dry Cleaners
Jaffe, Raitt, Heuer & Weiss PC
Knight's Downtown


Michigan Psychoanalytic Institute and
Michigan Radio
Miller, Canfield, Paddock and Stone, P.L.C.
Performance Network
Red Hawk and Revive + Replenish
Retirement Income Solutions
Silver Maples
Smith Haughey Rice & Roegge
U-M Alumni Association

IBC = Inside back cover


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

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