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137THSEASON UNIVERSITY OF MICHIGAN | ANN ARBOR PROGRAM BOOK FALL 2015 FALL BOOK PROGRAM PROGRAM BOOK FALL 2015

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Be Enjoy the performance. the Enjoy Present UMS unleashes the power of the performing arts in of the performing arts UMS unleashes the power exceptional, world-class, and truly inspiring performances. and truly world-class, exceptional, Welcome to the UMS experience. We’re glad you’re present. present. you’re glad We’re to the UMS experience. Welcome with uncommon experiences. The Fall 2015 season is full of The Fall 2015 season is full with uncommon experiences. order to engage, educate, transform, and connect individuals transform, order to engage, educate,

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

nonproft ARTS +CULTURE = ECONOMIC PROSPERITY in the greater Ann Arbor Area $100 million annually

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UMS Board of Directors of UMS Board S T E P H E N R . FORREST Chair, K E N N E T H C . FISCHER UMS President to this UMS performance. We’re We’re performance. UMS this to

SCHLISSEL President, Michigan of University M A R K President Ken Fischer at 734.647.1174 or at at or 734.647.1174 at Fischer Ken President [email protected]. We hope to see you again soon. performance at umslobby.org. If you have any comments, comments, any have you If umslobby.org. at performance UMS with touch in be please concerns, or questions, to a performance. We’re always eager to hear from you, you, from hear to eager always We’re performance. a a to after thoughts your share and conversation the Join too! joining us at the Ann Arbor Y for a community dance dance community a for Y Arbor Ann the at us joining ticket a buying or company, dance visiting a with class our programs at ums.org and to become engaged with with engaged become to and ums.org at programs our campaign, our to gift a making by it’s whether UMS, oversees of all the 175-voiceabout Grammymore Award-winninglearn to UMSyou invite We Union. Choral of the most exciting, diverse, and engaging in our history. history. our in engaging and diverse, exciting, most the of robust a has UMS stage, on see you’ll what to addition In also and ages all of people serving program education Welcome season, one 137th in our joining us you’re that delighted For those who leave Michigan, but for whom Michigan never leaves.

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9 6 31 40 11 11 12 14 20 23 People History 2015-16 2015-16 Ad Index Education Foundation, Foundation, Table of of Table Government, & Government, Contents Season Calendar Generous Donors Generous Leadership Donors University Support University Corporate Champions Corporate

Rachel Streu, MD stay on you feel, you

Art and medicine your toes. your

performing in concert

Paul Izenberg, MD | David Hing, MD

RichardDaniel Sherick, Beil, MD | MD To reveal the age reveal To www.cprs-aa.com | 734.712.2323 www.cprs-aa.com 2015-16 Season Calendar

AUGUST 10/18 DECEMBER RSC Live in HD: 8 / 3 0 12/2 Shakespeare’s Othello NT Live in HD: Takács Quartet Arthur Miller’s 10/21 12/5-6 A View from the Bridge Abdullah Ibrahim & Ekaya Handel’s Messiah UMS Choral Union SEPTEMBER Ann Arbor Symphony 10/23-24 Scott Hanoian, conductor 9/11 Sankai Juku UMS Season Opener! 12/13 My Brightest Diamond 10/27 RSC Live in HD: with the Detroit Party Hubbard Street Dance Shakespeare’s Henry V Marching Band and Chicago special guest Shigeto 12/17-1/3 10/29 A Christmas Carol 9/16 Chicago Symphony National Theatre of NT Live in HD: George Orchestra Scotland Bernard Shaw’s Riccardo Muti, conductor Directed by Graham Man and Superman McLaren 10/30 9/17 Tenebrae Audra McDonald JANUARY

9/27 NOVEMBER 1 / 8 Sphinx Virtuosi 11/6 What’s in a Song? with the Catalyst Quartet A song recital evening Danish String Quartet and Gabriela Lena Frank, curated by Martin Katz piano 11/8 1/10 Chucho Valdés: Jamie Barton, Irakere 40 OCTOBER mezzo-soprano 10/3 11/14 1/11 L-E-V Youssou N’Dour and Super Étoile de Dakar Royal Philharmonic Orchestra 10/7 Pinchas Zukerman, The Gloaming 11/15 conductor and violin NT Live in HD: 10/9-11 Shakespeare’s Hamlet 1/20 New York Philharmonic Jazz at Lincoln Center Alan Gilbert, conductor 11/20 Leif Ove Andsnes, piano Orchestra with Wynton Marsalis 10/14-17 Antigone by Sophokles Starring Juliette Binoche Directed by Ivo van Hove

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4/23 The Bad Plus Redman Joshua 4/15 Winds Zafir: Musical to Africa from North Andalucía Simon Shaheen, music director 4/16 Orchestra Radio Bavarian Jansons, Mariss conductor violin Kavakos, Leonidas

Jerusalem String Quartet Jerusalem 4/14 Mnozil Brass with original films by with original films by Michalek David Solos Bach Six 3/31-4/3 Theatre American Ballet Beauty The Sleeping APRIL 4 / 1 de Mariachi Vargas Tecalitlán 4/8 Nufonia Must Fall producer, DJ, Kid Koala, novelist and graphic 3/15 Apollo’s Fire & Apollo’s Singers Passion John St. Bach’s 3/19 Symphony Montreal conductor Nagano, Kent piano Trifonov, Daniil 3/26 Gil Shaham, violin 2/19 of Belleville The Triplets Charest, Benoît composer-conductor MARCH 3/5 The Chieftains 3/11-12 &

Nanook of the North Sir András Schiff, piano Sir András Sonatas Last The Mozart, Haydn, of and Schubert Beethoven, Love is Strong as Death conductor Hanoian, Scott 2/16-20 2/14 and Union Choral UMS Organ 2/13 & Camille A. Brown Dancers 2/6 piano Igor Levit, Taylor Mac Taylor History A 24-Decade Music: Popular of 1960s–1980s Tanya Tagaq in concert in concert Tagaq Tanya with 2/5 FEBRUARY 2/2 1/27 Ms. Lisa Fischer and Baton Grand 1/22 Music Society Chamber of Lincoln Center Theater Company Company Theater Show Feminist Untitled White Men Straight 1/21-23 Jean Lee’s Young Dentistry as a Fine Art

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Photo: You Can Dance with Abraham.in.Motion in March 2015. Photographer: Peter Smith Photography. Smith Peter 2015. Photographer: in March with Abraham.in.Motion Dance Can You Photo: to participate in events inside and outside of the theater. theater. the of outside and inside events in participate to interactive experiences, each designed to bring you closer to performance performance to closer you bring to designed each experiences, interactive experience to want you If zone. comfort your expand to and creation, you and invite we eye-opening, and engaging, highly erent, f di new, something At UMS, our mission goes beyond performance. We want you to create, create, to you want We performance. beyond goes mission our UMS, we At why is That things. new extraordinary experience to and explore, to and workshops, conversations, Q&As, artist of lineup fascinating a er f o

E D U C AE T X I P O E N R AF I L O E R N CEVERYONE E S Education Bravo!

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Pedal to the metal. Daniil Trifonov, 2014 Gilmore Keyboard Festival © Chris McGuire

APRIL 29 TO MAY 14, 2016 THEGILMORE.ORG BE PRESENT FALL 2015 11 . Led by Professor Henry Simmons Frieze and and Frieze Simmons Henry Professor by Led . Messiah

Photo: Hill Auditorium in 1928. Hill Auditorium Photo: continue to strengthen our reputation for artistic distinction and innovation. innovation. and distinction artistic for reputation our strengthen to continue and global music performers, and contemporary stagework and classical classical and stagework contemporary and performers, music global and new of commissioning the programming, educational Through theater. works, youth programs, artist residencies, and collaborative projects, we rst season, UMS has expanded greatly and now presents the the presents now and greatly expanded has UMS season, rst f that Since internationally arts: performing the of spectrum wide a from best very jazz ensembles, chamber and dance orchestras, and recitalists renowned University, and the University Musical Society was established soon after in in after soon established was Society Musical University the and University, 1880. December study of Handel’s Handel’s study of The name the assumed group the Cady, Calvin Professor by conducted the with liated f a also were members Union Choral Many Union. Choral ering that is unlike anything fering that is unlike an o artists for the contemporary alongside of members local of group a from grew UMS Midwest. the in available the for together gathered who 1870s the in townspeople and University In our 137th season, we continue to showcase traditional performances performances traditional showcase to continue we season, 137th our In

the the Future Tradition Tradition Builds Leadership Donors

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.

BERTRAM ASKWITH (1911-2015) PATTI ASKWITH KENNER “The arts have made a signifcant diference 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 ofering every frst and second year student one free ticket — Bert’s Ticket — to introduce them to a cultural experience at Michigan.”

DALLAS AND SHARON DORT “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 fll 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!”

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

ILENE FORSYTH “I want to help chamber music fourish 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.”

12 BE PRESENT FALL 2015 13 part of a Michigan education.” part of RICHARD AND SUSAN GUTOW theater, music, contemporary and classical enjoy "We endowment our add to privileged feel and dance, and to continues UMS that ensure help to others of that to university the to performances adventuresome present and Southeast Michigan communities." EUGENE AND EMILY GRANT EUGENE AND EMILY programs many the and UMS support to proud are “We that know to is great It students. fer University o they performing the greatest to access will have students important an are arts The world. the around from artists PHIL AND KATHY POWER PHIL AND KATHY made been have lives of thousands and "Thousands music, the through aware profoundly more and richer imagine to hard It’s UMS. of erings f o dance and theater, enormous an such had has that institution another work UMS’s time. long a such over many so on impact support generous deserves and valuable enormously is the of power liberating the in believes who anybody from arts." performing MAXINE AND STUART FRANKEL AND STUART MAXINE fth f the for UMS with partner to delighted are “We Renegade Supporting Series. Renegade the of year for experiences provide to UMS allows programming audience experimental and adventurous, curious, the beliefs existing our challenge to us allowing — member boundaries.” and push our own Corporate Champions

We thank the following businesses for their commitments of $5,000 or more for the 2015–16 season.

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

TIMOTHY G. MARSHALL 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 frm believers that the arts are vital to the vibrancy of our cities, both culturally and economically.”

LARRY BRYANT 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 eforts 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.”

FAYE ALEXANDER NELSON 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.”

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“KeyBank remains a committed supporter of the performing performing the of supporter committed a remains “KeyBank another bringing for UMS commend we and Arbor Ann in arts Thank you, the community. to performances great season of the tradition.” continuing UMS, for local property management as well as area public schools. The Issa Issa The schools. public an area in as well as culture of management acceptance and property local an sharing the done to has UMS devoted is peace. promote Foundation and stereotypes change to ort f e Ann Arbor.” to performers and talented outstanding job bringing diverse KIRK ALBERT KeyBank President, Market Michigan provides as key to the success of our community and our frm.” our community of the success to as key provides MOHAMAD ISSA has which family, Foundation Issa Director, Issa in the by involved is sponsored and is years, 30 Foundation last Issa the “The for Arbor Ann in established been ce Managing Partner, Honigman Miller Miller Honigman Partner, Managing ce f O Arbor Ann LLP and Cohn Schwartz Ann Our institutions,UMS. supporting major cultural of tradition “In our frm’s of supporter of all long-time a of been behalf has on Honigman tradition that on carry to Arbor Ann proud the is in ce f o live and Arbor work who those UMS that especially experiences attorneys, our cultural exceptional the view all We area. us better as individuals while bringing us together as a as together us bringing while individuals as better us important the and UMS support to proud are We community. role it plays in enriching our lives.” DAVID N. PARSIGIAN JAMES G. VELLA Fund Company Motor Ford President, makes arts the and music through world the “Experiencing NANCY AND RANDALL FABER FABER AND RANDALL NANCY Founders, Faber Piano Institute program of tradition its in UMS support to proud are “We our thoughts, our enriches that outreach and excellence families, and our community.” k Blac CMYK al: d Ov For

rm Fo erred) .EPS White BW CMYK.EPS rm (pref Fo Black and CMYK File Format: d Fund Master 6/2003 For MICHAEL CONLIN 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 fnding and attracting exceptional talent in Advanced Technology can be difcult. Level X Talent partners with our clients to meet that challenge.”

KEITH ALLMAN President and Chief Executive Ofcer, 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!”

ALBERT M. BERRIZ 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.”

THOMAS B. MCMULLEN President and CEO, McMullen Properties “In the ffth 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.”

DENNIS SERRAS 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.”

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cer, Savco: Hospitality Savco: Ofcer, Executive Chief brings which UMS, is assets greatest Arbor’s Ann of “One our city season after to amazing, best-in-class performances support UMS and its to is honored Hospitality season. Savco connecting and transforming, educating, engaging, of mission our community.” the arts to We recognize and appreciate UMS’s successful history history successful UMS’s appreciate and recognize We to commitment ongoing organization’s the applaud and the Ann Arbor artists to world-renowned authentic, presenting community.” LELCAJ SAVA BROCK HASTIE BROCK Income Solutions, Retirement Managing Inc. Partner, years, 30 than more for community the in roots strong “With UMS. support to proud is advisors investment of team our Detroit and Southeast Michigan Regional President, President, Regional Michigan Southeast and Detroit PNC Bank Ann the and UMS of orts f e the support to proud is Bank “PNC community.” Arbor partnership. That’s why, last year alone, we funded over $5 $5 over funded we alone, year last why, That’s partnership. donated associates our and sponsorships and grants in million we’re reason the also It’s hours. volunteer 100,000 almost sponsor corporate a as UMS support again once to pleased for the 2015–16 season.” RICHARD L. DEVORE TODD CLARK Regional President, Old National Bank community to committed we’re Bank, National Old “At STEPHEN G. PALMS STEPHEN P.L.C. and Stone, Paddock feld, Can Miller, Principal, our enhancing for UMS supports proudly eld f Can “Miller live of immediacy ltered f un the bringing by life of quality our community.” arts to performing JOE SESI 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.”

SesiMotors.com.com

JOHN W. STOUT 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.”

TOM THOMPSON 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.”

OSAMU “SIMON” NAGATA 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.”

TIFFANY FORD 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.”

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We are proud to partner with UMS for its 2015–16 season. season. 2015–16 its for UMS with partner to proud are We and, us, of all for life of quality the improves Music for ingredient important an as recognized is increasingly, health.” better airs, University of of MARSCHALL RUNGE University airs, f A Medical for President Vice Executive System Health Michigan of University and CEO, Michigan, MARK SCHLISSEL MARK Michigan of University President, as UMS support to proud is Michigan of University “The UMS’s enterprise. academic our of extension natural a add programs educational and performances outstanding and alumni, faculty, students, our for value tremendous regional community.” 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

$20,000-$499,000 Anonymous Charles H. Gershenson Trust

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

20 SUPPORTING THE ARTS

As a long-time patron of the arts, Honigman and its Ann Arbor attorneys are proud to support UMS.

Fernando Alberdi Tara E. Mahoney Christopher A. Ballard Cyril Moscow Maurice S. Binkow Leonard M. Niehoff Cynthia M. Bott David N. Parsigian Anna M. Budde Julie Kretzschmer Reitz Thomas W. Forster II Eric J. Sosenko Carl W. Herstein James E. Stewart Richard D. Hoeg Bea Swedlow Ann T. Hollenbeck Sara E. Waidelich J. Michael Huget Bill Winsten Barbara A. Kaye

For more information, please contact David Parsigian at 734.418.4250 or [email protected].

WWW.HONIGMAN.COM New York Philharmonic

Alan Gilbert Music Director and Conductor

October 9–11, 2015 Hill Auditorium Ann Arbor CONTENT

Concert 1 Friday, October 9, 8:00 pm 3

Concert 2 Saturday, October 10, 8:30 pm 15

Concert 3 Sunday, October 11, 3:00 pm 25

Artists 37 Residency Activities 43 New York Philharmonic

Alan Gilbert Conductor

Inon Barnatan Piano 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

3 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 nyphil.org 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 nyphil.org/watchlisten 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. PROGRAM

Magnus Lindberg Vivo

Ludwig van Beethoven Piano Concerto No. 1 in C Major, Op. 15

Allegro con brio Largo Rondo: Allegro

Mr. Barnatan

Intermission

Beethoven Symphony No. 7 in A Major, Op. 92

Poco sostenuto — Vivace Allegretto Presto 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.

5 N O W T H AT YO U ' R E I N YO 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.

6 V I V O ( 2 0 1 5 )

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 Studio (in Stockholm). His work has 2009 to 2012 as The Marie-Josée been honored with such awards as Kravis Composer-in-Residence of the UNESCO International Rostrum the New York Philharmonic — first for Composers (1982 and 1986), Prix emerged on the international music Italia (1986), Nordic Council Music scene in the 1980s as one of a handful Prize (1988), Royal Philharmonic of groundbreaking Finnish composers Society Prize (1993), and Wihuri of his generation who studied at the Sibelius Prize (2003). Sibelius Academy in Helsinki with the Apart from his former New York renowned composer and pedagogue Philharmonic affiliation, Lindberg has Paavo Heininen. Lindberg also worked served as composer-in-residence with there with another senior eminence the SWR Radio Symphony Orchestra of Finnish music, the composer Stuttgart (2011–12) and currently Einojuhani Rautavaara. occupies an analogous position Lindberg and Esa-Pekka Salonen with the London Philharmonic were involved in founding Toimii, Orchestra (2014–17) that will yield an instrumental ensemble that the upcoming premieres of his helped both composers investigate Accused for soprano and orchestra novel instrumental possibilities and (with Barbara Hannigan) and his compositional procedures. Lindberg Violin Concerto No. 2 (for Frank was also active as a pianist, appearing Peter Zimmermann). The New York in concert and on recordings, Philharmonic will also be reuniting especially in contemporary with its former composer-in- repertoire. In 1981 he left Finland residence and Mr. Zimmermann, for Paris, where he studied with the Orchestra’s Mary and James G. Vinko Globokar and Gérard Grisey. Wallach Artist-in-Residence, for the Other formative training came from final year of Lindberg’s tenure, for the Franco Donatoni (in Siena) and Brian US premiere of the latter work, which Ferneyhough (in Darmstadt), as the Philharmonic co-commissioned, well as at the EMS Electronic Music in January 2016.

7 During the 1980s Lindberg revealed and despite the extreme refinement a penchant for complexity, which of his compositional method, his led him to be uncompromising in scores manage to sound spontaneous. the difficulties he set before his His new work, Vivo, is subtitled musicians. “Only the extreme is “Concert Opener for Orchestra,” which interesting,” he proclaimed. “Striving describes how it was conceived and for a balanced totality is nowadays how it is presented tonight. “Vivo” is an impossibility. … An original a standard Italian tempo marking, mode of expression can only be connoting “lively”; however, when achieved through the marginal — the asked if one would be wrong to think hypercomplex combined with the of it instead as the Spanish for “I live,” primitive.” As the decade unrolled he Lindberg expressed considerable grew preoccupied with the intricacies delight over that possibility, and of rhythmic interaction on multiple pointed out that he has used a number levels; this led to the composition in of Spanish titles over the years. 1983, of his Zona for solo cello and Faced with the prospect of writing chamber ensemble, which brought such a piece, Lindberg toyed with the his investigations of rhythmic idea of surprising listeners by writing complexity to the practical limit of something slow (“like in Lohengrin”), the unaided human mind. His next but eventually he settled on a fast, major work was the award-winning rhythmically vibrant movement of Kraft, for orchestra plus an ancillary about eight minutes, though one with ensemble playing on both traditional an ending that listeners might not musical instruments and such “found predict. In his larger works, Lindberg objects” as chair legs and car springs. explains, he likes “to play around For this work he devised a computer with many different characters and program to assist in generating even gradually set up a plot or story. In a more meticulous calculations to fuel case like this, you need to get directly his composition. Other computer into it.” programs would follow, keeping up In an interview, the composer with advances in technology. offered these observations about his Composers drawn to complexity new work: sometimes arrive at a breaking point and then move on to create within When I was asked to write a concert a sound world that appears far opener for the opening night of the simpler. So it is that, following the Carnegie Hall season, which is obviously intense difficulty of Zona and Kraft, a special occasion, I looked to see Lindberg proceeded to soundscapes what else would be on the concert. The that often seem more relaxed and less program would end with Ravel’s Daphnis insistently on overload. Some might and Chloé Suite No. 2, so I explored what fairly be described even as smooth I could do to connect my piece with that or spacious. That said, many of score, which I love so much. I’ve spent so Lindberg’s scores, even in the modern much time with Daphnis, and it includes “classicist” mode, remain generally a particular sequence of chords that is vigorous, colorful, dense, and kinetic, one of my true favorites, near the end

8 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.

9 PIANO CONCERTO NO. 1 IN C MAJOR, OP. 15 (1795/1800)

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 were engraved; the C-Major certainly Beethoven’s Piano Concerto No. 1 was revised in 1800. But the C-Major was actually his Piano Concerto Concerto was brought out in print No. 2 and that the concerto before the B-flat-Major, with the designated his Second was his First. result that the C-Major, played here, The so-called Piano Concerto was identified as the composer’s No. 1 in C Major appears to date from Piano Concerto No. 1 and the B-flat- 1795 (it was premiered on December Major, though composed earlier, was 18 of that year), while the so-called labeled his Second. Piano Concerto No. 2 in B-flat Major Beethoven was an adept keyboard occupied Beethoven sporadically player from early on. In June 1782 he through the decade of the 1790s had filled in as deputy court organist and may have been premiered as when his teacher, Christian Gottlob early as March 29, 1795. Both works Neefe, left the loft at the court church were released to the public in 1801, in Bonn unoccupied during a brief by different publishing houses trip out of town. Nine months later in different cities, and both were Neefe contributed a glowing report probably revised shortly before they of his 11-year-old pupil to Cramer’s

10 Magazine der Musik, noting that status of a Golden Age. “he plays the piano very skillfully Anyone writing a piano concerto and with power, reads at sight very in Vienna in the last decade of the well, and … would surely become a 18th century did so in the shadow of second Wolfgang Amadeus Mozart the late lamented Mozart, several of if he were to continue as he has whose concertos Beethoven had in his begun.” Soon Beethoven was serving performance repertoire. Indeed there as keyboard player and violist in the is much that is Mozartian in this work, court orchestra in Bonn, and in 1784 particularly in sections that make he began receiving a small salary for prominent use of the trumpets, horns, his efforts. In 1787 he took a trip to and timpani that Mozart was fond of Vienna, where it seems that he met using in C-Major orchestral pieces, Mozart and may have taken piano including three of his four piano lessons from him. He also met Joseph concertos in that key. Yet, on the Haydn when that eminent figure whole, this concerto of Beethoven’s passed through Bonn either on his way exhibits assertive originality. to London in 1790 or on his way back The first movement displays the home to Austria in 1792. In November subtlety of a profound musical of the latter year Beethoven moved to intelligence, and connoisseurs Vienna, which would be his home for can profitably investigate its the rest of his life. structural niceties, particularly in Shortly after arriving in Vienna he the magical development section signed up for lessons with Haydn. The in its middle. The “Largo” is moody relationship turned out to be mostly and contemplative, prefiguring such cordial but not particularly fruitful, famous slow movements as that of and when Haydn left Vienna for his the Pathétique Sonata, which would second English residency, in 1794, follow within a few years. But it is Beethoven seized the opportunity in the finale that we glimpse the to sign on as a pupil of Johann Georg most unmistakably Beethovenian Albrechtsberger, the Kapellmeister traits, including a boisterous sense of of St. Stephen’s Cathedral. A humor, an appetite for mixing high more thorough academician than sophistication with less elevated Haydn was, Albrechtsberger put references, and an abiding fondness Beethoven through his paces in for surprise. 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

11 SYMPHONY NO. 7 IN A MAJOR, OP. 92 (1811–12)

Beethoven

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 dubbed the Sinfonia eroica. large part with the Age of Napoleon. Napoleon seemed unstoppable until At the time, it must have often seemed 1812, when the tide began to turn. His that Beethoven was wreaking as much armies were repulsed from Moscow havoc in the musical world of the that autumn, and in June 1813 Arthur early 19th century as Napoleon was Wellesley, Duke of Wellington, in the political universe. Beethoven engineered a decisive victory in the was enthusiastic about Napoleon at Battle of Vitoria, which effectively first, supposing that the Frenchman spelled French defeat in the Iberian would abolish the aristocratic tyranny Peninsula. On March 31, 1814, the that reigned over Europe in favor of European allies entered Paris; a a more humanitarian social order. week later Napoleon abdicated to However, in the spring of 1804, just his marshals and within a month he as Beethoven completed his Third and an entourage of a thousand loyal Symphony as a symphonic tribute to men began their exile on the Italian Napoleon, news arrived that Napoleon island of Elba, where Napoleon was had crowned himself Emperor, that installed as Emperor and officially the standard-bearer of republicanism ruled over the locals. Nine months had seized power as a dictator of later he sneaked back in an attempt to absolutism. Beethoven’s fervor conquer France again, and his forces collapsed, and he famously scratched picked up considerable steam before Napoleon’s name from the manuscript being squashed for good in the Battle of what would from then on be re- of Waterloo in June 1815 — after

12 which Napoleon was sent to spend Symphony in A” as “one of my best the remaining five and a half years of works.” Richard Wagner proclaimed his life on the remote South Atlantic it “the Apotheosis of the Dance; the island of St. Helena. Dance in its highest condition; the Beethoven monitored all of this happiest realization of the movements with great interest. On December 8, of the body in an ideal form.” Vincent 1813, two of his works were unveiled d’Indy objected that “in the rhythm of in a concert at the University of the first movement there is certainly Vienna organized for the benefit of nothing dance-like; it seems rather troops wounded five weeks earlier in as if inspired by the song of a bird” the Battle of Hanau: his descriptive — and if we are able to put aside symphonic fantasy Wellington’s Wagner’s famous characterization, Victory, or The Battle of Vitoria, we may find that d’Indy was onto and his Seventh Symphony. (In something. Wagner was also struck by between, the audience was treated the Seventh Symphony’s extremes of to marches by other composers in expression: which the orchestra accompanied a mechanical trumpet-playing machine, But compare the roughness of the the creation of Johann Mälzel, better opening and the concluding movements remembered as the inventor of the of this work with the grace, loftiness, metronome.) Both of Beethoven’s and even deep devotional feeling of its pieces were warmly received middle sections, and we are presented (as indeed was the mechanical with similar puzzling contrasts to those trumpeter), so much so that the so often found in Beethoven’s life, where, program was repeated four days in his journals and letters, we find later as a second benefit. The second religious and personal appeals to God movement of the symphony had to be worthy of one of the Hebrew Psalmists, encored on both occasions. side by side with nicknames and jokes The Seventh became one which befit a harlequin. of Beethoven’s most popular symphonies, and it evoked admiring Hector Berlioz, noting that the comment from a “Who’s Who” of Symphony’s “Allegretto” was its most people who should know — beginning famous movement, proclaimed, “This with Beethoven himself, who, in an does not arise from the fact that the 1815 letter to the impresario Johann other three parts are any less worthy Peter Salomon, cited his “Grand 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.

13

New York Philharmonic

Alan Gilbert Conductor

Saturday Evening, October 10, 2015 at 8:30

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

15 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 nyphil.org 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 nyphil.org/watchlisten 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. PROGRAM

Esa-Pekka Salonen LA Variations

Intermission

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.

17 N O W T H AT YO U ' R E I N YO 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 conductor- composers, 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 Aix- en-Provence Festival in 2013 which was the last work of the great French stage director Patrice Chéreau.

18 LA VARIATIONS (1996)

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, Esa- work in Italy with Niccolò Castiglioni Pekka Salonen begins a three-year and Franco Donatoni. His early appointment as The Marie-Josée identity as a “conducting composer” Kravis Composer-in-Residence at changed in 1983 when, at short the New York Philharmonic. He has notice, he took over a performance served as principal conductor of the of Mahler’s Third Symphony with the Swedish Radio Symphony Orchestra Philharmonia Orchestra in London; (1984–95) and music director of the that performance catapulted him into Los Angeles Philharmonic Orchestra the major league at the podium and (1992–2009). He has been principal transformed him into “a composing conductor and artistic advisor of the conductor.” Nonetheless, in 1998 he Philharmonia Orchestra in London told a reporter: “It may sound a bit since 2006, and in 2014–15 he held crazy, but I actually think of myself the first-ever “creative chair” at more as a composer than a conductor. Zurich’s Tonhalle Orchestra. It just so happens that the conducting Salonen studied horn, conducting, side has outweighed the composing.” and composition at the Sibelius In 1996 Salonen took time out Academy in Helsinki during the 1970s from his conducting schedule to — his composition teachers included write LA Variations, his first major the eminent Einojuhani Rautavaara orchestral piece in some time, and in — and pursued advanced composition 2000 he took a year’s sabbatical from

19 the podium to devote more energy that was unusual in new music circles to composition. He cited the need to at the time. One supposes that the clear his schedule for composing as a Toimii contemporary music group, central factor in his decision to step which he co-founded in 1980 with down from directing the Los Angeles fellow composers Magnus Lindberg Philharmonic in 2009, at which and Otto Romanowski, served as a point he was named that ensemble’s laboratory for exploring his creative conductor laureate. ideas and refining his appreciation Major retrospectives of Salonen’s of the practical possibilities of work were presented at Helsinki’s performance. Moving to Los Angeles Musica Nova (2003), at the Stockholm in the early 1990s proved liberating. International Composer Festival “Only after a couple of years here,” (2004), and in Los Angeles and he told critic Mark Swed of the Los Cologne (2005). In 2006 he was Angeles Times, “did I begin to see that named “Musician of the Year” by the European canon I blindly accepted Musical America, and in 2010 he was was not the only truth. Over here, I elected a foreign honorary fellow was able to think about this rule that of the American Academy of Arts forbids melody. It’s madness.” and Sciences. His Violin Concerto The works of his maturity make earned him the 2012 Grawemeyer virtuosic but realizable demands Award for Music composition, on instrumentalists, yielding with that organization citing it as orchestration of kaleidoscopic color. “such an exciting piece that from Favorite composers sometimes the first measure it grips you and look in from the sidelines of his doesn’t let you go.” His work with scores. In LA Variations, the section the Philharmonia Orchestra has Salonen describes (see page 21) as included the groundbreaking Re-Rite “Scherzando, leggiero” suggests his and Universe of Sound installations, affection for Messiaen. Just after in as well as the developing of the the work’s mid-point, we may find interactive iPad application The echoes of Stravinsky’s Three Pieces Orchestra, which have provided novel for String Quartet in the “Canon in perspectives on selected orchestral three different tempos,” and the masterworks by enabling the composer specifically acknowledges public to experience the sensations Sibelius in the brawny brass chords of conducting, playing with, and of the ensuing “Big Machine.” Still, stepping inside the orchestra. such stimuli are thoroughly absorbed Salonen’s official concert-program into Salonen’s distinctive language, biography notes that he was “trained which is marked by playful rhythms, in the austere world of European buoyant (if sometimes quirky) modernism and [is] enjoying a close melodies, and dramatic climaxes. 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

20 IN THE COMPOSER’S WORDS

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 ba- sic 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, combin- ing serial and non-serial thinking, is characteristic of my work since the mid- 80s, 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 bas- soons, 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 11. A tutti string passage leads to Big ascending scale. Movement slows Machine I. Percussion prepares down to … [a] mantra rhythm. Brass chords 2. Quasi folk-music episode (as in the Big Machine are my hom- described above). age to Sibelius. 3. First Chorale (winds only). 12. Second Chorale. 4. Big Chord I. The two hexachords 13. A new aspect of the melody in are interpreted three times in unison strings. three different ways in a very 14. Canon à 3. large chord. 15. Big Machine II. Probably the most 5. Scherzando, leggiero. joyful music in the piece. 6. A machine that prepares for the 16. Big Chord II. This time two differ- even semi-quaver movement of … ent interpretations of the hexa- 7. Variation of the melody in trum- chords. Repeated mantra rhythm pets and violin I. in timpani, roto-toms, and log 8. Fastest section of the piece. drums grow to maximum power. First woodwinds in the highest 17. Coda. Two hexachords together as register, then bass instruments in at the beginning. Scored for eight the lowest register. An acrobatic muted cellos, eight muted violins, double bass solo. and piccolo. 9. Variation for winds, percussion, harp, celesta. — Esa-Pekka Salonen 10. Canon in three different tempos, scored for chamber ensemble.

21 EIN HELDENLEBEN (A HERO’S LIFE), OP. 40 (1897–98)

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 Strauss, whom von Bülow had brought contributions of the “Music of the in as an assistant music director in Future” camp of Berlioz, Liszt, and 1885. Strauss would later say that it Wagner was the orchestral genre was Ritter who revealed to him the known as the symphonic (or tone) greatness of the music of Wagner, poem. One of the circle’s ancillary Liszt, and Berlioz and, by extension, figures was Alexander Ritter, opened his eyes to the possibilities of an Estonian-born violinist and the symphonic poem. composer who married a niece of In 1886 Strauss produced what Wagner’s, composed six symphonic might be considered his first poems of his own, and served as symphonic poem, Aus Italien (it is associate concertmaster of the more precisely a sort of descriptive Meiningen Court Orchestra, which symphony), and he continued with was conducted by the eminent Hans hardly a break through the series of von Bülow. In Meiningen he grew tone poems that many feel represent friendly with the young Richard the genre at its height: Don Juan

22 (1888–89), Macbeth (1888/91), It seemed to Strauss a reasonable Tod und Verklärung (Death and moment to produce a reflection Transfiguration, 1888–89), Till on himself and on the struggles he Eulenspiegels lustige Streiche had faced so far in achieving his (Till Eulenspiegel’s Merry Pranks, considerable success while navigating 1894–95), Also sprach Zarathustra the internecine politics of the musical (Thus Spake Zarathustra, 1896), Don establishment. The proper format Quixote (1897), Ein Heldenleben would be a musical one, to be sure, (A Hero’s Life, 1897–98), and and the genre of the symphonic Symphonia Domestica (1902–03), poem provided a perfect framework with Eine Alpensymphonie (An for such an exercise. In the event, Alpine Symphony, 1911–15) as a late it would be a symphonic poem with pendant to this catalogue. Strauss strong Classical leanings in terms was drawn to the idea (as he would of its structure, a sort of expanded recall in his memoirs) that “new “Classical symphony.” It would be set ideas must search for new forms; this in E-flat Major, a key resonant with basic principle of Liszt’s symphonic memories of Beethoven’s Sinfonia works, in which the poetic idea was eroica, which was initially supposed really the formative element, became to be a tribute to Napoleon but ended henceforward the guiding principle up being re-inscribed “To celebrate for my own symphonic work.” the memory of a great man” — an Ein Heldenleben is among several idea not so very different from that of Strauss’s works that can be read conveyed by the title “A Hero’s Life.” as musical autobiography. By this And, like Beethoven’s Eroica, it would point of his career — he was 34 years be a work of hefty proportions — old when he conducted its premiere Ein Heldenleben typically runs to — his sense of self-esteem was in three-quarters of an hour — and its no way underdeveloped. He had orchestration, including eight horns gotten his first leg up in the music and five trumpets in its imposing business in 1885 with his Meiningen 18-member brass section, would leave appointment, and he proceeded from the ears spinning. there to positions at the Munich Court Asked to explain the program of Opera, the Bayreuth opera house, this piece, Strauss declined, insisting: and the Court of the Grand Duke of “There is no need of a program. It is Saxe-Weimar-Eisenstadt. He was enough to know that there is a hero, routinely hailed at the premieres fighting his enemies.” Of course there of his new compositions, he was in was a program of some sort, even if demand throughout Germany as a Strauss never tipped his hand about it, guest conductor, he was on the verge and commentators have spilled much of signing a contract to become music ink speculating about the details of director of the Berlin Court Opera, this huge score. and he was enjoying a deepening relationship with the soprano who would soon become his wife.

23 In 1924 the musicologist and early romantic or mythical personality Strauss biographer Richard Specht with all his singularities, and as if penned an analytical foreword for Strauss’s own personality were less a new edition of Ein Heldenleben fascinating and important than published by the distinguished that of Till Eulenspiegel, Don Juan, Eulenberg firm. At that time the work yes even of Coriolanus or Egmont. was resisting the popular acclaim …Of all Strauss’s symphonies, that had been bestowed on others of there is none more classical in Strauss’s tone poems. “This defiant its glorious themes, none more confession and portrait of himself closely knit together in the unity in the form of a symphony,” wrote of its six movements welded into Specht, “this satire on his opponents, a single movement, none that is this musical autobiography is even bolder in its heroic loftiness, or now, next to [his] Don Quixote, more touching in its final serene the least understood work of the resignation, than this symphonic composer.” He continued: reflection of himself and his life’s adventure, which in conscious pride It is not quite easy to understand he has called “A Hero’s Life.” …The why this should be so, for the time when it is duly appreciated themes in the Heldenleben are and loved will surely come. Be that more impressive, the whole as it may; as a musical document, composition more concise in form, as a symphonic autobiography, as the fundamental “Eroica” idea a vindication of himself toward easier to grasp than any of Strauss’s his fellow creatures, and as an earlier compositions for orchestra. expression of conscious pride …Is it because it is so personal that and knowledge of his own worth this work has been so absurdly which with the inner conviction misunderstood? As if Strauss of a noble man he impresses on had not, just in this composition, the envious and indifferent, it will got into closer touch with the always retain its value. It is a free traditional symphony than in confession of a free man, and as a those other works in which he has symphony a masterpiece. symphonically characterized some

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.

24 New York Philharmonic

David Newman Conductor

On the Waterfront: Film with Live Orchestra

Sunday Afternoon, October 11, 2015 at 3:00

Eighth Performance of the 137th Annual Season

25 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 nyphil.org 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 nyphil.org/watchlisten 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. On the Waterfront

COLUMBIA PICTURES Presents An ELIA KAZAN Production MARLON BRANDO “ON THE WATERFRONT” Co-starring KARL MALDEN LEE J. COBB with ROD STEIGER PAT HENNING and introducing EVA MARIE SAINT Music by LEONARD BERNSTEIN Screenplay by BUDD SCHULBERG 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.

27 Production

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.

28 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 UMSLobby.org.

29 30 31 N O W T H AT YO U ' R E I N YO U R S E AT. . .

Bernstein’s music to the award- winning 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.

32 ON THE WATERFRONT (1954)

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 On the Town and West Side Story. balance the competing demands on Although other Bernstein his time to a degree unusual even for dramatic scores were used in film musicians. Composing and conducting adaptations (including both of those both laid claim to his calendar, but stage musicals), the 1954 film On so did his other pursuits as a pianist, the Waterfront represented the media personality, writer, educator, only time he composed expressly social activist, and all-round celebrity. for the cinema. The film’s scenario Time for composition was potentially is a gritty tale of corruption and the most endangered part of the mix, exploitation on the docks of New and he had to take special care to see Jersey. Director Elia Kazan, working that it didn’t get crowded out by his from a screenplay by Budd Schulberg, day-to-day obligations as a performer. had already finished filming (with When wearing his composer’s hat an all-star cast that included Marlon Bernstein could be a chameleon, Brando, Lee J. Cobb, Karl Malden, Rod turning on a dime between music of Steiger, and Eva Marie Saint) before complex modernity and pieces that he started worrying about the music. plumbed a more popular vein. He When the producer Sam Spiegel first was a success in a surprisingly broad approached Bernstein about the spectrum of musical life, producing not project, the composer demurred. He only important contributions to the was no fan of Kazan, who had gained symphonic repertoire but also ballets, notoriety as an informant to Senator operas, and such Broadway classics as Joseph McCarthy’s House Committee

33 on Un-American Activities in Nonetheless, Bernstein consented 1952, the rabid anti-Communist to screen the film in its scoreless, political incentive that exiled rough-cut state and was immediately many performing arts luminaries won over. He later reported: to the ranks of the unemployable. Bernstein was among the 50 arts I heard music as I watched. That was celebrities who, in 1947, had signed enough. And the atmosphere of talent a manifesto condemning those very that this film gave off was exactly the hearings. At least Kazan seemed atmosphere in which I love to work and sincere about ruing his participation collaborate. … Day after day I sat at a in those hearings. He took out an movieola, running the print back and advertisement in the New York Times forth, measuring in feet the sequences rationalizing that he had cooperated I had chosen for the music, converting with the dark forces in the spirit of feet into seconds by mathematical patriotism, and On the Waterfront, formula, making homemade cue sheets. which trains its unforgiving eye on the ethical dilemma that can pit In all, Bernstein’s music loyalty to family and friends against accompanies about 45 minutes of the the greater good, was a further step in film, which reflects the propensity his process of personal redemption. of all Kazan films to use music Even on a strictly professional level, sparingly but with terrific impact. Bernstein did not harbor warmth for On the Waterfront was nominated Kazan. He may have admired much for 12 Academy Awards, including of Kazan’s socially conscious film for “Best Score,” and it won eight. The achievements such as Gentleman’s film music was passed over in favor of Agreement (1947, which tackled the Dimitri Tiomkin’s music for The High subject of anti-Semitism in America) and the Mighty. “I am furious about and Pinky (1949, which blazed into the Academy Awards,” Bernstein the topic of racism), not to mention wrote to his personal secretary, A Streetcar Named Desire (1951), Helen Coates. “It is obviously politics, but there was the unavoidable fact and I don’t care, except that it would that when Kazan was approached have jacked up my price for the next about directing On the Town back picture to double.” Indefensible in in 1944, he had flatly turned down retrospect, this slight may account the opportunity. One might not have for why On the Waterfront remains predicted that the collaboration of Bernstein’s one and only film score. these two creative powerhouses © A.M.P.A.S. would yield happy results.

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.

34 RESTORATION AND ADAPTATION

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

35 U M S A R C H I V E S

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.

36 A R T I S T S

Alan Gilbert, the music director of the Conductor laureate of the Royal New York Philharmonic since 2009, Stockholm Philharmonic Orchestra and introduced the positions of The Marie- principal guest conductor of Hamburg’s Josée Kravis Composer-in-Residence, NDR Symphony Orchestra, he regularly The Mary and James G. Wallach Artist- conducts leading orchestras nationally in-Residence, and Artist-in-Association; and internationally. This season Mr. CONTACT!, the new-music series; NY Gilbert makes debuts with four great PHIL BIENNIAL, an exploration of today’s European orchestras — Filarmonica della music; and New York Philharmonic Global Scala, Dresden Staatskapelle, London Academy, collaborations with partners Symphony, and Academy of St. Martin in worldwide offering training of pre- the Fields — and returns to The Cleveland professional musicians, often alongside Orchestra and Tokyo Metropolitan performance residencies. Symphony Orchestra. Juilliard’s director In the 2015–16 season Alan Gilbert of conducting and orchestral studies, his conducts R. Strauss’s Ein Heldenleben honors include election to The American to welcome concertmaster Frank Huang Academy of Arts & Sciences (2014) and a and five world premieres; co-curates the Foreign Policy Association Medal (2015). second NY PHIL BIENNIAL; and performs violin in Messiaen’s Quartet for the End Celebrated for the unique approach, of Time. He leads the Orchestra as part probing intellect, and consummate artistry of the Shanghai Orchestra Academy he brings to a broad range of repertoire, Residency and Partnership and appears Israeli pianist Inon Barnatan currently at Santa Barbara’s Music Academy of the serves as the New York Philharmonic’s West. Philharmonic-tenure highlights first Artist-in-Association. This include acclaimed stagings of Ligeti’s Le unprecedented three-season appointment Grand Macabre, Janácˇek’s The Cunning sees him appear as soloist in subscription Little Vixen, Stephen Sondheim’s Sweeney concerts, take part in regular chamber Todd starring Bryn Terfel and Emma performances, and act as ambassador for Thompson (for which he was nominated the orchestra. In the 2015–16 season, his for an Emmy Award for “Outstanding second season with the Philharmonic, Music Direction”), and Honegger’s Joan he will follow this appearance in Ann of Arc at the Stake starring Marion Arbor by playing Mozart, conducted by Cotillard; 24 world premieres; The Nielsen Jaap van Zweden, and Saint-Saëns on Project; Verdi Requiem; the score from New Year’s Eve, as well as chamber music 2001: A Space Odyssey alongside the film; collaborations with musicians of the Mahler’s Resurrection Symphony on the Orchestra. Other highlights include his 10th anniversary of 9/11; and nine tours Disney Hall debut with the Los Angeles around the world. In August 2015 he led Philharmonic and Gustavo Dudamel, and a the Mahler Chamber Orchestra in the US tour with the San Francisco Symphony US stage premiere of George Benjamin’s and Michael Tilson Thomas, featuring dates Written on Skin, co-presented as part of at the Kennedy Center and Carnegie Hall. the Lincoln Center–New York Philharmonic Awarded the Avery Fisher Career Grant Opera Initiative. in 2009, Mr. Barnatan has performed

37 extensively with many of the world’s and The Brave Little Toaster. His score foremost orchestras, including those to the animated feature Anastasia was of Cleveland, Los Angeles, New York, nominated for an Academy Award. Philadelphia, and San Francisco; the Mr. Newman has conducted leading Academy of St. Martin in the Fields; orchestras around the world. He has led Deutsches Symphonie-Orchester Berlin; subscription weeks with the Los Angeles Orchestre de la Suisse Romande; and Philharmonic at Walt Disney Concert the Jerusalem and Shanghai Symphony Hall; regularly conducts the Hollywood Orchestras. He has worked with such Bowl Orchestra at the Hollywood Bowl; distinguished conductors as Roberto and leads the annual movie night at Abbado, James Gaffigan, Matthias the Hollywood Bowl. In July 2011, he Pintscher, David Robertson, Edo de Waart, premiered West Side Story (film with and Pinchas Zukerman. Passionate about live orchestra) with the Los Angeles contemporary music, last season he Philharmonic at the Hollywood Bowl and premiered new pieces composed for him has conducted the work with numerous by Mr. Pintscher and Sebastian Currier. orchestras in the US and abroad, including Noted for his interpretation of works the New York Philharmonic. Mr. Newman by Schubert, Mr. Barnatan has a critically has also premiered the film-with-live- acclaimed discography that includes Avie orchestra projects Back to the Future and Bridge recordings of the Austrian (May 2015, Lucerne, Orchestra of the 21st composer’s solo piano works, as well Century) and E.T. — The Extra-Terrestrial as Darknesse Visible, which appeared (September 2015, Los Angeles, Los on The New York Times’ “Best of 2012” Angeles Philharmonic at the Hollywood list. His Chopin and Rachmaninoff duo Bowl). He has also spent considerable sonatas album, recorded with cellist Alisa time unearthing and restoring film Weilerstein, will be released by Decca music classics for the concert hall, and Classics next season. headed the Sundance Institute’s music Mr. Barnatan first appeared with preservation program in the late 1980s. Philharmonic musicians as part of a He has continued that work while serving February 2013 Ensembles concert at Merkin on the board of the American Youth Concert Hall, and made his subscription Symphony since 2007. debut with the full Orchestra in March 2015 The son of nine-time Oscar-winning performing Ravel’s Piano Concerto in G composer Alfred Newman, David Newman Major, conducted by Alan Gilbert. was born in Los Angeles in 1954. He studied violin and piano from an early age and Conductor David Newman has scored earned degrees in orchestral conducting more than 100 films, ranging from War and violin performance from the University of the Roses, Matilda, Bowfinger, and of Southern California. From 1977 to Heathers to Tarzan and Serenity. Mr. 1982, he worked extensively in the motion Newman’s music has brought to life the picture and television industry. critically-acclaimed dramas Brokedown Palace and Hoffa; top-grossing comedies The New York Philharmonic plays a Galaxy Quest, The Nutty Professor, leading cultural role in New York City, the and Throw Mama From the Train; and United States, and the world. This season’s award-winning animated films Ice Age projects will connect the Philharmonic

38 with up to 50 million music lovers through with Santa Barbara’s Music Academy of live concerts in New York City and on its the West, and The Shepherd School of worldwide tours and residencies; digital Music at Rice University. recording series; international broadcasts The oldest American symphony orchestra on television, radio, and online; and as and one of the oldest in the world, the New a resource through its wide range of York Philharmonic has made almost 2,000 education programs and Digital Archives. recordings since 1917, including several The Orchestra has commissioned Grammy Award winners. Its self-produced and/or premiered works by leading digital recording series continues in the composers from every era since its 2015–16 season. Music director Alan founding in 1842 — including Dvorˇák’s Gilbert began his tenure in September New World Symphony, John Adams’s 2009, succeeding a distinguished line of Pulitzer Prize–winning On the 20th-century musical giants that includes Transmigration of Souls (dedicated to the Leonard Bernstein, Arturo Toscanini, and victims of 9/11), and Magnus Lindberg’s Gustav Mahler. 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

39 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

Violins Violas Randall Butler Frank Huang Cynthia Phelps The Ludmila S. and Carl B. Hess Concertmaster Principal Chair The Charles E. Culpeper Chair The Mr. and Mrs. Frederick P. Rose David J. Grossman Sheryl Staples Chair Blake Hinson Principal Associate Concertmaster Rebecca Young* Orin O’Brien The Elizabeth G. Beinecke Chair The Joan and Joel Smilow Chair Daniel Tosky++ Michelle Kim Irene Breslaw** Ivy Wong++ Assistant Concertmaster The Norma and Lloyd Chazen Chair The William Petschek Family Chair Dorian Rence Flutes Carol Webb Robert Langevin Quan Ge Katherine Greene Principal The Mr. and Mrs. William J. The Lila Acheson Wallace Chair Hae-Young Ham McDonough Chair Sandra Church* The Mr. and Mrs. Timothy M. George Dawn Hannay+ Yoobin Son Chair Vivek Kamath Mindy Kaufman Lisa GiHae Kim Peter Kenote Kuan Cheng Lu Kenneth Mirkin Piccolo Newton Mansfield+ Judith Nelson Mindy Kaufman The Edward and Priscilla Pilcher Rémi Pelletier Chair Robert Rinehart Oboes Kerry McDermott The Mr. and Mrs. G. Chris Andersen Liang Wang Anna Rabinova Chair Principal Charles Rex Robert Meyer++ The Alice Tully Chair The Shirley Bacot Shamel Chair Sherry Sylar* Fiona Simon Cellos Robert Botti Sharon Yamada Carter Brey The Lizabeth and Frank Newman Shanshan Yao Principal Chair Elizabeth Zeltser The Fan Fox and Leslie R. Samuels Grace Shryock++ The William and Elfriede Ulrich Chair Chair Eileen Moon* English Horn Yulia Ziskel The Paul and Diane Guenther Chair Grace Shryock++ The Friends and Patrons Chair Eric Bartlett Patrick Jee Clarinets Lisa Kim Anthony McGill Acting Principal Elizabeth Dyson Principal Soohyun Kwon*** The Mr. and Mrs. James E. Buckman The Edna and W. Van Alan Clark In Memory of Laura Mitchell Chair Chair Duoming Ba Alexei Yupanqui Gonzales Mark Nuccio* The Joan and Joel I. Picket Chair Maria Kitsopoulos The Honey M. Kurtz Family Chair The Secular Society Chair Pascual Martínez Forteza Hannah Choi Sumire Kudo Kathryn Curran++ Marilyn Dubow Qiang Tu David Gould++ The Sue and Eugene Mercy, Jr. Chair Nathan Vickery Dean LeBlanc++ Hyunju Lee Ru-Pei Yeh+ Miles Jaques++ Joo Young Oh The Credit Suisse Chair in honor of Daniel Reed Paul Calello E-flat Clarinet Mark Schmoockler Wei Yu+ Mark Nuccio Na Sun Wendy Sutter++ The Gary W. Parr Chair Bass Clarinets Vladimir Tsypin Basses Miles Jaques++ Jin Suk Yu Timothy Cobb Dean LeBlanc++ Conway Kuo++ Principal Ji Min Lee++ Satoshi Okamoto*** Bracha Malkin++ The Herbert M. Citrin Chair Sarah Pratt++ Max Zeugner*** David Southorn++ The Herbert M. Citrin Chair

40 Bassoons Tuba Audio Director Judith LeClair Alan Baer Lawrence Rock Principal Principal The Pels Family Chair * Associate Principal Kim Laskowski* Timpani ** Assistant Principal Roger Nye Markus Rhoten *** Acting Associate Principal The Rosalind Miranda Chair in Principal + On Leave memory of Shirley and Bill Cohen The Carlos Moseley Chair ++ Replacement/Extra Arlen Fast Kyle Zerna** David DePeters++ The New York Philharmonic Contrabassoon uses the revolving seating Arlen Fast Percussion method for section string Christopher S. Lamb players who are listed Horns Principal alphabetically in the roster. Philip Myers The Constance R. Hoguet Friends of Principal the Philharmonic Chair Honorary Members of the The Ruth F. and Alan J. Broder Chair Daniel Druckman* Society Richard Deane* The Mr. and Mrs. Ronald J. Ulrich Emanuel Ax R. Allen Spanjer Chair Pierre Boulez The Rosalind Miranda Chair Kyle Zerna Stanley Drucker Leelanee Sterrett Zubin Mehta Howard Wall Harp Alana Vegter++ Nancy Allen New York Philharmonic David Smith++ Principal Oscar S. Schafer, Chairman Chad Yarbrough++ The Mr. and Mrs. William T. Matthew VanBesien, President Theodore Primis++ Knight III Chair June Han++ Administration Saxophones Miki Takebe, Vice President, Daniel Goble++ Accordion Operations and Touring Lino Gomez++ William Schimmel++ Lisa Mantone, Senior Vice Steve Kenyon++ President, Institutional Lawrence Feldman++ Keyboard Advancement In Memory of Paul Jacobs Edward Yim, Vice President, Trumpets Artistic Planning Matthew Muckey Harpsichord Acting Principal Paolo Bordignon James Eng, Operations Assistant The Paula Levin Chair Katherine E. Johnson, Director, Ethan Bensdorf*** Piano Public and Media Relations Thomas V. Smith Eric Huebner Valerie Petrov, Orchestra Kevin Cobb++ The Anna-Maria and Stephen Personnel Assistant / Auditions Kenneth DeCarlo++ Kellen Piano Chair Coordinator Brendan Timins, Director, Touring Trombones Organ and Operations Joseph Alessi Kent Tritle Betsey Tumarkin, Artistic Principal Planning Manager The Gurnee F. and Marjorie L. Hart Librarians Galiya Valerio, Assistant to the Chair Lawrence Tarlow Music Director Colin Williams* Principal Pamela Walsh, Artistic David Finlayson+ Sandra Pearson** Administrator The Donna and Benjamin M. Rosen Sara Griffin**+ Chair Robert Sepulveda, Stage Crew Peter Ellefson++ Orchestra Personnel Gerard Urciuoli, Stage Crew Manager Bass Trombone Carl R. Schiebler George Curran The Daria L. and William C. Foster Stage Representative Chair 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.

41 A NEW PARTNERSHIP

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.

42 THE NEW YORK PHILHARMONIC ANN ARBOR RESIDENCY

Thursday, October 8, 6–7 pm Sunday, October 11, 9:30–11 am Rackham Auditorium (915 E. Washington St.) SMTD Moore Building, Britton Recital Hall (1100 Keynote Address by Alan Gilbert, music director, Baits Drive) New York Philharmonic Interview and Discussion with Vince Ford, Orchestras in the 21st Century: A New Paradigm 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.) Various Locations, School of Music Moore Building Side-by-Side Chamber Concert Public Master Classes with Principal Musicians With Musicians from the New York Philharmonic of the New York Philharmonic and the U-M School of Music, Theatre & Dance Principal Flute Robert Langevin, Classroom 1370 Principal Oboe Liang Wang, Classroom 1374 Friday, October 9, 1:30–3 pm Principal Clarinet Anthony McGill, Britton Recital Ross School of Business, Room R1240 (701 Tappan Hall Ave.) Principal Bassoon Judith LeClair, Classroom 2058 Lecture by Matthew VanBesien, president, New Principal Horn Philip Myers, Watkins Lecture Hall York Philharmonic Acting Principal Trumpet Matthew Muckey, 21st Century Orchestras and Social Impact McIntosh Theatre Principal Trombone Joseph Alessi, Stamps Friday, October 9, Various Times Auditorium, Walgreen Drama Center (1226 Various Locations, School of Music Moore Building Murfin Ave., North Campus) Public Master Classes with Principal Musicians Principal Tuba Alan Baer, Classroom 1378 of the New York Philharmonic Principal Percussion Christopher S. Lamb, 11 am–1 pm Hankinson Rehearsal Hall Inon Barnatan, Artist-in-Association, Britton Recital Hall Sunday, October 11, 2–2:45 pm 2–4 pm Hill Auditorium Mezzanine Lobby (must have a Concertmaster Frank Huang, Watkins Lecture Hall ticket to the performance to attend) Principal Viola Cynthia Phelps, Classroom 1374 Pre-Concert Talk Principal Cello Carter Brey, McIntosh Theatre Music in Character and as Character: Bernstein’s 3–5 pm Musical Score to On the Waterfront Principal Bass Timothy Cobb, Kevreson Rehearsal Hall 4:30–6:30 pm Principal Harp Nancy Allen, Classroom 1374

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 Communities

43 THIS WEEKEND'S VICTOR FOR UMS Eugene and Emily Grant Family Foundation

Supporter of this weekend’s performances by the New York Philharmonic.

MAY WE ALSO RECOMMEND...

10/14–17 Antigone by Sophokles (International Theater Series, Renegade) 10/29 Chicago Symphony Orchestra (Choral Union Series) 11/6 Danish String Quartet (Chamber Arts Series) 11/8 Chucho Valdés: Irakere 40 (Jazz and Global Series)

Tickets available at www.ums.org.

ON THE EDUCATION HORIZON...

10/21 You Can Dance: Sankai Juku (U-M Dance Building, Studio A, 1310 N. University Ct., 6:30 pm) 10/24 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 conditions… 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 Silver Maples is an active community advancing research on the personalized of interesting and talented individuals, treatment of this illness that affects like Lajos, who started playing the violin at close to 6 million Americans. 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 Make your donation at: you move in, residents of Silver Maples PrechterFund.org/help become friends and family. Come by 1-877-UM-GENES for a visit and join our VIP wait list.

734.475.4111 SilverMaples.org

Locally-Owned, Non-Profi t Jointly Sponsored by the Chelsea-Area Wellness Foundat on and United Methodist Ret rement Communit es, Inc. BE PRESENT FALL 2015 23

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

Victor J. Strecher Victor Karen Jones Stutz Julia Donovan Darlow Monique Deschaine Tif any L. Ford Katherine Goldberg Gutow F. Richard Henderson Stephen Daniel Herwitz Joel Howell Frank Legacki L. Morelock Donald Agnes Moy-Sarns David Parsigian Rothwell Sharon Linh Song Rick Sperling Janet Callaway David Canter Mark Clague LisaCook D.

Photo: UMS patrons attend a San Francisco Symphony concert at Hill Auditorium, November 2014; November at Hill Auditorium, concert Symphony a San Francisco attend UMS patrons Photo: Smith Photography. Peter photographer: Chair, National Council National Chair, Stephen G. Palms Stephen Past Board Chair Tuchman Bruce A. Douglas Rothwell Council Corporate Chair, Secretary Petersen Tim Treasurer Sarah Nicoli Nicoli Sarah Chair Vice Bendit Rachel er outstanding performances year after year. year. after year performances fer outstanding o to UMS is able Forrest R. Stephen Chair UMS Board of Directors to devoted volunteers elected of group a is Directors of that Board UMS ensures The work hard Their community. our to and arts performing the

each season People bring to work who Those performances UMS you 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 Deborah S. Herbert Prudence L. Rosenthal Michael C. Allemang Carl W. Herstein A. Douglas Rothwell Carol L. Amster David Herzig Judy Dow Rumelhart Gail Davis-Barnes Peter N. Heydon Maya Savarino Kathleen Benton Toni Hoover Ann Schriber Lynda Berg Kay Hunt Edward R. Schulak Richard S. Berger Alice Davis Irani John J.H. Schwarz Maurice S. Binkow Stuart A. Isaac Erik H. Serr DJ Boehm Thomas E. Kauper Ellie Serras Lee C. Bollinger Christopher Kendall Joseph A. Sesi Charles W. Borgsdorf David B. Kennedy Harold T. Shapiro Janice Stevens-Botsford Gloria James Kerry George I. Shirley Paul C. Boylan Thomas C. Kinnear John O. Simpson William M. Broucek S. Rani Kotha Timothy P. Slottow Barbara Everitt Bryant Marvin Krislov Anthony L. Smith Robert Buckler F. Bruce Kulp Carol Shalita Smokler Letitia J. Byrd Leo A. Legatski Jorge A. Solis Kathleen G. Charla Melvin A. Lester Cheryl Soper Mary Sue Coleman Earl Lewis Peter Sparling Jill A. Corr Patrick B. Long James C. Stanley Peter B. Corr Helen B. Love Lois U. Stegeman Ronald M. Cresswell Cynthia MacDonald Edward D. Surovell Martha Darling Robert C. Macek James L. Telfer Hal Davis Jefrey MacKie-Mason Susan B. Ullrich Sally Stegeman DiCarlo Judythe H. Maugh Michael D. VanHermert Robert F. DiRomualdo Rebecca McGowan Eileen Lappin Weiser Junia Doan Barbara Meadows B. Joseph White Al Dodds Joetta Mial Marina v.N. Whitman James J. Duderstadt Lester Monts Clayton E. Wilhite David Featherman Alberto Nacif Iva M. Wilson David J. Flowers Shirley C. Neuman Karen Wolf George V. Fornero Jan Barney Newman Maxine J. Frankel Roger Newton Patricia M. Garcia Len Niehof Beverley B. Geltner Gilbert S. Omenn Christopher Genteel Joe E. O’Neal Anne Glendon Randall Pittman Patricia Green Phil Power William S. Hann John D. Psarouthakis Shelia M. Harden Rossi Ray-Taylor Randy J. Harris John W. Reed Walter L. Harrison Todd Roberts Norman G. Herbert Richard H. Rogel

24 BE PRESENT FALL 2015 25

Zarin Mehta Jordan Morgan Caroline Nussbaum James A. Read Herbert Ruben James and Nancy Stanley Christian Vesper Wilhite Ann and Clayton Forrest R. Stephen fcio Ex-O Priyanka Srivastava Priyanka Rachel Stopchinski Edward Sundra Isaiah Zeavin-Moss Interns Artist Century *21st Christina Maxwell* Gunnar Moll Tsukumo Niwa* Pegram Claire Evan Saddler* Salka Nisreen Heather Shen Sharon Rothwell Sharon Frederick E. Shell Michael B. Staebler James G. Vella R. Forrest Stephen fcio Ex-O Laura McGinn Laura Maxine Frankel Eugene Grant Hamlen Charles Katherine Hein D. David Heleniak Patti Kenner Klein C. Wallis Jerry and Dale Kolins and Leichtman David Emily Kloska Emily Caitlyn Koester Kojima Bridget Austin Land Robert Luzynski Trevor Hofman Annie Jacobson Jones Garret Travis Jones Ayantu Kebede Meredith Kelly Saba Keramati Richard L. DeVore Richard Nolan Finley R. Forrest Stephen Hodges Michele Mary Kramer David Parsigian Vivian Pickard Delphis Janet Eilber Fleischman Barbara Marylene Delbourg- John and Betty Edman Andrew Bernstein Andrew Kathleen G. Charla Jacqueline Davis arts are an integral part of the student experience. the student part of an integral arts are Tuchman Bruce Chair The UMS National Council is comprised of U-M alumni and performing performing and alumni U-M of comprised is Council National promoting, UMS The supporting, to committed country the across enthusiasts arts performing the that ensuring on focus a with UMS for advocating and UMS National Council National UMS Anna Darnell Kathryn DeBartolomeis Sophia Deery Gabrielle Carels Gabrielle Choi Abigail Catherine Cypert Madisen Bathish Meredith Bobber* Brennan Clare Mysti Byrnes Maryam Ahmed Bader Andrew Students in our volunteer internship and work-study program gain gain program work-study and internship volunteer our in contributing Students while management arts of areas all in experience valuable success. continued UMS’s to greatly Robert Casalou UMS Students Albert Berriz Brownlee Bruce Robert Buckler of corporate support throughout southeastern Michigan. Michigan. southeastern throughout support corporate of A. Douglas Rothwell Chair UMS Corporate Council UMS Corporate who leaders business regional of group a is Council Corporate base UMS our The broaden to seek we as UMS to advisors and advocates as serve Carol Barbour, PhD Alex Barends, PhD Organic. Ronald Benson, MD Meryl Berlin, PhD Holistic. Robert Cohen, PhD No Artifcial Ingredients. Susan Cutler, PhD Sara Dumas, MD Joshua Ehrlich, PhD Harvey Falit, MD Richard Hertel, PhD Psychoanalysis helps--mind, body, and soul. Erika Homann, PhD Howard Lerner, PhD Barry Miller, MD Ask one of our psychoanalysts how you, or someone you love, can Christina Mueller, MD Jack Novick, PhD work on achieving a fuller, richer life. Kerry Kelly Novick Jean-Paul Pegeron, MD Dwarakanath Rao, MD Ivan Sherick, PhD Merton Shill, PhD Michael Shulman, PhD Michael Singer, PhD Michigan Jonathan Sugar, MD Dushyant Trivedi, MD Psychoanalytic Jefrey Urist, PhD INSTITUTE Gail van Langen, PhD David Votruba, PhD & Margaret Walsh, PhD Elisabeth Weinstein, MD SOCIETY Mark Ziegler, PhD

For change that lasts. Learn more about us. www.mpi-mps.org

Join us for cocktails and dinner at our two Ann Arbor restaurants for a spectacular meal after the Celebrating performance. Serving steaks cut in our own 137 Successful Seasons market, Knight’s famous prime rib, falling-off-the-bone ribs, burgers, proud supporter of seafood, salads, daily specials, “home-baked” bread and desserts. Knight’s Steakhouse 600 East Liberty • 734/887-6899 535 W. WILLIAM STREET, SUITE 400S • ANN ARBOR, MICHIGAN 48103 2324 Dexter Avenue • 734/665-8644 P: 734.222.4776 • F: 734.222.4769 www.jaffelaw.com Open Daily 11 a.m. to Midnight - Liberty St. Preferred Seating Available ANN ARBOR • SOUTHFIELD • DETROIT • NAPLES www.Knightsrestaurants.com BE PRESENT FALL 2015 27 Winkelman Schwimmer Susan Snyder Linda Spector Pam Tabbaa Elaine Tetreault Janet Torno Martha Williams Sarajane Terra Webster Willacker Amy Kathy Rich Nan Richter Audrey Carol Sennef Shy P. Arlene Snyder Elena Ren Snyder Lester Monts Melody Racine Sidonie Smith Wilcox Emily

Roedenbeck Roedenbeck Maloof La Fountain- Stokes Karen Karen Pancost Ruth Petit Julie Picknell Susan Pollans Anne Preston Jef Reece Michael Lee Lewis Gloria Machida Laura Katie Malicke Rita Malone Valerie Patti McCloud Terry Meerkov Mulay Barbara Magda Munteanu Jane Nyman Marjorie Oliver Palms Betty Katie Mann Naomi Norman Peet Michelle Yael Rothfeld Shivers Sarena Wayne Laura Daniel Klionsky Lawrence Dolan Dort Ye Na Kim Russell Larson Jane Holland Allison Jordon Carol Kaplan Nancy Karp Kaye Barbara Kendra Kerr Freddi Kilburn Sharon Peterson Peterson Sharon J. Edwards Gloria Christina Ferris Zita Gillis Joan Grissing Hale Stephanie Judy Cohen Jon Desenberg Susan DiStefano Kilburn Annemarie Colleen Conway Deller Amy Tia Farrell Dayna Lang Janet Callaway Kathy Churchill Linda Gregerson Marjorie Horton Joel Howell Martha S. Jones Brown Callahan Connie Rizzolo Rizzolo Connie Chang Richard Arlene Barnes Arlene Astrid Beck Gail Bendit Corry Berkooz Pat Bantle Past Chair Sassa Akervall Secretary Wendy K. Zellers Treasurer William Shell Chair Vice Karen Bantel support, and assist in countless other ways. ways. other countless in assist and support, Louise Taylor Chair UMS Ambassadors UMS the champion UMS, of goals the advance Ambassadors nancial f UMS secure and provide engagement, community through mission Rose Marie Marie Rose Robin Bailey Borders Ann Marie Deb Brzoska Jennifer Burton and new opportunities for learning in the K-12 classroom. The following following The classroom. K-12 the in learning for opportunities new and 2015: May in participated individuals UMS K-12 Think Tank UMS K-12 Think and educators K-12 together brings UMS tank, think annual an resources, Through changing trends, of aware stay us help to administrators Philip J. Deloria Gillian Eaton Michigan. Michigan. Mark Clague Croft Clare As part of the UMS Mellon Initiative on Arts/Academic Integration, this this Integration, Arts/Academic on Initiative Mellon UMS the of part As of University programming our integrate to f on opportunities the sta UMS advises group of life academic the into systematically and deeply more UMS Faculty Insight Group Insight Faculty UMS millercanfield.com BE PRESENT FALL 2015 29

Simmons

Scott Hanoian Scott & Director Music Conductor Arianne Abela Conductor Assistant Kathleen Operhall Manager Chorus Nancy Heaton Librarian Chorus Jean Schneider Accompanist VanOrnum Scott Accompanist Anné Renforth Services Ticket Coordinator Anna Services Ticket Assistant Manager Willie Sullivan Front-of-House Coordinator Bruce Carter, Dennis Oshaben, Brian Roddy Head Ushers U M S C H O R AUNION L TICKET OFFICE Christina Bellows Services ManagerTicket Megan Boczar AssistantOfce Ticket McBride Katherine & Sales Group Coordinator Promotions Miller Ellen Ofce/Front-of- Ticket House Assistant

Senior Programming Programming Senior Manager Liz Stover Rosenthal Manager Programming Senior Manager of Digital Digital of Manager Senior Media P R O G R A M M IP N R G O D & U C T I O N Michael J. Kondziolka Programming of Director Jef rey Beyersdorf Director Production Gay Alex Coordinator Production Anne Grove Manager Services Artist Mark Jacobson Community Programs Programs Community Manager M A R K E T I N GCOMMUNICATIONS & Billmann Sara & Marketing of Director Communications Jesse Meria Production Video Specialist Odom Annick Coordinator Marketing Anna Prushinskaya E D U C AT I O NCO & M M U N I T Y ENGAGEMENT Leija James P. & Education of Director Community Engagement Shannon Fitzsimons Engagement Campus Specialist Teresa C. Park Education Coordinator Roeder Mary

Campaign Director and of Director Associate Gifts Major Development, Manager of Volunteers & Manager Volunteers of Special Events Mary A. Walker Associate Director of Director Associate Foundation Development, Relations & Government Cindy Straub Rachelle Lesko Manager Fund Annual Lisa Murray Michiko Associate Director of Director Associate Corporate Development, Partnerships & Major Gifts Esther Barrett Coordinator Development Craig Susan Bozell DEVELOPMENT Marnie Reid of Director Interim Development John Peckham Systems Information Manager Administrator Patricia Hayes Financial Manager Kathy Brown Brown Kathy Assistant Executive Jenny Graf Systems Tessitura President President John B. Kennard, Jr. Administration of Director A D M I N I S T RFINANCE AT I O N & Fischer C. Kenneth works hard to inspire individuals and enrich communities by by communities enrich and individuals inspire to hard works f Sta UMS The connecting audiences and artists in uncommon and engaging experiences. UMS Staff UMS Trusted financial advisors to Ann Arbor and the university community for more than 30 years.

Ann Arbor | 734-769-7727 | risadvisory.com © 2015 Retirement Income Solutions is an Independent Investment Advisor BE PRESENT FALL 2015 31 Romani Geiringer Beutler Stout Alexander Janet Netz Newman Eric and Ines Storhok Virginia and Gordon Nordby and Gordon Virginia Pollack Eleanor $5,000–$14,999 John and Anderson Barbara John and Lillian Back Steve and Bantel Karen J. Frederick and A. Suzanne Tim and Robin Damschroder Derr Michele Larson and Russ Ann Martin Palms and Betty Steve Dan and Nicoli Sarah Lois Stegeman Systems Stout andJohn GailW. Ferguson Karen and David Stutz Dody Viola $15,000–$24,999 Suzan and Michael Linda and Ronald Benson Valerie and David Canter Michael Frank and Sara Wendy and Ted Lawrence rey MacKie-Mason and and MacKie-Mason rey f Je FoundationMartin Family Barney Jan and M. Haskell Edman Foundation P.L.C. and Stone, Morelock Family and the Sarns Sarns Darling Howell Norman and Debbie Herbert Carl and Charlene Herstein Jerry and Dale Kolins Jane Schulak and Edward Dennis and Ellie Serras E. Watkins Glenn Marina and Bob Whitman B. Zelenock Gerald $25,000–$49,999 Carol Amster Cheryl Cassidy Junia Doan John R. Edman and Betty B. H. Garavaglia Barbara Trust H. Gershenson Charles Glendon Anne and Paul Mohamad Issa/Issa Issa/Issa Mohamad Paddock eld, f Can Miller, L. Donald Mrs. and Mr. David and Moy-Sarns Agnes Gil Omenn and Martha Tim and Sally Petersen Power Phil and Kathy and Doug Rothwell Sharon Joel and Samuelson Linda $50,000–$74,999 Essel and Menakka Bailey Daniel and Barbara Balbach Penny and Ken Fischer Geltner and Gerson Beverley

Crowley A. McGinn Forrest Askwith Kenner Foundation Foundation Family Foundation $75,000–$99,999 David and Phyllis Herzig Nancy and James Stanley Ron and Eileen Weiser Sheila and Wicha Max Wilhite Ann and Clayton Wallis Cherniack Klein Laura and Leichtman David Norma and Dick Sarns Stephen and Rosamund Rosamund and Stephen Gutow Susan and Richard Emily W. Bandera W. Emily Dennis Dahlmann Dort and Dallas Sharon $100,000–$499,999 Anonymous Patti and Askwith Bert The Andrew W. Mellon Mellon W. Andrew The Stern F. Helmut and J. Candis Foundation The Wallace Eugene and Emily Grant $500,000 OR MORE $500,000 Carl Cohen Forsyth H. Ilene Frankel Stuart and Maxine CAMPAIGN CO-CHAIRS CAMPAIGN and Maxine Frankel Stanley James To help ensure the future of UMS, the following donors have made gifts gifts made have donors following the UMS, of future the for ensure donors help these To to grateful are We campaign. Michigan for Victors the to commitments. their Campaign Gifts and Multi-Year Pledges and Multi-Year Gifts Campaign Generous Generous Donors Classical Listen online at Music www.wgte.org

NPR News Listen on the radio at & WGTE FM 91.3 Toledo WGLE 90.7 Lima WGBE 90.9 Bryan WGDE 91.9 Defance

since 1992 Contemporary Food $MBTTJD
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#BS Locally Owned 316 S. State Street @ North University Our Ann Arbor Attorneys: 734-994-4004 Cheryl Chandler Edward Lynch Gary Eller William McCandless www.redhawkannarbor.com Sharon Kelly Michael Miller Veronique Liem Edward Stein revive soups • custom salads • classic sandwiches replenish essential groceries • beer & wine 619 East University @ Zaragon Place 734-332-3366 · www.revive-replenish.com BE PRESENT FALL 2015 33 UMS Endowment Fund UMS Endowment Fund Endowment The Wallace Fund Endowment Family The Zelenock Charles A. Sink Endowment Fund A. Sink Endowment Charles Herbert E. and Doris Sloan Endowment Fund James and Nancy Stanley Endowment Fund Fund Endowment Susan B. Ullrich Ottmar Eberbach Funds Ottmar Eberbach Palmer Endowment Fund Music Appreciation Fund Mary R. Romig-deYoung Fund Endowment Education K-12 and Amnon Rosenthal Prudence Frances Mauney Lohr Choral Union Endowment Fund Natalie Matovinović Endowment Fund Medical Community Endowment Fund Fund Endowment Miller and Janet Robert Dr. Fund NEA Matching JazzNet Endowment Fund Fund Endowment William R. Kinney Experiences Student for Endowment Klein Cherniack Wallis Fund Endowment Shakespearean Kolins Jerry and Mrs. Dr. Susan and Richard Gutow Renegade Ventures Endowment Fund Endowment Ventures Renegade Gutow Susan and Richard Fund Endowment C. Hall N. and Katherine George Norman and Debbie Herbert Endowment Fund David and Phyllis Herzig Endowment Fund Epstein Endowment Fund Endowment Epstein Fund Endowment Ticket Student Forrest and Rosamund Stephen Ilene H. Forsyth Endowment Choral Union,Funds for Chamber Arts, and Theater James Garavaglia Theater Endowment Fund Fund Endowment Glendon Anne and Paul Hal and Ann Davis Endowment Fund Dallas and Sharon Dort Endowment Fund Fund Endowment Foundation Charitable Doris Duke John R. and Betty B. Edman 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 deepest appreciation to the many donors who have established and/or and/or established have who donors many the to appreciation deepest funds: following the to contributed Fund Endowment and Bonnie Ackley H. Gardner The success of UMS is secured in part by income from UMS endowment endowment UMS from income by part in secured is UMS of establish success or The fund endowment existing an to contribute may You funds. our extend We $25,000. gift of with a minimum endowment a named Endowed Funds Endowed 15

16 SEASON BEETHOVEN FESTIVAL with GARRICK OHLSSON September 19 Hill Auditorium

ROMANTIC MENDELSSOHN TCHAIKOVSKY “ITALIAN” October 24 November 7 Michigan Theater Michigan Theater

MOZART HOLIDAY POPS BIRTHDAY BASH December 11 January 16 Hill Auditorium Michigan Theater

HARP MAGIC THE PLANETS March 12 April 9 Michigan Theater Michigan Theater

Ann Arbor Symphony Orchestra ­ÇÎ{®Ê™™{‡{nä£ÊÊUÊÊ>2so.com BE PRESENT FALL 2015 35 Mr. and Mrs. Ronald G. Zollar G. Ronald and Mrs. Mr. David Parsigian Politano Irena Pollack Eleanor Dennis M. Powers and Mrs. Mr. Michael Radock and Mrs. Mr. Ricketts Jack and Mrs. Mr. Prue and Ami Rosenthal J. Sklenar Irma Solomon Art and Elizabeth Solt W. Richard Spencer Hildreth Eric and Ines Storhok Louise Taylor Roy and JoAn Wetzel Wilhite Ann and Clayton Max Wicha and Sheila Crowley Marion Wirick Marilyn G. fJe s M. Kinnear Constance Thomas C. and Diane Kirkpatrick Kolins Jerry and Mrs. Dr. Frank Legacki and Alicia Torres Leo and Kathy Legatski LeSueur Richard Robert and Pearson Macek Susan McClanahan McDonald Grif and Pat Joanna McNamara Newman Barney and Jan M. Haskell Len Niehof O’Dell Frederick and Mrs. Dr. For more information, please call 734.764.8489 or visit ums.org/support. UMS Development Development UMS Ave 881 N. University MI 48109-1011 Ann Arbor, community. send gift to: Please UMS excites the imagination, sparks creativity, sharpens collaboration, collaboration, sharpens creativity, sparks imagination, the the excites only UMS that ways in us connects and thinking, of ways new world-class inspires deliver to UMS enable will size any of gift Your our for can. arts opportunities educational outstanding create and performances How to Make a Gift to Make How Debbie and Norman Herbert and Norman Debbie Heydon Rita and Peter Hicks Martha and John fer Ho Gideon and Carol Beverley and Gerson Geltner and Gerson Beverley Barbour Carol Sid Gilman and Dr. Dr. Glendon Anne and Paul Glicksman Thea and Elliot Mary C. Crichton Penny and Ken Fischer Fisher Susan Ruth Meredith L. and Neal Foster Gelehrter Thomas and Barbara Pat and George Chatas Clark Alden John and Mrs. Mr. Carl Cohen Cotzin Alan and Bette Mr. and Mrs. W. Howard Bond Howard W. and Mrs. Mr. E. Borondy Pal and Mrs. Mr. Bryant Everitt Barbara Lou and Janet Callaway Rodney and Joan Bentz Kathy Benton and Robert Brown Linda and Maurice Binkow Bishop S. Elizabeth Carol and Herb Amster AndersonNeil P. G. Anderson David and Mrs. Dr. Catherine S. Arcure R. Baker K. and Laurence Barbara Anonymous f Agrano and Raquel Bernard Allemang Mike We are grateful to the following donors for including UMS in their in their UMS including for donors the following to grateful are We UMS for to fnancial support will provide gifts These plans. estate come. to generations Planned Gifts/Bequests Planned 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 ums.org.

PRODUCERS U-M Third Century Initiative CONCERTMASTERS ($500,000 OR MORE) Ron and Eileen Weiser ($5,000–$9,999) Ilene H. Forsyth # Max Wicha and Sheila Crowley Michael Allemang and Janis Bobrin Eugene and Emily Grant Family Ann and Clayton Wilhite Carol Amster Foundation Barbara A. Anderson and John H. University of Michigan VIRTUOSOS Romani ($10,000–$19,999) Ann Arbor Automotive DIRECTORS Jerry and Gloria Abrams Anonymous ($100,000–$499,999) includes gift in honor of John M. Linda and Ronald Benson Anonymous Nicklas Andrew and Lisa Bernstein Carl and Isabelle Brauer Fund # Menakka and Essel Bailey # Gary Boren Ford Motor Company Fund and Bank of Ann Arbor Edward and Mary Cady Community Services Joseph A. Bartush, LS&A, Class of ‘71 Valerie and David Canter Maxine and Stuart Frankel Bendit Foundation Cheryl Cassidy Foundation Rachel Bendit and Mark Bernstein Comerica Bank Karl V. Hauser # Maurice and Linda Binkow Anne and Howard Cooper The Andrew W. Mellon Foundation Carl Cohen Junia Doan University of Michigan Health System Jim and Patsy Donahey Faber Piano Institute The Wallace Foundation Penny and Ken Fischer Randall and Nancy Faber Anne and Paul Glendon David and Jo-Anna Featherman SOLOISTS David and Phyllis Herzig Barbara G. Fleischman ($50,000–$99,999) Joel Howell and Linda Samuelson Katherine and Tom Goldberg Anonymous The Japan Foundation Norman and Debbie Herbert # Anonymous # Frank Legacki and Alicia Torres Carl and Charlene Herstein Bert Askwith and Patti Askwith Natalie Matovinović Honigman Miller Schwartz and Kenner in memory of Josip Matovinović Cohn LLP Community Foundation for MD David and Sally Kennedy Southeast Michigan McKinley Associates, Inc. in memory of Elizabeth Earhart Dance/USA Thomas and Deborah McMullen Kennedy Doris Duke Charitable Foundation McMullen Properties Jerry and Dale Kolins # DTE Energy Foundation Mrs. Robert E. Meredith # Samuel and Marilyn Krimm Masco Corporation Foundation Miller, Canfeld, Paddock and Stone Level X Talent National Endowment for the Arts P.L.C. Richard and Carolyn Lineback Linda and Stuart Nelson Mr. and Mrs. Donald L. Morelock Benard L. Maas Foundation in honor of Ken Fischer New England Foundation for the Arts Mardi Gras Fund Old National Bank Martin Family Foundation # MAESTROS Gil Omenn and Martha Darling Dan and Sarah Nicoli ($20,000–$49,999) Leslee and Michael Perstein THE MOSAIC FOUNDATION (of R. & Anonymous in honor of Margie McKinley P. Heydon) Anonymous # Tim and Sally Petersen # M. Haskell and Jan Barney Newman Emily W. Bandera, M.D. PNC Foundation Virginia and Gordon Nordby Sharon and Dallas Dort # James Read Rob and Quincy Northrup Stephen and Rosamund Forrest # Retirement Income Solutions Eleanor Pollack Barbara H. Garavaglia # Sharon and Doug Rothwell Frances Quarton in memory of Jim Garavaglia Agnes Moy-Sarns and David Sarns Corliss and Dr. Jerry Rosenberg Beverley and Gerson Geltner Jane and Edward Schulak in honor of Ken Fischer Charles H. Gershenson Trust, Dennis and Ellie Serras Prue and Ami Rosenthal Maurice S. Binkow, Trustee Gary and Diane Stahle Lynne Rosenthal Susan and Richard Gutow # Nancy and James Stanley Savco Hospitality KeyBank University of Michigan Credit Union Lois Stegeman Jefrey MacKie-Mason and Janet Netz Stanford and Sandra Warshawsky The Summer Fund of the Charlevoix Michigan Council for Arts and Cultural Robert O. and Darragh H. Weisman County Community Foundation Afairs in honor of Jean and Sidney Silber Stout Systems Philip and Kathy Power Robert and Marina Whitman John W. and Gail Ferguson Stout Norma and Dick Sarns # Gerald B. (Jay) Zelenock # Karen and David Stutz Sesi Lincoln includes gift in honor of Donald Toyota and Antoinette Morelock Bruce G. Tuchman Dody Viola

# indicates that a donation was made to support a UMS Endowment Fund 36 BE PRESENT FALL 2015 37

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

in honor of Sara Billmann Sara in honor of in honor of Jean Campbell Jean in honor of H. Regan Gallagher M.D. L. Barclay, Mel in memory of David Lebenbom in memory of Carolyn R. Zaleon includes gifts in honor of Ken Ken of honor in gifts includes Jerry of memory in and Fischer Fischer Washtenaw in honor of Candis and Helmut Helmut and Candis of honor in Stern Jean W. CampbellJean W. and Bob Lyons Camper Sally Capo Thomas and Marilou Anne Chase Patricia Chatas rey Kuras frey Billmann and Je Sara Joan Binkow John Blankley and Maureen Foley Restautent Nile Blue DJ and Dieter Boehm Bond and Margaret Howard Rebecca S. Bonnell Borgsdorf and Linda Charles Boxer and Grace Laurence R. Bozell Ralph and Mrs. Dr. Dale E. and Nancy M. Briggs David and Sharon Brooks Robert and Jeannine Buchanan Bullen and Valerie Lawrence Joan and Charley Burleigh Al Cain and Barbara Lou and Janet Callaway Foundation Dan Family Cameron Dr. and Mrs. Rudi Ansbacher Rudi and Mrs. Dr. Harlene and Henry Appelman J. Ascione Frank Dr. Ause Bob and Martha Donald and Axelson R. Elizabeth Teresa and Ayers Jonathan Patricia Bard Lisa and Jim Baker Rosalyn, Joshua, and Beth Barclay John and Ginny Bareham and Phil Berry Anne Beaubien Cecilia Benner Dr. and Berardi R. Rosemary Dr. Judy and Lewis Tann Keturah Thunder Haab Jim Toy Elise Weisbach PATRONS ($1,000–$2,499) Katherine Aldrich Alonzo and Mona Richard of Company Title American Christiane Anderson David G. and Joan M. Anderson # John Anderson McHie and Lyn Dave and Katie Andrea Anonymous Anonymous Frankie and Scott Simonds Ed and Natalie Surovell

in honor of Ken Fischer Ken in honor of Parmelee includes a gift in honor of of honor in gift a includes Morelock and Antoinette Donald Zimmerman f Reiss Ste in memory of Corbett O’Meara Beutler # Beutler Haug Gilman in honor of Margie McKinley Margie of in honor Nathaniel and Melody Rowe Bertram and Elaine Pitt Bertram Jim and Bonnie Reece ReedJohn W. fells L. Re Anthony William Nolting and Donna Donna and Nolting William Palms and Betty Steve Parsigian and David Elizabeth Judith A. Pavitt Estate of Michael G. McGuire Paul Morel and Linda Woodworth Spiegel and Joseph Morgan Virginia E. Daniel and Kay Long # Long and Kay E. Daniel Jean E. Long McCarus and Adèle Ernest Bill and McClanahan Susan Ted and Wendy LawrenceLeo and Kathy Legatski Carolyn and Paul Lichter # Lohr and Rebecca Lawrence Robert and Dannielle Hamilton Hein D. Katherine Connie and Tom Kinnear Diane Kirkpatrick Klintworth Philip and Kathryn Thomas and Barbara Gelehrter Thomas and Barbara Gilkey Bill and Ruth John Grif th Leslie and Mary Ellen Guinn Lynn and Martin Halbfnger Joan and Emil Engel Ford W. George and Michael Frank Sara M. Gates David Prof. Julia Donovan Darlow and John John and Darlow Donovan Julia and Nicholas Delbanco Elena Dobson Alice John Dryden and Diana Raimi Suzanne A. and Frederick J. J. Frederick and A. Suzanne H. Thomas and Carty M. Carolyn Jean and CaseyKen Dr. Carol Barbour and Dr. Sid Sid Dr. and Barbour Carol Dr. Bartlett Bob and Wanda Bates and Lydia Bradford Kathy Benton and Robert Brown Anonymous Fund Touring Arts Midwest John and Lillian Back Karen Bantel and Steve Geiringer LEADERS ($2,500–$4,999) Adams Jim and Barbara Alexander Michael and Suzan Dr. Carl Winberg Carl Dr. David Leichtman and Laura A. Lauren and Gareth Williams Tom Gasloli McGinn Max and Mary Wisgerhof Renate Gerulaitis Richard LeSueur Charles Witke and Aileen Gatten David and Maureen Ginsburg # Fran Lyman The Worsham Family Foundation Ken Gottschlich and Martha Pollack Tim and Lisa Lynch Thomas and Erin Zurbuchen # Christopher and Elaine Graham John and Cheryl MacKrell Martha and Larry Gray Edwin and Cathy Marcus BENEFACTORS Dr. John and Renee M. Greden Nancy and Philip Margolis ($500–$999) Drs. Patricia and Stephen Green Debbie and David Marmor Roger Albin and Nili Tannenbaum Raymond Grew in honor of Karen and David Stutz Christine W. Alvey Werner H. Grilk W. Harry Marsden Neil P. Anderson in memory of Warren L. Hallock Howard L. Mason Anonymous Steven and Sheila Hamp Mary M. Matthews Sandy and Charlie Aquino Alan Harnik and Prof Gillian Feeley- Jerry A. and Deborah Orr May # Penny and Arthur Ashe Harnik W. Joseph McCune and Georgiana Laurence R. and Barbara K. Baker Martin D. and Connie D. Harris M. Sanders Reg and Pat Baker Dr. Don P. Haefner and Dr. Cynthia Grif and Pat McDonald Barbara and Daniel Balbach # J. Stewart James H. McIntosh and Elaine K. David and Monika Barera Helen C. Hall Gazda Astrid B. Beck Stephen Henderson Margaret McKinley Rodney and Joan Bentz Kay Holsinger and Douglas C. Wood Bert and Kathy Moberg James K. and Lynda W. Berg Jim and Colleen Hume Lester and Jeanne Monts Peggy and Ramon Berguer Ann D. Hungerman Moscow Philanthropic Fund in honor of Jim and Nancy Stanley Isciences, L.L.C. John and Ann Nicklas L. S. Berlin and Jean McPhail Hank and Karen Jallos Susan and Mark Orringer # Raymond and Janet Bernreuter Mattias Jonsson and Johanna Elisa A. Ostafn William and Ilene Birge Eriksson Lisa and John Peterson Ron and Mimi Bogdasarian Don and Sue Kaul Pfzer Foundation R.M. Bradley and C.M. Mistretta David H. and Gretchen Kennard Juliet S. Pierson Joel Bregman and Elaine Pomeranz John Kennard and Debbi Carmody Susan Pollans and Alan Levy Charles C. Bright and Susan Crowell Paul and Dana Kissner Stephen and Bettina Pollock Susan and Oliver Cameron Jean and Arnold Kluge Rick and Mary Price Thomas and Colleen Carey Barbara and Ronald Kramer Jef Reece Brent and Valerie Carey Mary L. Kramer Ray and Ginny Reilly Jack and Susan Carlson in honor of Ken Fischer Malverne Reinhart Barbara Mattison Carr Gary and Barbara Krenz Huda Karaman Rosen Andrew Caughey MD and Jane Fryman Laird Victor Strecher and Jeri Rosenberg Shelly Neitzel MD Joan and Melvyn Levitsky Herbert and Ernestine Ruben Tsun and Siu Ying Chang Jennifer Lewis and Marc Bernstein Craig and Jan Ruf Samuel and Roberta Chappell James and Jean Libs Karem and Lena Sakallah John and Camilla Chiapuris Marty and Marilyn Lindenauer Maya and Stephanie Savarino Reginald and Beverly Ciokajlo Rod and Robin Little Erik and Carol Serr Mark Clague and Laura Jackson Joan Lowenstein and Jonathan Trobe Janet Shatusky Judy and Malcolm Cohen Brigitte Maassen Alyce Sigler Jon Cohn and Daniela Wittmann William and Jutta Malm Carl Simon and Bobbi Low Arnold and Susan Coran Melvin and Jean Manis Nancy and Brooks Sitterley Paul Courant and Marta Manildi Susan Martin Michael Sivak and Enid Wasserman Katherine and Cliford Cox Judythe and Roger Maugh Barbara Furin Sloat Cliford and Laura Craig # Martha Mayo and Irwin Goldstein Ren and Susan Snyder John and Mary Curtis Margaret and Harris McClamroch Linh and Dug Song Roderick and Mary Ann Daane Jordan McClellan Cheryl Soper Linda Davis and Bob Richter Bill and Ginny McKeachie Michael B. Staebler and Jennifer R. in honor of Ken Fischer Semyon and Terry Meerkov Poteat David Deromedi Bernice and Herman Merte Ted St. Antoine in memory of Nancy Deromedi Fei Fei and John Metzler Virginia E. Stein # Andrzej and Cynthia Dlugosz Lee Meyer Eric and Ines Storhok Karen Yamada and Gary Dolce Dr. James M. Miller and Dr. Rebecca Dalia and Stan Strasius Ed and Mary Durfee H. Lehto Charlotte Sundelson James F. Eder Lewis and Kara Morgenstern Louise Taylor Barbara and Tony Eichmuller Lisa and Steve Morris Louise Townley Alan S. Eiser Brian and Jacqueline Morton Jef and Lisa Tulin-Silver Phil and Phyllis Fellin Drs. Louis and Julie Jafee Nagel Susan B. Ullrich # Carol Finerman Marylen S. Oberman Jack and Marilyn van der Velde Susan Fisher Elizabeth Ong Douglas and Andrea Van Houweling Scott and Janet Fogler M. Joseph and Zoe Pearson Joyce Watson and Marty Warshaw David Fox and Paula Bockenstedt Jean and Jack Peirce Harvey and Robin Wax Christopher Friese Wesen and William Peterson includes a gift in honor of Penny in honor of Jerry Blackstone Diana and Bill Pratt Fischer Carol Gagliardi and David Flesher Wallace and Barbara Prince

38 BE PRESENT FALL 2015 39

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

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

Foundation in memory of Angela Welch Angela in memory of Miller Rueter Schilperoort in memory of Leon Cohan Leon in memory of Robert and Mary Baird Pat Bantle Helen and David Aminof Ralph and Elaine Anthony Lisa and Armstrong Scott Aupperle Eric and Nancy Rosemary and John Austgen Ann Arbor Area Community Community Area Arbor Ann Anonymous f Agrano Raquel and Bernard Diane M. Agresta Dr. Judith Abrams Jan and Sassa Akervall Allardyce Carol and Gordon James and Catherine Allen Catherine M. Andrea Richard and Kathryn Yarmain Kathryn and Richard Zelnik Thomas and Karen ASSOCIATES ($250–$499) Thomas K. Wilson Wise and Mary Lawrence Wolf Robert and Mrs. Dr. Mary Jean and John Yablonky James B. White and Mary F. JamesWhite B. White and Mary F. Kathy White # Whitehouse Iris and Fred Diane Widzinski Elizabeth A. and David C. Walker A. and David Elizabeth Wasserman Arthur and Renata George and Webster Deborah Lyndon Welch Doris H. Terwilliger Ted and Eileen Thacker Turcotte Claire UrbaJoyce and David Kinsella Wagener and David Nelson Erika Linda Spector and Peter Jacobson Leslie Stainton and Steven Whiting Stillwagon Allan and Marcia Nancy Barbas and Jonathan Sugar Lindley and Mark Sandy Talbott Bruce M. Siegan Bruce Edward and Kathy Silver Sue and Don Sinta Henry and Sorensen Cynthia Christopher Kendall and Susan Kendall Christopher David Schmidt and Jane Myers Schriber Ann and Tom Matthew Shapiro and Susan Garetz Linda and Sahn Leonard Mariam Sandweiss Sarkar Ashish and Norma Doug and Nancy Roosa Nancy Doug and David Lampe and Susan Rosegrant Rosenbaum Stephanie Rosenfeld and Edie Richard Nancy Rugani Peter Railton and Rebecca Scott Marnie Reid Barbara and Michael Lott Floretta Reynolds Paul and Judith Spradlin Bruce Loughry Guy and Kathy Rich Daniel and Susan Stepek Martin and Jane Maehr Douglas and Robin Richstone James L. Stoddard Susan C. Guszynski and Gregory F. Jessica C. Roberts Cynthia Straub Mazure Dr. and Mrs. Jonathan Rodgers Brian and Lee Talbot Joanna McNamara and Mel Guyer Dr. Stephen Rosenblum and Dr. May Ling Tang Frances McSparran Rosalyn Sarver Carolyn and Frank Tarzia Gerlinda S. Melchiori Rosemarie Haag Rowney Eva Taylor Warren and Hilda Merchant Carol Rugg and Richard Denise Thal and David Scobey Dennis J. Merrick and Judith H. Mac Montmorency Bill and Marlene Thomas Scott and Julie Merz Eugene Saenger, Jr. John G. Topliss Louise Miller Amy Saldinger and Robert Axelrod Donald Tujaka Gene and Lois Miller Irv and Trudy Salmeen Alvan and Katharine Uhle John and Sally Mitani in honor of Pat Chapman Karla and Hugo Vandersypen Candy Mitchell Michael and Kimm Sarosi Michael Van Tassel Arnold and Gail Morawa Albert J. and Jane L. Sayed James and Barbara Varani Trevor Mudge and Janet Van Jochen and Helga Schacht Virginia O. Vass Valkenburg Mark Schlissel Brad L. Vincent Gavin Eadie and Barbara Murphy Betina Schlossberg Jack Wagoner, M.D. Thomas J. Nelson Regan Knapp and John Scudder Mary Walker and David Linden Gayl and Kay Ness Larry and Bev Seiford Charles R. and Barbara H. Wallgren # Richard and Susan Nisbett Suzanne Selig Bob and Liina Wallin Eugene and Beth Nissen Ms. Harriet Selin Jo Ann Ward Laura Nitzberg Elvera Shappirio Alan and Jean Weamer Christer and Outi Nordman Laurence Shear Richard and Madelon Weber # Arthur S. Nusbaum William and Christina Shell MaryLinda and Larry Webster Constance Osler Patrick and Carol Sherry Mr. and Mrs. Richard Weiermiller Mohammad and J. Elizabeth Othman George and Gladys Shirley Jack and Carol Weigel Karen Pancost Jean and Thomas Shope Lisa and Steve Weiss William and Hedda Panzer Andrew and Emily Shuman Mary Ann Whipple Donna D. Park Nina Silbergleit Nancy P. Williams Karen Park and John Beranek Terry M. Silver in honor of Katie Stebbins Lisa Payne Robert and Elaine Sims Robert J. and Anne Marie Willis Sumer Pek and Mickey Katz-Pek Scott and Joan Singer John and Pat Wilson Melvin and Sharon Peters Loretta Skewes Robert Winfeld Margaret and Jack Petersen Carl and Jari Smith # Beth and I. W. Winsten in honor of Jerry Blackstone Dr. and Mrs. Gregory Smith Steven and Helen Woghin Sara Jane Peth Robert W. Smith Charlotte A. Wolfe Marianne Udow-Phillips and Bill Greg Grieco and Sidonie Smith Frances Wright # Phillips David and Renate Smith Gail and David Zuk Donald and Evonne Plantinga Hanna Song and Peter Toogood Joyce Plummer Becki Spangler and Peyton Bland *Due to space restraints, tribute gifts Thomas S. Porter # Doris and Larry Sperling of $1-$249 will be recognized in the Nancy Powell Jim Spevak online donor list at ums.org. Anne Preston Gretta Spier and Jonathan Rubin Karen and Berislav Primorac Jef Spindler

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2 Ann Arbor Area Community Foundation 26 Michigan Psychoanalytic Institute and 34 Ann Arbor Symphony Orchestra Society 5 Center for Plastic and Reconstructive Surgery 28 Michigan Radio 8 Charles Reinhart Co. Realtors 28 Miller, Canfeld, Paddock and Stone, P.L.C. 8 Cottage Inn 30 Performance Network 8 Donaldson & Guenther 32 Red Hawk and Revive + Replenish 10 Dykema Gossett 30 Retirement Income Solutions 10 Gilmore Keyboard Festival 22 Silver Maples 22 Heinz C. Prechter Bipolar Research Fund 32 Smith Haughey Rice & Roegge 21 Honigman Miller Schwartz and Cohn LLP 4 U-M Alumni Association 10 Iris Dry Cleaners IBC WEMU 26 Jafe, Raitt, Heuer & Weiss PC 32 WGTE 26 Knight's Downtown 30 WKAR IBC = Inside back cover

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