2016-17 FALL PROGRAM

BOOK138TH SEASON // UNIVERSITY OF MICHIGAN | ANN ARBOR You have a part to play.

Uncommon Your gift will help in the following areas: and engaging ACCESS AND INCLUSIVENESS experiences. Helping make tickets more affordable. Helping create free educational events and A sense of community-building activities. Providing connection opportunities for all to experience the transformative power of the arts. between audience and artist. ENGAGED LEARNING THROUGH THE ARTS Integrating performing arts into the Moments of clarity, student experience. Creating meaningful connections between the arts and life. inspiration, and Encouraging creative thinking, collaboration, reflection. The and experimentation. performing arts BOLD ARTISTIC LEADERSHIP provide us with Commissioning work that reflects our commitment to tradition and innovation. these elemental Solidifying and elevating our position as experiences, a recognized national and international artistic leader. Unique and bold offering a shortcut programming. to our creative As a Leader and Best among arts presenters, selves. UMS wants anyone and everyone, students and community alike, to experience the transformative power of the performing arts. We seek generous partners who want to help us achieve our goal.

UMS.ORG/SUPPORT Visit us online or call the UMS Development 734.764.8489 Office to make your gift today. BE PRESENT

Be Present

UMS unleashes the power of the FALL 2016 performing arts in order to engage, educate, transform, and connect individuals with uncommon experiences. The Fall 2016 season is full of exceptional, world-class, and truly inspiring performances.

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

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

nonprofit ARTS +CULTURE = ECONOMIC

PROSPERITYin the greater Ann Arbor Area $100 million annually

Together, we invest in our local community’s vibrancy.

Ann Arbor Area Community Foundation aaacf.org BE PRESENT FALL 2016 3 STEPHEN R. FORREST R. STEPHEN UMS Board of Directors Chair,

MARK SCHLISSEL MARK University of Michigan President,

performance. 138th season, one joining us in our you’re delighted that We’re UMS as we celebrate significant change by will be marked that leadership 30 years of transformative Ken Fischer’s President work. superlative and welcome a new president to continue Ken’s retirement in mind This Ken’s season has been planned with and includes several exciting, diverse, and engaging events that are particularly him. As meaningful for expected, in addition to program UMS has a robust you’ll see on stage, education what serving also oversees the 175-voice and ages people of all you welcome We UMS Choral Union. Award-winning Grammy the new at to learn more about all of our programs ums.org and by making a gift to with UMS, whetherto become engaged it’s Y for a community the Ann Arbor our campaign, joining us at or buying a ticket to a dance class with a visiting dance company, the hear from you, too! Join to eager always performance. We’re and share your thoughts after a performance theconversation at any now-easier and more-connected ums.org. And if you have Ken would becomments, questions, or concerns, we know that [email protected]. or at 734.647.1174 pleased to receive them at hope to see you again soon. We Welcome to this UMS Welcome Thanks to thousands of generous individuals, families and businesses, the Community Foundation for Southeast Michigan is a permanent source of community capital, dedicated to creating lasting positive benefit in our region. Through grantmaking, education and leadership on community issues, we help improve the quality of life for all residents of Southeast Michigan. cfsem.org. 1-888-WeEndow BE PRESENT

Table of Contents

6 2016-17 SEASON CALENDAR

9 EDUCATION

11 HISTORY FALL 2016 12 LEADERSHIP DONORS

14 CORPORATE CHAMPIONS

21 FOUNDATION, GOVERNMENT, & UNIVERSITY SUPPORT

23 PEOPLE

31 GENEROUS DONORS

5 2016-17 Season

September Dorrance Dance 9/11 Falling Up and Getting Down Jason Moran & The Bandwagon with Skateboard Masters 9/18 HD Broadcast (Almeida Theatre, London) Shakespeare’s Richard III 9/29-10/1 The TEAM: RoosevElvis 9/30 Kamasi Washington & The Next Step

November 11/12-13 Berlin Philharmonic 11/15 Gabrieli: A Venetian Coronation 1595

Kamasi Washington 11/16 Jake Shimabukuro, ukulele 11/17-20 Nora Chipaumire portrait of myself as my father October 10/8-9 Takács Quartet December Beethoven String Quartet 12/3-4 Handel’s Messiah Cycle, Concerts 1 & 2 UMS Choral Union 10/9 HD Broadcast Ann Arbor Symphony (National Theatre, London) Orchestra Terence Rattigan’s 12/4 HD Broadcast The Deep Blue Sea (Royal Shakespeare 10/13-15 Layla and Majnun Company) Mark Morris Dance Group Shakespeare’s King Lear The Silk Road Ensemble 12/10 The King’s Singers 10/16 Denis Matsuev, piano Christmas Songbook 10/20-21 Dorrance Dance

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January March 1/7-8 Batsheva Dance Company 3/4 Jazz at Lincoln Center 1/12-14 Igor and Moreno Orchestra with Idiot-Syncrasy Wynton Marsalis 1/19 Prague Philharmonia with 3/9-11 Druid Sarah Chang, violin The Beauty Queen of Andrew Von Oeyen, piano Leenane 1/20 Meredith Monk & 3/11 Beethoven’s Vocal Ensemble Missa Solemnis On Behalf of Nature 3/16 Snarky Puppy 1/21-22 Takács Quartet 3/17-18 Kidd Pivot and Beethoven String Quartet Electric Company Theatre Cycle, Concerts 3 & 4 Betroffenheit 1/29 Inon Barnatan, piano 3/18 Steve Reich @ 80 Anthony McGill, clarinet Music for 18 Musicians Alisa Weilerstein, cello 3/24 Mitsuko Uchida, piano 3/25-26 Takács Quartet February Beethoven String Quartet Cycle, Concerts 5 & 6 2/2 Bruckner Orchester Linz with Angélique Kidjo 3/29 DakhaBrakha FALL 2016 2/3 Estonian Philharmonic 3/30-4/1 Complicite Chamber Choir The Encounter 2/5 M-Prize Winner: Calidore String Quartet 2/10 Budapest Festival Orchestra with Richard Goode, piano 2/18 Ping Chong + Company Beyond Sacred: Voices of Muslim Identity 2/19 Jelly and George DakhaBrakha Aaron Diehl and Cécile McLorin Salvant April

Ping Chong + Company 4/1 Michael Fabiano, tenor Martin Katz, piano 4/12 A Far Cry with Roomful of Teeth 4/15 Sanam Marvi 4/21 King Sunny Adé 4/22 Yo-Yo Ma, Edgar Meyer & Chris Thile 4/25 Handel’s Ariodante: Opera in Concert

7 THE GILMORE 2016-2017 SEASON

PRESENTING PIANO MASTERS & RISING STARS BOX OFFICE 269.359.7311 thegilmore.org

SUPPORTING THE ARTS

As longtime patrons of the arts, Honigman and its Ann Arbor attorneys are proud to support UMS.

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

WWW.HONIGMAN.COM BE PRESENT

Education & Community Engagement

Educational experiences for everyone. FALL 2016

Taylor Mac at Engaging Performance class; photo: Peter Smith.

At UMS, our mission goes beyond performance. We want you to create, to explore, and to experience extraordinary new things. That is why we offer a fascinating lineup of artist Q&As, conversations, workshops, and interactive experiences, each designed to bring you closer to performance and creation, and to expand your comfort zone. If you want to experience something new, different, highly engaging, and eye-opening, we invite you to participate in events inside and outside of the theater.

9 WELCOME TO GRADUATE ANN ARBOR— WELCOME TOWhere your intellectual curiosity meets GRADUATE ANNyour favorite ARBOR— place to stay. Ideally located across the street from campus, Where your intellectualGraduate curiosity Ann Arbor hasmeets 204 guest rooms and over 11,000 square feet of meeting space for banquets your favorite place toand stay. events. Get ready for experiences like you’ve never had before, where little moments of surprise Ideally located across theand street discovery from meet youcampus, down each corridor and Graduate Ann Arbor has around204 guestevery corner. rooms and over 11,000 square feet of meeting space for banquets and events. Get ready for experiences like you’ve never had before, where little moments of surprise and discovery meet you down each corridor and around every corner. BE PRESENT

Tradition Builds the Future FALL 2016

In our 138th season, we continue to showcase traditional performances alongside contemporary artists for an offering that is unlike anything available in the Midwest. UMS grew from a group of local members of the University and townspeople in the 1870s who gathered together for the study of Handel’s Messiah. Led by Professor Henry Simmons Frieze and conducted by Professor Calvin Cady, the group assumed the name The Choral Union. Many Choral Union members were also affiliated with the University, and the University Musical Society was established soon after in December 1880.

Since that first season, UMS has expanded greatly and now presents the very best from a wide spectrum of the performing arts: internationally renowned recitalists and orchestras, dance and chamber ensembles, jazz and global music performers, and contemporary stagework and classical theater. Through educational programming, the commissioning of new works, youth programs, artist residencies, and collaborative projects, we continue to strengthen our reputation for artistic distinction and innovation.

Hill Auditorium opening-night audience: May 14, 1913

11 Leadership Donors

We recognize the donors who have made multi-year campaign commitments of $100,000 or more during the last year.

BERTRAM ASKWITH (1911-2015) PATTI ASKWITH KENNER “The arts made a significant difference in my father’s life and in my life, too. My father wanted every U-M student to have the opportunity to experience the impact of the performing arts at UMS. This is why I am continuing to offer every first- and second-year student one free ticket — Bert’s Ticket — to introduce them to a cultural experience at Michigan and keep my father’s passion for the arts alive.”

MAURICE AND LINDA BINKOW “Our love of opera and the human voice, rivaled only by our affection for the Brooklyn Dodgers and Jackie Robinson, began nearly 70 years ago as teenagers in New York City. That’s why we are so pleased to create an endowment that will bring song recitals to UMS audiences for generations to come.”

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

ILENE FORSYTH AND KARL HAUSER “An endowment is a gift which keeps on giving forever, so it is rewarding to know — while we are yet living — that our gift will still be giving when we’re not here.”

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

EUGENE AND EMILY GRANT “We are proud to support UMS and the many programs they offer University students. It is great to know that students will have access to the greatest performing artists from around the world. The arts are an important part of a Michigan education.”

DAVID LEICHTMAN AND LAURA MCGINN

“UMS is an inspiration — from the Big House of the Arts FALL 2016 to the master classes taught to University students by the New York Philharmonic. This organization contributes significantly to the culture of Ann Arbor and to the University we love. We are pleased to support its mission.”

STUART AND LINDA NELSON “Our connection to the University of Michigan is through our grandson’s incredible experience as a student. We are dazzled by the array of cultural events available to everyone on campus and beyond. At the heart of this phenomenon is UMS, where Ken Fischer’s legacy will continue its magic long after his retirement. We feel privileged to participate in the UMS Endowment Fund in his honor.”

MAX WICHA AND SHEILA CROWLEY “We are delighted and proud to support UMS and the rich, diverse programs they offer each season. The arts play a vital role in enhancing the quality of life in our community, while bringing beauty and meaning to everyday life. UMS is a gem we treasure and will continue to do so, for many years to come.”

13 Corporate Champions

We thank the following businesses for their commitments of $5,000 or more for the 2016–17 season.

ALICIA M. TORRES Senior Vice President & Chief Financial Officer, Altarum Institute “The arts stimulate the mind and inspire creativity. Hence, we at Altarum are thrilled to support UMS and provide inspiring and enjoyable cultural opportunities for our team and our community. Altarum Institute serves the public good by solving complex systems problems to improve human health through objective research, technology, analysis, and consulting leadership skills.”

SCOTT DAWSON Vice President of Engineering, Arbor Networks “Ann Arbor is a thriving hub for both the arts and technology. With the arts playing such a critical role fostering innovation and creativity, we are delighted to support UMS this season.”

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 firm believers that the arts are vital to the vibrancy of our cities, both culturally and economically.”

ALMAZ LESSANEWORK Owner, Blue Nile Restaurant “At the Blue Nile, we believe in giving back to the community that sustains our business. We are proud to support an organization that provides such an important service to Ann Arbor.”

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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 efforts to enrich our community by showcasing the talents of performing artists from around the world. Congratulations to the leader and best in the performing arts.”

CHRIS CONLIN President, Conlin Travel, Inc. “Conlin Travel has been a proud supporter of UMS for over 50 years. I will never forget attending one of my first UMS concerts in 1975, listening to Vladimir Horowitz perform Chopin, Rachmaninoff, Schumann, and others. UMS makes Ann Arbor the most vibrant cultural community in Michigan today.”

FAYE ALEXANDER NELSON President, DTE Energy Foundation

“The DTE Energy Foundation is pleased to support exemplary FALL 2016 organizations like UMS that inspire the soul, instruct the mind, and enrich the community.”

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

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

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Black and White Form

Ford Fund Master File Format: CMYK.EPS Ford Oval: CMYK Text: Black 6/2003 BW.EPS Black Black DAVID N. PARSIGIAN Ann Arbor Office Managing Partner, Honigman Miller Schwartz and Cohn LLP “In our firm’s tradition of supporting major cultural institutions, Honigman has been a long-time supporter of UMS. Our Ann Arbor office is proud to carry on that tradition on behalf of all of our attorneys, especially those who work and live in the Ann Arbor area. We all view the exceptional cultural experiences that UMS provides as key to the success of our community and our firm.”

JOHN AND JACKIE FARAH Owners, Imagine Fitness & Yoga “My wife Jackie and I share a deep devotion to our hometown of Ann Arbor and all the opportunities it presents. UMS is a huge part of this community. The programming that UMS offers is internationally recognized and Ann Arbor would not be the same without it. Imagine Fitness & Yoga is honored to support such a great organization and community.”

MOHAMAD ISSA Director, Issa Foundation “The Issa Foundation is sponsored by the Issa family, which has been established in Ann Arbor for the last 30 years, and is involved in local property management as well as area public schools. The Issa Foundation is devoted to the sharing and acceptance of culture in an effort to change stereotypes and promote peace. UMS has done an outstanding job bringing diverse and talented performers to Ann Arbor.”

ROBIN WEBER POLLAK President, Journeys International “Journeys International and UMS have a lot in common: we both provide opportunities for powerful and impactful experiences. Founded and based in Ann Arbor, Journeys has been crafting life- changing international travel adventures for nearly four decades. We are thrilled to support UMS and its programs that change people through the performing arts.”

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

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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 finding and attracting exceptional talent in Advanced Technology can be difficult. Level X Talent partners with our clients to meet that challenge.”

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.”

KEITH ALLMAN President and Chief Executive Officer, Masco

“Masco is proud to support UMS and salutes its commitment to FALL 2016 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!”

THOMAS B. MCMULLEN President and CEO, McMullen Properties “A Michigan-Ohio State football ticket is still the best ticket in all of sport. However, a UMS ticket always provides the best in educational and artistic entertainment.”

STEVE ARWOOD CEO, Michigan Economic Development Corporation “We are proud to support UMS, an outstanding organization bringing world-class artists to Michigan. By partnering with UMS to bring the Berlin Philharmonic to our state, we are showing once again the wide variety of offerings Michigan has that enhance our quality of life and help to make our state an amazing place to live, work, and do business.”

17 STEPHEN G. PALMS Principal, Miller, Canfield, Paddock and Stone, P.L.C. “Miller Canfield proudly supports UMS for enhancing our quality of life by bringing the unfiltered immediacy of live performing arts to our community.”

TODD CLARK Regional President, Old National Bank “At Old National Bank, we’re committed to community partnership. That’s why, last year alone, we funded over $5 million in grants and sponsorships and our associates donated almost 100,000 volunteer hours. It’s also the reason we’re pleased to once again support UMS as a corporate sponsor for the 2016–17 season.”

RICHARD L. DEVORE Detroit and Southeast Michigan Regional President, PNC Bank

“PNC Bank is proud to support the efforts of UMS and the Ann Arbor community.”

TODD KEPHART Managing Partner, Retirement Income Solutions “With strong roots in the community for more than 30 years, our team of investment advisors is proud to support UMS. We salute Ken Fischer on his marvelous stewardship and applaud his team’s ongoing commitment to presenting authentic, world-renowned artists to the Ann Arbor community.”

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

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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. FALL 2016 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 and CEO, University of Michigan Credit Union “The University of Michigan Credit Union is excited to launch “Arts Adventures” with UMS and UMMA! With this endowment, we promote the celebration of the arts through amazing experiences and exceptional learning opportunities for the entire community.”

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

MARSCHALL RUNGE Executive Vice President for Medical Affairs, University of Michigan, and CEO, University of Michigan Health System "We are proud to partner with UMS for its 2016–17 season. Music improves the quality of life for all of us, and, increasingly, is recognized as an important ingredient for better health.” Berliner Philharmoniker

Sir Simon Rattle Artistic Director

November 12–13, 2016 Hill Auditorium Ann Arbor CONTENT

Concert I Saturday, November 12, 8:00 pm 3

Concert II Sunday, November 13, 4:00 pm 15

Artists 31 Berliner Philharmoniker

Concert I

Sir Simon Rattle Artistic Director

Saturday Evening, November 12, 2016 at 8:00 Hill Auditorium Ann Arbor

14th Performance of the 138th Annual Season 138th Annual Choral Union Series This evening’s presenting sponsor is the Eugene and Emily Grant Family Foundation.

This evening’s supporting sponsor is the Michigan Economic Development Corporation.

This evening’s performance is funded in part by The Andrew W. Mellon Foundation and by the Michigan Council for Arts and Cultural Affairs.

Media partnership provided by WGTE 91.3 FM and WRCJ 90.9 FM.

The Steinway piano used in this evening’s performance 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 performance.

Special thanks to Bill Lutes for speaking at this evening’s Prelude Dinner.

Special thanks to Journeys International, sponsor of this evening’s Prelude Dinner.

Special thanks to Aaron Dworkin, Melody Racine, Emily Avers, Paul Feeny, Jeffrey Lyman, Danielle Belen, Kenneth Kiesler, Nancy Ambrose King, Richard Aaron, and the U-M School of Music, Theatre & Dance for their support and participation in events surrounding this weekend’s performances.

Deutsche Bank is proud to support the Berliner Philharmoniker.

Please visit the Digital Concert Hall of the Berliner Philharmoniker at www.digitalconcerthall.com.

The Berliner Philharmoniker appears by arrangement with Columbia Artists Management, Inc.

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 interest of saving both dollars and the environment, please either retain this program book and return with it if you attend Sunday’s performance, or return it to your usher when leaving the venue. PROGRAM

Pierre Boulez Éclat

Majella Stockhausena* / Piano Holger Groschopp* / Celesta Marie-Pierre Langlamet / Harp Franz Schindlbeck / Glockenspiel Simon Rössler / Vibraphone Detlef Tewes* / Mandolin Matthew Hunter / Guitar Luigi Gaggero*/ Cymbalom Jan Schlichte / Tubular Bells Emmanuel Pahud / Alto Flute Dominik Wollenweber / English Horn Gabor Tarkövi / Trumpet Olaf Ott / Trombone Máté Szücs / Viola Bruno Delepelaire / Cello

*Guest of Berliner Philharmoniker

Gustav Mahler Symphony No. 7 in e minor

Langsam (Adagio) — Allegro risoluto, ma non troppo Nachtmusik I: Allegro moderato Scherzo: Schattenhaft — Trio Nachtmusik II: Andante amoroso Rondo — Finale: Tempo I (Allegro ordinario) — Tempo II (Allegro moderato ma energico)

Tonight’s concert will be performed without intermission.

5 ÉCLAT (1964­–65)

Pierre Boulez Born March 26, 1925 in Montbrison, France Died January 5, 2016 in Baden-Baden, Germany

UMS premiere: This piece has never been performed on a UMS concert.

Snapshots of History…In 1965: · Martin Luther King, Jr. and 25,000 civil rights activists successfully end the four-day march from Selma, Alabama to the capitol in Montgomery · The Beatles perform the first stadium concert in the history of music, playing before 55,600 persons at Shea Stadium in New York City · West Germany and Israel establish diplomatic relations

Pierre Boulez, who passed away cimbalom, or Hungarian hammered earlier this year at the age of 90, dulcimer — occupy center stage. was, for more than 50 years, one of They all play brief sound attacks, but the defining figures of contemporary their timbres are extremely varied. classical music as a radical innovator, A second group is made up of string supreme interpreter, authoritative and wind instruments (flute, English lawgiver, and public figure of the first horn, trumpet, trombone, viola, and magnitude. When he burst on the cello), where the bow or the breath scene shortly after the end of World can considerably prolong the sound. War II, he first created a whole new The short-lived sounds of the first musical language before proceeding group are contrasted with the more to make many highly original sustained utterances of the second. statements in that language. One of the generating forces of the Éclat, a brief work for 15 instruments work is, then, the “sheer love of from the most productive period sound,” as Dominique Jameux writes in Boulez’s life, received its first in his seminal monograph on Boulez. performance in Los Angeles, on March The second fundamental idea 26, 1965, under the composer’s is the so-called open form which direction. The work is based on two preoccupied Boulez for many fundamental ideas. The first of these years. This means that not every is resonance. You are invited to single aspect of the work is 100% listen to individual sounds or groups determined by the composer; of sounds played by the various some elements are variable, so that instruments as they fade, die down, different performances of the work and are replaced by new sounds. may not be completely identical. Instruments whose resonance quickly The score of Éclat includes several disappears — piano, harp, mallet “inserts,” or musical modules which percussion, guitar, mandolin, and give the performers a number of

6 options in choosing pitches and the order in which those pitches are played. Some of the choices can be made by the individual players, others by the conductor who communicates his or her choices to the players in real time, during the performance. As Jameux put it, “these inserts give rise to a tension between conductor and players which contributes to the sparkle and mercurial brilliance of the work” — in other words, to its éclat. The French word of the title can mean either “fragment, splinter,” or else “brightness, splendor,” which is exactly how the work comes across, as a succession of bright and splendid fragments. Boulez later considered Éclat as the point of departure for a larger, more complex work and, in 1970, composed Éclat-Multiples for a larger ensemble. Yet the later version didn’t in any way supersede the more concise original formulation.

Program note by Peter Laki.

7 SYMPHONY NO. 7 IN E MINOR (“SONG OF THE NIGHT”) (1905)

Gustav Mahler Born July 7, 1860 in Kalischt, near Humpolec, Bohemia Died May 18, 1911 in Vienna

UMS premiere: San Francisco Symphony under the baton of Michael Tilson Thomas; November 2014 in Hill Auditorium.

Snapshots of History…In 1905: · The first Rotary Club is founded by four men in Chicago · Adventures of Huckleberry Finn and The Adventures of Tom Sawyer are banned from the Brooklyn Public Library for setting a “bad example” · Russia and Japan sign a treaty mediated by US President Theodore Roosevelt, ending the Russo-Japanese War

“Three night pieces; the finale, bright day. As foundation for the whole, the first movement.”

— Mahler to the Swiss critic William Ritter

Mahler began Symphony No. 7 in the to release his creative energies, middle. As a glance at the program but nothing happened. Profoundly page and Mahler’s own summary for depressed, he returned. He stepped William Ritter tells us, the structure from the train and was rowed across is symmetrical. The first and last the lake. With the first dipping of the movements — both on a large scale oars into the water, he recalled later, — flank three character pieces, which “the theme of the introduction (or are themselves symmetrical in that rather, its rhythm, its atmosphere) the first and third are each called came to me.” Nachtmusik. From that moment forward he It was with these two night musics worked like a man possessed, as that Mahler began this score in the indeed he must have been to bring summer of 1904. But with summer’s this gigantic structure under control, end, a typically busy year began for even if not finished in detail, by Mahler, whose work as Europe’s mid ‑August. His Latin message to most famous conductor occupied Guido Adler was jubilant. In English him throughout the concert season. translation, it reads: “My Seventh In June 1905, Mahler headed back to is finished. I believe this work to his summer residence at Maiernigg, be auspiciously begun and happily on the Wörthersee, to continue work concluded. Many greetings to you on his Seventh Symphony. He could and yours, also from my wife. G.M.” not find the way into the composition. Thinking about the first performance, He took off for the Dolomites, hoping Mahler considered the New York

8 Symphony, which he would be sonata‑allegro movement, adhering to conducting in the 1907–08 season, the design that afforded symphonists but soon realized that this would be from Haydn through Bruckner a broad madness in a city and a country that range of expressive possibilities. knew so little of his music. A festival Settling into a new key, he brings in in Prague to celebrate the 60th year a gorgeous theme, a highly inflected on the throne of the Emperor Franz violin melody full of yearning and Joseph provided a more suitable verve, rising to a tremendous climax, occasion. Prague offered a less than to merge into the music of the second first‑rate orchestra; on the other hand, of the three marches we have heard. Mahler had ample rehearsal time, and More such merges lie ahead. At the the worshipful young conductors — focal point of the development comes among them Artur Bodanzky, Otto what must be the most enchanted Klemperer, and Bruno Walter — who minute in all Mahler, a transformation attended the preparations recounted of the second march from focused to how, refusing all help, he used every veiled, and an ecstatic vision of the night to make revisions on the glorious lyric theme. A sudden plunge basis of that day’s experience. He of violins returns us, shockingly, to the was always the most pragmatic of slow introduction. The recapitulation composer‑conductors. has begun. It is tautly compressed. The The Nachtmusiken and the coda is fierce and abrupt. “Scherzo” made their effect at once; The opening of the first of the first and last movements were the Nachtmusiken is a minute of harder nuts to crack and in Prague preparation and search. A tremendous the reception was more respectful skid downwards through five-and-a- than enthusiastic. Mahler himself half octaves calls the proceedings to conducted the Seventh only once order. This artfully-stylized version of more, in Munich, a few weeks after the an orchestra warming up turns into a concert at Prague. It is still the least tidy presentation of the theme that has known of his symphonies. been adumbrated. The theme itself is The Seventh is a victory symphony, part march, part song, given a piquant not a personal narrative but a journey flavor by that mix of major and minor from night to day (it is sometimes we find so often in Mahler’s music. called “Song of the Night”). The In later years, the Dutch conductor focus is on nature. If the Seventh is a Willem Mengelberg said that in this Romantic symphony, one should add movement Mahler had been inspired that the “distancing” effect produced by Rembrandt’s so‑called Night by the outward‑pointing, non‑narrative Watch, but the composer Alphons character of the music can also be Diepenbrock, also one of Mahler’s perceived as Classical. Amsterdam friends, both clarified and The opening is music in which subtilized the issue: we may hear not only the stroke of oars, but the suggestion of cortege. It is not true that [Mahler] wanted actually Here Mahler carries us from a slow to depict The Night Watch. He cited the introduction into the main body of a painting only as a point of comparison.

9 [This movement] is a walk at night, and in his understanding of Mahler, gives a he said himself that he thought of it as wonderful description of the way the a patrol. Beyond that he said something second Nachtmusik begins: different every time. What is certain is that it is a march, full of fantastic chiaroscuro Heavy with passion, the violin solo falls, — hence the Rembrandt parallel. like a turtledove aswoon with tenderness, down onto the chords of the harp. For a The initial march theme is succeeded moment one hears only heartbeats. It is by a broadly swinging cello tune. Like a serenade, voluptuously soft, moist with many such themes by Mahler, this one, languor and reverie, pearly with the dew heard casually, seems utterly naïve; of silvery tears falling drop by drop from closely attended to, it proves to be guitar and mandolin. full of asymmetries and surprises of every kind. Watch for the return of this Those instruments, together with the tune, even more lusciously scored harp, create a magical atmosphere. and with a new counter-theme in the After these four so differentiated woodwinds. Distant cowbells become night scenes comes the brightness part of the texture, alluding to the Sixth of day, with a thunderous tattoo Symphony, in which they play such a of drums to waken us. Horns and prominent part. Suddenly that great bassoon are the first instruments to tragedy‑in‑music intrudes even more be roused, and they lead the orchestra as a fortissimo trumpet chord of C Major in a spirited fanfare whose trills put droops into minor. This sound of major it on the edge of parody. Mahler’s falling into minor is the expressive and humor gave trouble to many of his first sonorous signature of the Sixth. The listeners. Sometimes he maneuvers string figurations collapse, there is a so near the edge of parody or of irony stroke of cymbals and tam-tam, and that, unless you know his language then nothing is left but a cello harmonic and his temperament, it is possible and a ping on the harp. to misunderstand him completely, Mahler’s direction for the next for example to mistake humor for movement, the “Scherzo,” is ineptness. Few listeners here will fail to “schattenhaft,” literally “like a be reminded of Die Meistersinger. shadow” but perhaps better rendered But what is that about? Again, Ritter as “spectral.” Drums and low strings understood right away, pointing out disagree about what the opening that Mahler never quotes Wagner but note should be. Notes scurry about, “re‑begins” the Overture to take it cobwebs brush the face, and witches far beyond. The triumphant C-Major step out in a ghostly parody of a waltz. “Finale” is itself a kind of cliché The “Trio” is consoling — almost. The stemming from the Beethoven Fifth “Scherzo” returns, finally to unravel and transmitted by way of the Brahms and disintegrate. First and, much more significantly for The first Nachtmusik was a nocturnal this context, Die Meistersinger. Mahler patrol, the second is a serenade that uses Die Meistersinger as a symbol Mahler marks “Andante amoroso.” for a good‑humored victory finale. William Ritter, nearly alone in his time Other Meistersinger references occur,

10 for instance the chorale to which the prize song is baptized, and even the deceptive cadence to which Wagner frequently resorts to keep the music flowing. This “Finale” is a wild and wonderful movement. The Meistersinger idea turns out to be a whole boxful of ideas that, to an adroitly and wittily inventive builder like Mahler, suggest endless possibilities for combining and recombining, shuffling and reshuffling. To the city-square music of Mahlerized Meistersinger he adds stomping country music. No part of the harmonic map is untouched, while the rhythms sway in untamed abandon. Then we hear music we have not heard for a long time —­ the fiery march from the first movement. Or rather, we hear a series of attempts to inject it into the proceedings. Just as we think the attempt has been abandoned, the drums stir everything up again, and finally the theme enters in glory.

Program note by Michael Steinberg.

Please turn to pages 31-35 for complete artist biographies and an orchestra roster.

Photo (next spread): Berliner Philharmoniker; photographer: Stefan Höderath.

11 12 13

Berliner Philharmoniker

Concert II

Sir Simon Rattle Artistic Director

Sunday Afternoon, November 13, 2016 at 4:00 Hill Auditorium Ann Arbor

15th Performance of the 138th Annual Season 138th Annual Choral Union Series This afternoon’s presenting sponsor is the Eugene and Emily Grant Family Foundation.

This afternoon’s supporting sponsor is the Michigan Economic Development Corporation.

This afternoon’s performance is funded in part by The Andrew W. Mellon Foundation and by the Michigan Council for Arts and Cultural Affairs.

Media partnership provided by WGTE 91.3 FM and WRCJ 90.9 FM.

Special thanks to Tom Thompson of Tom Thompson Flowers, Ann Arbor, for his generous contribution of lobby floral art for this afternoon’s performance.

Special thanks to Aaron Dworkin, Melody Racine, Emily Avers, Paul Feeny, Jeffrey Lyman, Danielle Belen, Kenneth Kiesler, Nancy Ambrose King, Richard Aaron, and the U-M School of Music, Theatre & Dance for their support and participation in events surrounding this weekend’s performances.

Deutsche Bank is proud to support the Berliner Philharmoniker.

Please visit the Digital Concert Hall of the Berliner Philharmoniker at www.digitalconcerthall.com.

The Berliner Philharmoniker appears by arrangement with Columbia Artists Management, Inc.

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. PROGRAM

Arnold Schoenberg Five Pieces for Orchestra, Op. 16

Premonitions The Past Colors / Summer Morning by a Lake Peripeteia The Obbligato Recitative

Anton Webern Six Pieces for Orchestra, Op. 6b

Langsam Bewegt Mäßig Sehr mäßig Sehr langsam Langsam

Alban Berg Three Pieces for Orchestra, Op. 6

Prelude Round Dance March

The first three pieces on this afternoon’s program are played attacca (without pause). Please withhold your applause until the end of the first half of this afternoon's concert.

Intermission

Johannes Brahms Symphony No. 2 in D Major, Op. 73

Allegro non troppo Adagio non troppo — L’istesso tempo, ma grazioso Allegretto grazioso (quasi andantino) — Presto ma non assai — Tempo primo — Presto ma non assai — Tempo primo Allegro con spirito

17 FIVE PIECES FOR ORCHESTRA, OP. 16 (1909, ORIGINAL VERSION)

Arnold Schoenberg Born September 13, 1874 in Leopoldstadt, Vienna Died July 13, 1951 in Los Angeles, California

UMS premiere: Philadelphia Orchestra under the baton of Robert Craft; May 1964 in Hill Auditorium.

Snapshots of History…In 1909: · Joan of Arc is beatified in Rome · The last US troops leave Cuba after being there since the Spanish- American War of 1898 · The Indianapolis Motor Speedway opens in the US

Music has traditionally been analyzed more and more composers realized according to three basic components that timbre was just as fundamental in or “parameters”: rhythm, melody, and determining sound as were the other harmony. These have been examined in parameters. Changing the orchestration great detail over a long period of time, so of a note is just like changing its pitch that we can evaluate every innovation or its duration. The four wind chords in these domains against a firm at the beginning of Mendelssohn’s background of traditional expectations. Midsummer Night’s Dream Overture are There is more to musical experience, not just “orchestrations” of pitches; however, than rhythm, melody, and having them played by the strings harmony. Timbre, or tone color, is would be tantamount to creating a another important component. We all different composition. The same is true know that the sound of the violin is of the horn solo in the finale of Brahms’ very different from that of the clarinet, Symphony No. 1 or the flute solo in but we lack the exact vocabulary to Debussy’s Prelude to the Afternoon of a describe that difference.1 The art of Faun — these are not “orchestrations” orchestration depends on a recognition in the usual sense of the word but and exploitation of various tone colors, examples of a fully emancipated but the very word “orchestration” may treatment of tone color. suggest that first comes the sound, Thus, Schoenberg, when formulating defined only by duration and pitch, and the theory of Klangfarbenmelodie in a next stage it is “orchestrated,” that (melody of tone colors) in his is, assigned to a particular instrument. book Harmonielehre (A Treatise on In the 19th and early 20th centuries, Harmony, 1911), was merely drawing

1 Since 1945, great efforts have been made to quantify those differences by measuring the varying ratios of the harmonics that make up the sound of each instrument. This work has important applications in electronic and computer music, but in traditional instrumental composition, timbre has rarely reached the level of organization that the other parameters have achieved.

18 conclusions from many years of But the musical material through which previous developments. The idea of these procedures are realized have Klangfarbenmelodie is realized most irrevocably changed. In his book on fully in the third of the Five Pieces, Op. Schoenberg, pianist and musicologist 16, but timbre is a crucial element in the Charles Rosen has written perceptively working out of the entire cycle, written about these changes: in 1909. The whole composition was conceived as a succession of tone Between Mozart and Schoenberg, what colors, in addition to being a succession disappeared was the possibility of using of rhythms, pitches, and harmonies. large blocks of prefabricated material in Even though Schoenberg used music…. Scales and arpeggios were treated rational procedures in developing the as units, as were a whole range of accom- Klangfarbenmelodie concept (as well paniment figures. The common language as, later, the technique of serialism), let in music was, in essence, the acceptance it not be forgotten that his rationalizing of such very large units at certain strategic was always controlled by his feelings. As points — in general, the ends of sections, or he himself wrote in the Harmonielehre: cadences. By the end of the 19th century, these In composing, my decisions are guided blocks of prefabricated material were no solely by what I sense: my sense longer acceptable to composers with styles of form. This it is that tells me what I must as widely variant as Debussy, Schoenberg, write, everything else is ruled out. Each and Scriabin. To employ these blocks of chord I introduce is the result of a compul- material resulted immediately in pastiche: sion; a compulsion exerted by my need for giving them up, however, led to a kind of expression, but perhaps also the compul- panic. It seemed as if music now had to be sion exerted by a remorseless, if uncon- written note by note…. The renunciation of scious, logic in the harmonic construction. the symmetrical use of blocks of elements in working out musical proportions placed The Five Pieces for Orchestra, like the weight on the smallest units, single Schoenberg’s other works from the intervals, short motifs. same period, the Fifteen Songs on Poems by Stefan George (1908–09) In Schoenberg’s music, then (and, to or the opera Erwartung (1909), are an even greater degree, in Webern’s), permeated by feeling and expression. these smallest units carry the same Moreover, some of the ways feelings weight as much longer formal sections are expressed are entirely traditional. A (phrases, periods, etc.) did in the 18th rhythmic ostinato (constantly returning and 19th centuries. And they achieve rhythmic pattern) that gets ever their effect in large part precisely louder, for example, expresses growing through their sound color, like in the tension. A piano melody on a solo wind muted cello theme with which the piece instrument indicates tender or nostalgic begins, or the short theme repeated sentiments. The changes of tempo over and over again by the celesta in the and dynamics and the alternation of second movement. solo and tutti passages work much the same way as they do in earlier music.

19 In 1912, Schoenberg was asked by the first introduced by the cellos. Within publisher C. F. Peters to provide titles a relatively short time, the volume for each of the work’s five movements. increases from piano to fortissimo and Schoenberg commented in his diary: then recedes back to piano, only to conclude with a forte restatement of Letter from Peters, making an appointment the ostinato theme, truly suggesting a with me for Wednesday in Berlin, in order menace or a disquieting premonition. to get to know me personally. Wants titles II. The Past: Schoenberg did not use for the orchestral pieces — for publisher’s the normal word for “past” which would reasons. Maybe I’ll give in, for I’ve found have been “Vergangenheit,” but another titles that are at least possible. On the member of the same word family whole, unsympathetic to the idea. For the which could perhaps be rendered as wonderful thing about music is that one can “Something Past.” The movement has say everything in it, so that he who knows a certain idyllic quality to it, with most understands everything; and yet one hasn’t of the themes having piano and legato given away one’s secrets — the things one characteristics. doesn’t admit even to oneself. But titles give III. Colors/Summer Morning by a you away! Besides, whatever was to be Lake2: In a footnote printed in the score, said has been said by the music. Why then Schoenberg wrote: words as well? If words were necessary they would be there in the first place. But art It is not the conductor’s task in this piece says more than words. Now, the titles which to bring into prominence certain parts that I may provide give nothing away, because seem to him of thematic importance, nor to some of them are very obscure and others tone down any apparent inequalities in the highly technical.... However, there should combinations of sound. Wherever one part be a note that these titles were added for is to be more prominent than the others it technical reasons of publication and not to is so orchestrated and the tone is not to be give a “poetic” content. reduced. On the other hand, it is his busi- ness to see that each instrument is played I. Premonitions (everybody has those) with exactly the intensity prescribed for II. The Past (everybody has that, too) it — that is, in its own proportion, and not in III. Chord‑Colors (technical) subordination to the sound as a whole. The IV. Peripeteia (general enough, I think) changes of chords must occur so smoothly V. The Obbligato Recitative (perhaps better that the entrances of the individual instru- the “fully developed” or the “endless”) ments are not emphasized; the changes should be noticed only through a change in I. Premonitions: This movement is tone color. based on two ideas: the short theme on the muted cellos mentioned above, and a vigorous rhythmic ostinato, also

2 There are several published versions of this movement’s title (in addition to some unpublished ones). In the first edition, it bears no title at all (like all the other movements). A revised edition from 1922 has “Farben”; in the 1925 arrangement for chamber orchestra (by Felix Greissle) this becomes “Farben (Sommermorgen an einem See).” Finally, Schoenberg’s own 1949 version with reduced orchestration, published posthumously in 1952, reverses the order of the two parts of the title and shifts the parenthesis: “Summer Morning by a Lake (Colors) — Sommermorgen an einem See (Farben).”

20 The title “Summer Morning by a stands for a free and unrestrained Lake” was explained by Schoenberg’s musical form, while “obbligato” means pupil and first biographer, the the exact opposite, implying rigorous composer and musicologist Egon structure and compliance with rules Wellesz, in the following way: “This (“obligations”). The combination of change of chords, which runs through the two words was an attempt on the entire [movement] without any Schoenberg’s part to express that development of theme…produces an within a musical form that was “free” effect comparable with the quivering (that is, not bound by any pre‑existent reflection of the sun on a sheet of rules), he wanted to be specific and water. The piece owes its origin to precise. The movement has a fairly such an impression at dawn on the regular rhythmic pulse, derived from Traunsee.” Richard Hoffmann, who was waltz patterns. This led one textbook Schoenberg’s assistant during the last author to call the piece, perhaps with a years of the composer’s life, disclosed bit of oversimplification, “a slow waltz, that the 32nd figures played by the redolent of Viennese nostalgia.” No flutes and piccolos represented a fish doubt, there are traces of the waltz in jumping out of the water. this movement. But the articulation is The whole movement is extremely free and recitative‑like, far removed from quiet and peaceful. Most often, the symmetry of a dance. As Dahlhaus instruments have rests after each pointed out, “The Obbligato Recitative” note they play, and every note of the is an early example of what Schoenberg melodies is played by a different later came to call “musical prose,” or a instrument. This music is impossible to musical style based on asymmetrical perform without intense listening to one groupings of basic rhythmic motives. another’s parts. “Farben” became one And Dahlhaus concluded, “The piece is of the most influential works in 20th- loose and rigorous at the same time.” century music, inspiring generations of From the program note for the first younger composers. performance in London, 1912, comments IV. Peripeteia: This word means “a by Walter Krug: sudden turn of events or an unexpected reversal,” and is most frequently This music seeks to express all that associated with Greek drama. dwells in us subconsciously like a dream; Accordingly, this movement is the most which is a great fluctuant power, and is built dramatic of the five, characterized upon none of the lines that are familiar to by sudden contrasts, wide‑interval us; which has a rhythm, as the blood has melodies, and mostly forte dynamics. its pulsating rhythm, as all life in us has its V. The Obbligato Recitative: This rhythm; which has a tonality, but only as the title is the most mysterious of all, and sea or the storm has its tonality; which has musicologist Carl Dahlhaus devoted harmonies, though we cannot grasp or ana- an entire article to its interpretation. lyze them nor can we trace its themes. All its “Recitative,” defined by the Harvard technical craft is submerged, made one and Dictionary of Music as “a vocal style indivisible with the content of the work. designed to imitate or emphasize the natural inflections of speech,” here Program note by Peter Laki.

21 SIX PIECES FOR ORCHESTRA, OP. 6 (1910, REDUCED VERSION FROM 1928)

Anton von Webern Born December 3, 1883 in Vienna Died September 15, 1945 in Mittersill, Austria

UMS premiere: Vienna Symphony Orchestra under the baton of Wolfgang Sawallisch; February 1964 in Hill Auditorium.

Snapshots of History…In 1910: · Henry Ford sells 10,000 automobiles · George V becomes King of the United Kingdom of Great Britain and Ireland upon the death of his father, Edward VII · The Union of South Africa is created

Anton Webern entered the University to compose in any other way. Having of Vienna in 1902 completing his had leftist sympathies, he lost all his doctorate on the works of Heirich public position when the Nazis came Adler in 1906. While at the university, to power. The composer was shot and he had two encounters that had an killed in error by a soldier who mistook important bearing on his later work. him for a black marketeer after the First, he studied composition with end of the World War II hostilities, Arnold Schoenberg, from whom leaving a total acknowledged output he learned 12-tone composition of about three hours’ duration. techniques. His other significant Even in his early works, as in the encounter was with the music Six Pieces for Orchestra, Webern of the 15th and 16th century executed his ideas with incredible Flemish masters; their complicated persistence. Like Schoenberg, contrapuntal style can be observed he turned persistently towards at different levels in Webern’s own atonalism and even more so than works. Along with their colleague his mentor, continued to use it in his Alban Berg, Webern and Schoenberg later works. In Webern’s eyes, the originated what now is called the copiously orchestrated romanticism “Neo-Viennese” school of serial of Wagner’s followers was a thing of composition, which has had such a bygone era. Webern’s ideal concept a far-reaching influence upon the rested upon an infinitely refined and development of 20th century music. extremely concentrated orchestration, Webern recognized that the 12-note a condensed expression, suggestive principle sanctioned a severity and of a musical shorthand. The result virtuosity of polyphony that he could was the extreme shortness of his compare with that of the Renaissance individual works — the longest of masters he had studied. Unlike the Six Pieces for Orchestra has no Schoenberg, he never again sought more than 40 measures. The work

22 is not yet expressed in the terms of the 12-tone system, and no efforts to oppose the disintegration process with a new synthesis are noticeable. The Six Pieces are experiments of a different type: they serve to discover new melodic lines, new tonal combinations, and particularly timbre, a new dimension of composition at that time. Timbre had been explored earlier, but only as finery, ornament, or addition. Webern used timbre here as an integral element of musical structure. The first performance of the Six Pieces for Orchestra took place on March 31, 1913 at a concert in Vienna, which turned into one of the most famous scandals in history. Schoenberg, to whom the work is dedicated, conducted. A riot broke out during Berg’s Altenberg Lieder which followed, and police intervention led to a premature termination of the concert. The Six Pieces were performed for the first time in the United States on October 25, 1957 with William Steinberg conducting the Pittsburgh Symphony. Webern also arranged his Opus 6 for a reduced orchestra in 1928; additionally there is an unpublished arrangement by the composer for flute, oboe, clarinet, harmonium, piano, percussion, and string quartet.

Program note by Ileen Zovluck, Columbia Artists Management, Inc.

23 THREE PIECES FOR ORCHESTRA, OP. 6 (1913–15, REVISED VERSION FROM 1929)

Alban Berg Born February 9, 1885 in Vienna Died December 24, 1935 in Vienna

UMS premiere: Metropolitan Opera Orchestra under the baton of James Levine; April 1991 in Hill Auditorium.

Snapshots of History…In 1915: · Baseball player Babe Ruth hits his first career home run · The prototype military tank is first tested by the British Army · The one-millionth Ford car rolls off the assembly line at the River Rouge Plant in Detroit

Alban Berg first heard of Arnold three years later began his studies Schoenberg in 1904 when with Schoenberg; at the same time Schoenberg placed an ad in a Vienna he also met Webern, who would be newspaper seeking students. The a lifelong friend to Berg. These three relationship that resulted from this men would cause quite a commotion advertisement provided Berg with a with their music in Vienna and, led mentor and father figure, and more by Schoenberg, would implement importantly, with a composition changes in music that would alter its teacher from whom he learned course for all-time. The audiences’ 12-tone techniques. Schoenberg response to these changes were is perhaps best known as the sometimes less than favorable: In first composer who abandoned March 1913, in Vienna, Schoenberg conventional tonality for a style called conducted a concert which included “pantonality” by him, and “atonality” the premieres of Berg’s first orchestral by others. Along with their colleague works, Nos. 2 and 4 of the Altenberg Anton Webern, Berg and Schoenberg songs. The performance resulted in originated what now is called the one of the worst riots over music in “Neo-Viennese” school of serial. the history of the city. (This method of composition involves Berg’s early compositions had using all the semitones of the scale in consisted of songs, piano works, the formation of a “tone-row” which and some chamber music. In 1912, provides the motivic basis of a given he decided that he wanted to write piece; in strict serialism, no tone can something on a bigger scale — a be repeated until the other 11 have symphony or perhaps an orchestral been sounded.) suite. In 1914 he began to compose At the age of 15 Berg started the Orchestrestücke, which he composing, although at an earlier intended to present for Schoenberg’s age he wanted to be a poet, and 40th birthday (September 13, 1914).

24 Completed in 1915, the work was of the time by Arthur Schnitzler. Its neither a symphony nor a suite, but subject was 10 dialogues of sordid rather a combination of both. sexual encounters and glimpses Berg’s Three Pieces for Orchestra, Op. of Berg’s opera Lulu can certainly 6, are scored for large orchestra with be perceived. The final “March” is generous percussion resources and the longest and most powerfully- with strings divided into five sections. developed instrumental movement Dedicated to Schoenberg, they are achieved by any of the three essentially post-Romantic, despite composers/friends in their years of their extreme chromaticism, unusual free atonality. The March is grand in chord progression, and considerable style, imaginative, and certainly not dissonance. The “Prelude” is colorful without chaos. and impressionistic. It grows out of The Three Pieces for Orchestra, the sound of unpitched percussion, Op. 6 were heard for the first time settling around ‘E-flat,’ and offers in their entirety on April 14, 1930 in some thematic development before Oldenburg. Previously, Webern had retreating to its beginnings. The conducted Nos. 1 and 2 in Berlin in second movement, “Round Dance” June of 1923. contains both a waltz and a Ländler, both coexisting in a synthesis of the Program note by Columbia Artists old and the new. Interestingly, Reigen Management, Inc. was also the name of a notorious play

25 SYMPHONY NO. 2 IN D MAJOR, OP. 73 (1877)

Johannes Brahms Born May 7, 1833 in Hamburg, Germany Died April 3, 1897 in Vienna

UMS premiere: Chicago Symphony Orchestra under the baton of Theodore Thomas; November 1901 in University Hall.

Snapshots of History…In 1877: · Henry Ossian Flipper becomes the first African American cadet to graduate from the US Military Academy · Russia declares war on the Ottoman Empire · Thomas Edison announces his invention of the phonograph, a machine that can record sound, considered Edison’s first great invention

It took Brahms almost 20 years to triumphant trumpet fanfares of the complete his Symphony No. 1. After the closing measures resemble the end successful premiere of that work in of the “Egmont” Overture, one of the November 1876, however, the ice was most glorious examples of Beethoven’s broken, and the Second Symphony heroic style. was written in a single summer the In fact, Symphony No. 2 describes following year. a rather unique emotional curve, Symphony No. 2 is usually from a soft-spoken and lyrical, considered an “idyllic” work indeed somewhat pastorale-like first (musicologist Reinhold Brinkmann movement to this exuberant ending, has called his book-length study with a melancholy “Adagio” and a of the symphony Late Idyll). Yet the graceful “Allegretto” in between. In usual cliché about Symphony No. 2, addition, each movement departs that it is Brahms’s “Pastorale,” is just from its basic character to encompass as misleading as the one about his others that are sometimes very First, which was called “Beethoven’s different from the initial ones; so Tenth” (meaning some kind of it would be hard to attach a single continuation of the Ninth, on account descriptive label to the symphony. of the last movement’s main theme, The first movement is mostly gentle which is reminiscent of the “Ode and sweet, and contains some of to Joy” melody). It is true that the Brahms’s warmest melodic thoughts. Second is the happiest of the four But there are some “dim and Brahms symphonies, but there is no spectral effects,” as Karl Geiringer programmatic intent as in Beethoven’s called them in his classic Brahms Symphony No. 6. Also, the rhythm of monograph, right at the beginning the first movement’s opening theme of the symphony, as the trombones recalls, if anything, the first theme and tuba (the latter not used in any of of Beethoven’s “Eroica,” and the the other Brahms symphonies) make

26 their presence felt by their somber time, the 2/4 meter of the Trio is chordal progressions, punctuated changed to 3/8. The final repeat of by soft timpani rolls. Brahms “rocks the “Allegretto” theme is somewhat the boat” in particular by introducing extended, with a digression to a a series of rhythmical irregularities: remote key; a beautiful, bittersweet the martial dotted rhythms, which new idea appears in the violins just Brahms used with some frequency before the end. in his work, are distinguished in this The finale begins in a subdued case by the asymmetry between piano as a unison melody; harmonies the two halves of the phrase. In and counterpoint are added later the development section there are as the full orchestra enters and the moments of intense drama, but the volume increases to forte. The broad recapitulation eases these tensions second theme is played by violins and the coda even adds a gentle and violas in parallel sixths. The smile as one of the themes receives development section opens by the a new accompaniment by pizzicato main theme in its original form, giving (plucked) strings. the impression for a moment that the The second-movement “Adagio non whole movement is starting all over troppo” (the only full-fledged adagio in again. Soon, however, the music takes the Brahms symphonies) begins with a new turn and a true development an expansive cello melody that does not follows, progressing towards a true obey any classical rules of articulation; anti-climax, getting slower and softer the listener may never be sure when and finally reaching a mysterious the phrase will come to a rest. After the moment with mere melodic fragments melody has been repeated in a fuller are played by the winds over tremolos instrumentation, a haunting horn solo of the strings. The recapitulation is leads into a more animated middle shortened and contains many subtle section, culminating in a dense forte changes; but it brings back all the passage. The recapitulation that follows important thematic material and leads still seems to be under the spell of the into the rousing trumpet fanfare that excitement that has not completely concludes the symphony. passed, and includes a second outburst After hearing the symphony, the of emotions after which the movement composer’s longtime friend, the dies away with a brief clarinet solo and eminent surgeon and accomplished a soft orchestral chord. amateur musician Theodor Billroth The third movement is a lyrical exclaimed: “How beautiful it must intermezzo, similar to the analogous be at Pörtschach!” Billroth knew movement in Brahms’s Symphony that the piece had been written at No. 1. The alternation of two the resort on the Wörthersee (Lake contrasting thematic materials of Wörth) in the Austrian province (ABABA) is an idea borrowed from of Carinthia; Brahms spent three scherzo form. The “B” section consecutive summers there between (or Trio) is in a faster tempo than 1877 and 1879. There is no doubt that the opening allegretto, and its theme the beauty of the lake surrounded by is a variant of the latter. The second mountains exerted a strong influence

27 on him, and some of the similarity in tone between Symphony No. 2 and the Violin Concerto, completed at Pörtschach the following year, can probably be ascribed to the genius loci. The premiere, conducted by Hans Richter on December 30, 1877, was one of Brahms’s greatest triumphs; the third movement had to be repeated. The enthusiastic reception of his Symphony No. 2 marked the beginning of Brahms’s reconciliation with his native city.

Program note by Peter Laki.

28

UMS Education & Community Engagement

Berliner Philharmoniker — Ann Arbor Residency Activities

Sunday, November 13

Presentation on the Orchestra In conjunction with the Berliner Academy of the Berliner Philharmoniker’s concert Philharmoniker residency, members of the 9–10:00 am Orchestra Academy of the Berliner Location is listed on www.ums.org. Philharmoniker (all of whom are players in the orchestra) will offer a range of instrumental master Instrumental Master Classes classes and presentations for U-M School of Music, Theatre 10:10 am–12:00 noon & Dance (SMTD) students on Musicians and locations are listed on Sunday, November 13. Most of www.ums.org. these activities will be open to the public for observation. Please note, classrooms have limited Presentation on the Berliner capacity and observers will be Philharmoniker’s Digital seated on a first-come, first- Concert Hall served basis. Most classes will 12:10–1:00 pm take place in the SMTD Moore Britton Recital Hall Building on U-M’s North Campus (1100 Baits Drive). ARTISTS

Sir Simon Rattle has been chief conductor awarded the Spanish Premio Don Juan of the Berliner Philharmoniker and artistic de Borbón de la Música; the gold medal director of the Berlin Philharmonie since “Gloria Artis” from the Polish Ministry September 2002. In the concert hall and of Culture; and the Order of Merit of the opera house, Simon Rattle’s extensive Federal Republic of Germany. Furthermore, repertoire covers compositions ranging in 2010, he was also inducted into the Order from the Baroque era to contemporary of Knights of the French Legion of Honor. In music. Maestro Rattle is also principal guest February 2013, Maestro Rattle was awarded conductor of the Orchestra of the Age of the Léonie Sonning Music Prize from the Enlightenment and works with leading Danish Léonie Sonning Music Foundation orchestras on both sides of the Atlantic. in Copenhagen, and in December 2013, Even before taking up his post as principal he was appointed Member of the Order of conductor, Maestro Rattle had already Merit by Queen Elizabeth II. collaborated regularly with the Berliner In January 2013 Maestro Rattle Philharmoniker for 15 years. Of the many announced that he would not renew his recordings he has made with the orchestra, contract as chief conductor of the Berliner several have received prestigious awards. Philharmoniker after it expires in 2018. In All of these releases were recorded live at March 2015, he announced his appointment the Philharmonie. as music director of the London Symphony Born in Liverpool in 1955, Maestro Rattle Orchestra beginning in September 2017. studied at London’s Royal Academy of Music. He was 25 when he began his close Founded in 1882 as a self-governing body, association with the City of Birmingham the Berliner Philharmoniker has long been Symphony Orchestra (CBSO), initially as esteemed as one of the world’s greatest principal conductor and artistic adviser, orchestras. Sir Simon Rattle has served as its then — up until the 1998 season — as artistic director since September 2002. their musical director. His tireless work The orchestra gave its first concert on and visionary artistic projects helped to October 17, 1882 under conductor Ludwig turn the CBSO into one of the world’s top- von Brenner, who was chosen by the ranking orchestras. musicians themselves. Five years later, One of Maestro Rattle’s special passions impresario Hermann Wolff, the orchestra’s is for bringing the work and music of financial manager from its inception, the Berliner Philharmoniker to young engaged as its new chief Hans von people of the most diverse social and Bülow, who rapidly brought the Berliner cultural backgrounds. To that end, he has Philharmoniker into the first rank of German established the Education Program of the ensembles. Under the leadership of Arthur Berliner Philharmoniker, which enables the Nikisch (from 1895–1922), the orchestra’s orchestra to pursue new approaches to repertoire grew substantially, embracing promulgating its music. works by Bruckner, Tchaikovsky, Mahler, For this commitment, as well as for his Strauss, Ravel, and Debussy. After Nikisch’s artistic work, Maestro Rattle has won many death, the 36-year-old Wilhelm Furtwängler awards: in 1994, he received a knighthood became the orchestra’s new principal from Queen Elizabeth II; in 2009, he was conductor. His specialties were classicism

31 and German romanticism, but he also for creative development while ensuring included in his programs contemporary the ensemble’s economic viability. The compositions by Stravinsky, Schoenberg, foundation enjoys the generous support of Bartók, and Prokofiev. Immediately after Deutsche Bank, its principal sponsor. One the war, when Furtwängler was forced focus of this sponsorship is the Education to relinquish his position, Leo Borchard Program, initiated when Sir Simon Rattle took was appointed conductor. Through a the helm, by which means the orchestra is tragic misunderstanding in August 1945, now reaching an ever wider and younger Borchard was shot by an American audience. In recognition of this commitment, sentry. His successor was the young the Pressestelle Berliner Philharmoniker and Romanian conductor Sergiu Celibidache. its artistic director Sir Simon Rattle were Furtwängler was formally allowed to return named UNICEF Goodwill Ambassadors, the as principal conductor in 1952 following his first time that distinction had ever been denazification. Also dating from the postwar bestowed upon an artistic ensemble. years was the founding in 1949 of the Its partnership with Deutsche Bank Society of Friends of the Berlin Philharmonie, enabled the orchestra to launch its innovative which was instrumental in the building of Digital Concert Hall in January 2009, which the orchestra’s new home and continues to broadcasts the Berliner Philharmoniker’s support the Philharmonie and the activities concerts live over the internet. In spring of the Berliner Philharmoniker. 2012, the Berliner Philharmoniker gave its last Upon Furtwängler’s death in 1954, performance at the Salzburg Easter Festival. Herbert von Karajan became the orchestra’s In spring 2013, the orchestra started with a permanent conductor and artistic director. new festival tradition: the Easter Festival of In the ensuing decades he worked with the Berliner Philharmoniker in Baden-Baden. the orchestra to develop a unique tonal In May 2014 the Berliner Philharmoniker quality and performing style that made the released one of the most important musical Berliner Philharmoniker famous all over projects in recent years on their newly the world. Claudio Abbado, appointed the launched label, Berliner Philharmoniker orchestra’s chief conductor in October 1989, Recordings: the complete symphonies of devised an approach contrasting traditional Robert Schumann, conducted by Sir Simon programs with thematic cycles that included Rattle. This release marks the first time contemporary works alongside classical the orchestra has been responsible for the pieces. An increased number of chamber technical and editorial presentation of its recitals and concert performances of opera recordings. The most recent production lent further distinction and variety to the published in April 2016 includes recordings of orchestra’s activities. all the Beethoven symphonies with Sir Simon With Sir Simon Rattle’s appointment, the Rattle in an exclusive hardcover edition on orchestra succeeded not only in recruiting five CDs and three Blu-ray discs as HD video, one of the most successful conductors of the in uncompressed audio resolution and DTS younger generation, but also in introducing a surround sound. further series of important innovations. The During an orchestra assembly on June 21, conversion of the orchestra into the Berliner 2015 Kirill Petrenko was elected by a large Philharmoniker Foundation under public law majority of the members of the Berliner provided up-to-date structural conditions, Philharmoniker as the chief conductor allowing a broad range of opportunities designate of the orchestra.

32 UMS ARCHIVES

The Berliner Philharmoniker made its UMS debut on March 15, 1955 in Hill Auditorium under conductor Herbert von Karajan, who appeared with the Philharmoniker three more times in Ann Arbor over the following decade. After a hiatus of almost 35 years, the Philharmoniker returned to UMS in October 1999 and again in October 2001 under the baton of Claudio Abbado. The Philharmoniker most recently appeared in Ann Arbor in November 2009 conducted by Sir Simon Rattle in his UMS debut. This weekend’s performances mark the Philharmoniker’s eighth and ninth appearances under UMS auspices, and Maestro Rattle’s second and third UMS appearances.

33 BERLINER PHILHARMONIKER

Sir Simon Rattle, Chief Conductor

First Violins Violas Flutes Noah Bendix-Balgley Amihai Grosz Mathieu Dufour First Concertmaster First Principal Principal Daishin Kashimoto Máté Szűcs Emmanuel Pahud First Concertmaster First Principal Principal Daniel Stabrawa Naoko Shimizu Prof. Michael Hasel First Concertmaster Principal Jelka Weber Andreas Buschatz Micha Afkham Egor Egorkin Concertmaster Julia Gartemann Piccolo Zoltán Almási Matthew Hunter Maja Avramović Ulrich Knörzer Oboes Helena Madoka Berg Sebastian Krunnies Jonathan Kelly Simon Bernardini Walter Küssner Principal Alessandro Cappone Ignacy Miecznikowski Albrecht Mayer Madeleine Carruzzo Martin von der Nahmer Principal Aline Champion-Hennecka Allan Nilles Christoph Hartmann Felicitas Clamor-Hofmeister Neithard Resa Andreas Wittmann Luiz Felipe Coelho Joaquín Riquelme García Dominik Wollenweber Laurentius Dinca Martin Stegner English Horn Luis Esnaola Wolfgang Talirz Sebastian Heesch Clarinets Aleksandar Ivić Cellos Wenzel Fuchs Rüdiger Liebermann Bruno Delepelaire Principal Kotowa Machida First Principal Andreas Ottensamer Alvaro Parra Ludwig Quandt Principal Krzysztof Polonek First Principal Alexander Bader Bastian Schäfer Martin Löhr Walter Seyfarth Dorian Xhoxhi Principal Manfred Preis Olaf Maninger Bass Clarinet Second Violins Principal Christian Stadelmann Richard Duven Bassoons First Principal Rachel Helleur Daniele Damiano Thomas Timm Christoph Igelbrink Principal First Principal Solène Kermarrec Stefan Schweigert Christophe Horak Stephan Koncz Principal Principal Martin Menking Mor Biron Holm Birkholz David Riniker Markus Weidmann Philipp Bohnen Nikolaus Römisch Václav Vonášek Stanley Dodds Dietmar Schwalke Contrabassoon Cornelia Gartemann Knut Weber Amadeus Heutling Horns Marlene Ito Double Basses Stefan Dohr Christoph von der Nahmer Matthew McDonald Principal Raimar Orlovsky First Principal Stefan de Leval Jezierski Simon Roturier Janne Saksala Fergus McWilliam Bettina Sartorius First Principal Paolo Mendes Rachel Schmidt Esko Laine Georg Schreckenberger Armin Schubert Principal Sarah Willis Stephan Schulze Martin Heinze Andrej Žust Christoph Streuli Michael Karg Eva-Maria Tomasi Stanisław Pajak Romano Tommasini Peter Riegelbauer Edicson Ruiz Gunars Upatnieks Janusz Widzyk Ulrich Wolff

34 Trumpets Chairmen Gábor Tarkövi Ulrich Knörzer Principal Knut Weber Tamás Velenczei Principal Media Chairmen Guillaume Jehl Stanley Dodds Martin Kretzer Olaf Maninger

Trombones Orchestra Committee Prof. Christhard Gössling Alexander Bader Principal Raphael Haeger Olaf Ott Matthew McDonald Principal Nikolaus Römisch Thomas Leyendecker Stephan Schulze Jesper Busk Sørensen Prof. Stefan Schulz Bass Trombone

Tuba Alexander von Puttkamer

Timpani Rainer Seegers Wieland Welzel

Percussion Raphael Haeger Simon Rössler Franz Schindlbeck Jan Schlichte

Harp Marie-Pierre Langlamet

Celesta Holger Groschopp*

Guitar Matthew Hunter

Mandolin Detlef Tewes*

*Guest of Berliner Philharmoniker

35 THIS WEEKEND’S VICTORS FOR UMS: Eugene and Emily Grant Family Foundation — Michigan Economic Development Corporation — The Andrew W. Mellon Foundation — Michigan Council for Arts and Cultural Affairs

Supporters of this weekend’s performances by the Berliner Philharmoniker.

MAY WE ALSO RECOMMEND...

1/19 Prague Philharmonia 2/2 Bruckner Orchester Linz 2/10 Budapest Festival Orchestra

Tickets available at www.ums.org.

ON THE EDUCATION HORIZON...

11/12–13 Berliner Philharmoniker Residency (Various locations, please visit www.ums.org for details.)

11/19 You Can Dance: Nora Chipaumire (Ann Arbor Y, 400 W. Washington Street, 2–3:30 pm)

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

Foundation, Government, & University Support

UMS gratefully acknowledges the support of the following private foundations, government agencies, and University of Michigan units:

$500,000 The Andrew W. Mellon Foundation and above

$20,000– Anonymous The William Davidson Foundation

$499,000 FALL 2016

$5,000– Charles H. Gershenson Trust The Seattle Foundation $19,999 University of Michigan Third Century Initiative

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There are many ways to get involved: ushering at performances, hanging posters around town, representing UMS at community events, helping to implement new and existing programs, and so much more. ARTS.UMICH.EDU Visit ums.org/volunteer to Follow @umicharts learn more about volunteer opportunities and how you can join team UMS! BE PRESENT

People

Those who work to bring you UMS performances each season

Falling Up and Getting Down at Ann Arbor Skatepark; photo: Doug Coombe.

UMS Board of Directors FALL 2016 The UMS Board of Directors is a group of elected volunteers devoted to the performing arts and to our community. Their hard work ensures that UMS is able to offer outstanding performances year after year.

Stephen R. Forrest Janet Callaway Jeanice Kerr Swift Chair Mark Clague Ann Arbor Public Schools Christopher Conlin Superintendent Sarah Nicoli Lisa D. Cook Vice Chair A. Douglas Rothwell Monique Deschaine Chair, Corporate Council Rachel Bendit Aaron P. Dworkin Secretary Tiffany L. Ford Stephen G. Palms Past Board Chair Tim Petersen Katherine Goldberg Treasurer Richard F. Gutow Bruce Tuchman Kevin P. Hegarty Chair, National Council Stephen Henderson Daniel Herwitz William Shell Timothy R. Johnson Chair, Advisory Committee Christina Kim James C. Stanley Frank Legacki Maxine J. Frankel Donald L. Morelock Campaign Co-Chairs Agnes Moy-Sarns David Parsigian Martha E. Pollack Mark S. Schlissel Linh Song Gail Ferguson Stout Victor J. Strecher Karen Jones Stutz

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

24 BE PRESENT

UMS National Council The UMS National Council is composed of U-M alumni and performing arts enthusiasts across the country committed to supporting, promoting, and advocating for UMS with a focus on ensuring that the performing arts are an integral part of the student experience.

Bruce Tuchman Eugene Grant James A. Read Chair Charles Hamlen Herbert Ruben Katherine D. Hein James and Nancy Stanley Andrew Bernstein Patti Kenner Matthew VanBesien Kathleen G. Charla Wallis C. Klein Christian Vesper Jacqueline Davis Jerry and Dale Kolins Ann and Clayton Wilhite Marylene Delbourg-Delphis David Leichtman John Edman Stephen R. Forrest Laura McGinn Janet Eilber Ex-Officio Jordan Morgan Barbara Fleischman Caroline Nussbaum Maxine Frankel

UMS Corporate Council The UMS Corporate Council is a group of regional business leaders who serve as advocates and advisors to UMS as we seek to broaden our base of

corporate support throughout southeastern Michigan. FALL 2016

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

UMS Students Students in our volunteer internship and work-study program gain valuable experience in all areas of arts management while contributing greatly to UMS’s continued success.

Maryam Ahmed Teagan Faran* Shenell McCrary* Jocelyn Aptowitz Taylor Fulton Gunnar Moll Genan Bakri Trevor Hoffman Westley Montgomery Madisen Bathish Olivia Johnson Rennia Rodney Tal Benatar Sarah Kavallar Jacob Rogers Zoey Bond* Ayantu Kebede Heather Shen Sophia Brichta Meredith Kelly Joey Velez Linda M. Burns Caitlyn Koester Diane Yang Claire Crause* Bridget Kojima Hyelin Yang Kathryn DeBartolomeis Jakob Lenhardt Jewel Drigo Ania Lukasinski *21st Century Artist Interns

25 Ask one of us how you, or someone you Love better. love, can achieve a fuller, richer life. Carol Barbour, PhD Work better. Ron Benson, MD Meryl Berlin, PhD Robert Cohen, PhD Live more fully. Susan E. Cutler, PhD Psychoanalysis Helps: Sara Dumas, MD Mind, Joshua Ehrlich, PhD Lena Ehrlich, PsyD Body Harvey Falit, MD & Soul... Erika Homann, PhD Howard Lerner, PhD Christine Mueller, MD Barry Miller, MD Jack Novick, PhD Kerry Kelly Novick Jean Paul Pegeron, MD Dwarakanath Rao, MD Ivan Sherick, PhD Merton Shill, PhD Michael Shulman, PhD Michael Singer, PhD Jonathan Sugar, MD Michigan Psychoanalytic Dushyant Trivedi, MD I N S T I T U T E & S O C I E T Y in Ann Arbor Gail van Langen, PhD Keeping the soul in healthcare since 1963. David Votruba, PhD Look for us online at www.mpi-mps.org Margaret Walsh, PhD Elisabeth Weinstein, MD

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UMS Faculty Insight Group As part of the UMS Mellon Initiative on Arts/Academic Integration, this group advises UMS staff on opportunities to integrate our programming more deeply and systematically into the academic life of the University of Michigan.

Mark Clague Joel D. Howell Melody Racine Clare Croft Martha S. Jones Sidonie Smith Philip J. Deloria Daniel Klionsky Emily Wilcox Gillian Eaton Lawrence Linda Gregerson La Fountain-Stokes Marjorie Horton Lester Monts

UMS Ambassadors UMS Ambassadors advance the goals of UMS, champion the UMS mission through community engagement, provide and secure financial support, and assist in countless other ways.

William Shell Sharon Peterson Dort Daria Massimilla Chair Gloria J. Edwards Patti McCloud Susan Franke Beth McNally Zita Gillis Joan Grissing Terry Meerkov Vice Chair Stephanie Hale Judy Moskus Arlene Barnes Allison Jordan Barbara Mulay FALL 2016 Secretary Joan Kadis Magda Munteanu Wendy K. Zellers Carol Kaplan Jayne Nyman Treasurer Nancy Karp Marjorie Oliver Barbara Kay Betty Palms Louise Taylor Kendra Kerr Julie Picknell Past Chair Freddi Kilburn Anne Preston Karen Bantel Ye Na Kim Katie Przygocki Astrid Beck Susan Krueger Jeff Reece Corry Berkooz Russell Larson Kathy Rich Connie Rizzolo Brown Michael Lee Nan Richter Melissa Bruzzano Linda Fink Levy Arlene P. Shy Richard Chang Gloria K. Lewis Susan Snyder Mike Dergis Laura Machida Elena Snyder Jon Desenberg Katie Malicke Pam Tabbaa Susan DiStefano Rita Malone Janet Torno Annemarie Kilburn Dolan Valerie Roedenbeck Kirsten Williams Maloof

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

ADMINISTRATION & EDUCATION & PATRON SERVICES FINANCE COMMUNITY Christina Bellows Kenneth C. Fischer ENGAGEMENT Associate Director of President James P. Leija Patron Services Director of Education & John B. Kennard, Jr. Carlos Bustamante Community Engagement Director of Administration Ticket Services Assistant Shannon Fitzsimons Moen Kathy Brown Darius Gillard Campus Engagement Executive Assistant Ticket Services/ Specialist Group Sales Assistant Jenny Graf Carvo Teresa C. Park Tessitura Systems Katherine McBride Education Coordinator Administrator Group Sales & Promotions Mary Roeder Coordinator Patricia Hayes Community Programs Financial Manager Scott Joy Manager Ticket Services/ John Peckham Front-of-House Assistant Information Systems MARKETING & Manager Anné Renforth COMMUNICATIONS Ticket Services Coordinator Sara Billmann FALL 2016 DEVELOPMENT Director of Marketing & Anna Simmons Marnie Reid Communications Assistant Ticket Services Director of Development Manager Jesse Meria Esther Barrett Video Production Specialist Willie Sullivan Development Coordinator Front-of-House Anna Prushinskaya Coordinator Susan Bozell Craig Senior Manager of Associate Director of Digital Media Bruce Oshaben, Juli Development, Corporate Pinsak, Brian Roddy Mallory Shea Partnerships & Major Gifts Head Ushers Marketing & Media Rachelle Lesko Relations Coordinator Betsy Mark Annual Fund Manager Will Call Volunteer

Lisa Michiko Murray PROGRAMMING & Associate Director of PRODUCTION UMS CHORAL UNION Development, Foundation & Michael J. Kondziolka Scott Hanoian Government Relations Director of Programming Music Director & Conductor Cindy Straub Jeffrey Beyersdorf Shohei Kobayashi Manager of Volunteers & Production Director Assistant Conductor Special Events Alex Gay Kathleen Operhall Mary A. Walker Production Coordinator Chorus Manager Campaign Director and Associate Director of Anne Grove Nancy Heaton Development, Major Gifts Artist Services Manager Chorus Librarian Mark Jacobson Jean Schneider Senior Programming Accompanist Manager Scott VanOrnum Accompanist

29 Keep performing.

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Generous Donors

Campaign Gifts and Multi-Year Pledges To help ensure the future of UMS, the following donors have made pledges which are payable over a period of up to five years. We are grateful to these donors for their commitments.

$500,000 OR MORE $75,000–$99,999 Anne and Paul Glendon Carl Cohen Maurice and Linda Binkow Norman and Debbie Herbert Ilene H. Forsyth David and Phyllis Herzig Carl and Charlene Herstein Maxine and Stuart Frankel Nancy and James Stanley Jerry and Dale Kolins Foundation $50,000–$74,999 Jeffrey MacKie-Mason and Eugene and Emily Grant Essel and Menakka Bailey Janet Netz Family Foundation Daniel and Barbara Balbach Martin Family Foundation The Andrew W. Mellon Penny and Ken Fischer Dan and Sarah Nicoli Foundation Beverley and Gerson Geltner Lois Stegeman Candis J. and Helmut F. Stern Mohamad Issa/Issa Stout Systems

University of Michigan Credit FALL 2016 Foundation Karen and David Stutz Union Miller, Canfield, Paddock and Dody Viola The Wallace Foundation Stone, P.L.C. $15,000–$24,999 Mr. and Mrs. Donald L. $100,000–$499,999 Michael and Suzan Alexander Morelock Anonymous Linda and Ronald Benson Agnes Moy-Sarns and David Bert Askwith and Patti Valerie and David Canter Sarns and the Sarns Family Askwith Kenner Sara and Michael Frank Gil Omenn and Martha Emily W. Bandera Wendy and Ted Lawrence Darling Community Foundation for M. Haskell and Jan Barney Tim and Sally Petersen Southeast Michigan Newman Phil and Kathy Power Dennis Dahlmann Virginia and Gordon Nordby Sharon and Doug Rothwell William Davidson Foundation Eleanor Pollack Sharon and Dallas Dort Linda Samuelson and Joel Stephen and Rosamund Howell $5,000–$14,999 Forrest Jane and Edward Schulak Barbara Anderson and John Susan and Richard Gutow Dennis and Ellie Serras Romani Wallis Cherniack Klein Glenn E. Watkins John and Lillian Back David Leichtman and Laura A. Marina and Bob Whitman Karen Bantel and Steve McGinn Gerald B. Zelenock Geiringer Linda and Stuart Nelson $25,000–$49,999 Suzanne A. and Frederick J. Norma and Dick Sarns Carol Amster Beutler Ellie Serras Cheryl Cassidy Chris Conlin Ron and Eileen Weiser Junia Doan Tim and Robin Damschroder Max Wicha and Sheila John R. Edman and Betty B. Michele Derr Crowley Edman Ann Martin and Russ Larson Ann and Clayton Wilhite Barbara Fleischman Steve and Betty Palms Barbara Garavaglia Marnie Reid Charles H. Gershenson Trust Eric and Ines Storhok

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Our Ann Arbor Attorneys: www.redhawkannarbor.com

Cheryl Chandler Edward Lynch Gary Eller Michael Miller Sharon Kelly Edward Stein revive Véronique Liem soups • custom salads • classic sandwiches replenish essential groceries • beer & wine 619 East University @ Zaragon Place

Ann Arbor Grand Rapids Holland Muskegon Traverse City 734-332-3366 · www.revive-replenish.com BE PRESENT

Endowed Funds The success of UMS is secured in part by income from UMS endowment funds. You may contribute to an existing endowment fund or establish a named endowment with a minimum gift of $25,000. We extend our deepest appreciation to the many donors who have established and/or contributed to the following funds:

H. Gardner and Bonnie Ackley David and Phyllis Herzig Endowment Fund Endowment Fund JazzNet Endowment Fund Herbert S. and Carol Amster William R. Kinney Endowment Fund Endowment Fund Wallis Cherniack Klein Endowment for Catherine S. Arcure Endowment Fund Student Experiences Carl and Isabelle Brauer Endowment Fund Dr. and Mrs. Jerry Kolins Shakespearean Dahlmann Sigma Nu Endowment UMS Fund Endowment Fund Hal and Ann Davis Endowment Fund Frances Mauney Lohr Choral Union Endowment Fund Dallas and Sharon Dort Endowment Fund Natalie Matovinović Endowment Fund Doris Duke Charitable Foundation Endowment Fund Medical Community Endowment Fund John R. and Betty B. Edman Dr. Robert and Janet Miller Endowment Fund Endowment Fund NEA Matching Fund Epstein Endowment Fund

Ottmar Eberbach Funds FALL 2016 Oscar Feldman Endowment Fund Palmer Endowment Fund Ken Fischer Legacy Endowment Fund Mary R. Romig-deYoung Barbara Fleischman Theater Music Appreciation Fund Endowment Fund Prudence and Amnon Rosenthal K-12 Stephen and Rosamund Forrest Student Education Endowment Fund Ticket Endowment Fund Charles A. Sink Endowment Fund Ilene H. Forsyth Endowment Funds for Herbert E. and Doris Sloan Endowment Fund Choral Union, Chamber Arts, and Theater James and Nancy Stanley Endowment Fund James Garavaglia Theater Endowment Fund Susan B. Ullrich Endowment Fund Anne and Paul Glendon Endowment Fund U-M Credit Union Arts Adventures Susan and Richard Gutow Renegade Endowed Fund at UMS Ventures Endowment Fund UMS Endowment Fund George N. and Katharine C. Hall Endowment Fund The Wallace Endowment Fund Karl V. Hauser and Ilene H. Forsyth The Zelenock Family Endowment Fund Endowment Fund Norman and Debbie Herbert Endowment Fund

33 ROMEO AND JULIET Saturday, October 8 8:00 p.m. 2016 Michigan Theater Brahms Tragic Overture Haydn Sinfonia Concertante 2017 ProkofievRomeo and Juliet SEASON special guests Aaron Berofsky Sarah Cleveland Christian Green Timothy Michling

TCHAIKOVSKY & FRIENDS Friday, November 11 8:00 p.m. Michigan Theater

Daugherty Strut Shostakovich Violin Concerto Tchaikovsky Symphony No. 6 “Pathetique”

special guest Aaron Berofsky

HOLIDAY POPS Friday, December 9, 8:00 p.m. Hill Auditorium

special guests Measure for Measure Pioneer, Huron and Saline High School Choruses

(734) 994-4801 • a2so.com BE PRESENT

Planned Gifts/Bequests We are grateful to the following donors for including UMS in their estate plans. These gifts will provide financial support to UMS for generations to come.

Anonymous Marilyn G. Jeffs Bernard and Raquel Agranoff Thomas C. and Constance M. Kinnear Mike Allemang Diane Kirkpatrick Carol and Herb Amster Dr. and Mrs. Jerry Kolins Neil P. Anderson Frank Legacki and Alicia Torres Dr. and Mrs. David G. Anderson Leo and Kathy Legatski Catherine S. Arcure Richard LeSueur Barbara K. and Laurence R. Baker Robert and Pearson Macek Rodney and Joan Bentz Susan McClanahan Kathy Benton and Robert Brown Griff and Pat McDonald Linda and Maurice Binkow Joanna McNamara Elizabeth S. Bishop M. Haskell and Jan Barney Newman Mr. and Mrs. W. Howard Bond Len Niehoff Mr. and Mrs. Pal E. Borondy Dr. and Mrs. Frederick O’Dell Barbara Everitt Bryant David Parsigian Lou and Janet Callaway Irena Politano Pat and George Chatas Eleanor Pollack Mr. and Mrs. John Alden Clark Mr. and Mrs. Dennis M. Powers Carl Cohen Mr. and Mrs. Michael Radock Alan and Bette Cotzin Marnie Reid Mary C. Crichton Mr. and Mrs. Jack Ricketts Dallas and Sharon Dort Prue and Ami Rosenthal FALL 2016 Penny and Ken Fischer Ellie Serras Susan Ruth Fisher Irma J. Sklenar Meredith L. and Neal Foster Art and Elizabeth Solomon Thomas and Barbara Gelehrter Richard W. Solt Beverley and Gerson Geltner Hildreth Spencer Dr. Sid Gilman and Dr. Carol Barbour Eric and Ines Storhok Anne and Paul Glendon Louise Taylor Thea and Elliot Glicksman Roy and JoAn Wetzel Debbie and Norman Herbert Ann and Clayton Wilhite David and Phyllis Herzig Max Wicha and Sheila Crowley Rita and Peter Heydon Marion Wirick John and Martha Hicks Mr. and Mrs. Ronald G. Zollar Gideon and Carol Hoffer

How to Make a Gift UMS excites the imagination, sparks creativity, sharpens collaboration, inspires new ways of thinking, and connects us in ways that only the arts can. Your gift of any size will enable UMS to deliver world-class performances and create outstanding educational opportunities for our community.

Please send gift to: UMS Development 881 N. University Ave Ann Arbor, MI 48109-1011

For more information, please call 734.764.8489 or visit ums.org/support.

35 UMS Support – September 1, 2015 – August 15, 2016 The following list includes donors who made gifts to UMS over the past year between September 1, 2015 and August 15, 2016. 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 VIRTUOSOS Cheryl Cassidy ($500,000 OR MORE) ($10,000–$19,999) Comerica Bank Eugene and Emily Grant Family Jerry and Gloria Abrams Blue Nile Restaurant Foundation Altarum Institute Connable Associates University of Michigan Ann Arbor Area Community John R. Edman Foundation Faber Piano Institute DIRECTORS Essel and Menakka Bailey # Nancy and Randall Faber ($100,000–$499,999) Barbara and Daniel Balbach # John and Jackie Farah Anonymous Bank of Ann Arbor David and Jo-Anna Featherman William Davidson Foundation # Bendit Foundation George W. Ford in honor of Oscar Feldman Maurice and Linda Binkow Charles H. Gershenson Trust, Ford Motor Company Fund and Carl Cohen Maurice S. Binkow, Trustee Community Services Dennis A. Dahlmann and Katherine and Tom Goldberg Ilene H. Forsyth # Patricia M. Garcia John R. Griffith Maxine and Stuart Frankel Foundation Jim and Patsy Donahey Lynn and Martin Halbfinger Karl V. Hauser # Penny and Ken Fischer Norman and Debbie Herbert # The Andrew W. Mellon Foundation Anne and Paul Glendon Carl and Charlene Herstein Linda and Stuart Nelson # Susan and Richard Gutow # Honigman Miller Schwartz and in honor of Ken Fischer David and Phyllis Herzig Cohn LLC University of Michigan Credit Union # Joel Howell and Linda Samuelson Imagine Fitness & Yoga University of Michigan Health System Frank Legacki and Alicia Torres The Japan Foundation The Wallace Foundation David Leichtman and Laura McGinn David and Sally Kennedy McKinley Associates, Inc. Jerry and Dale Kolins # SOLOISTS Thomas and Deborah McMullen Samuel and Marilyn Krimm ($50,000–$99,999) Ann R. Meredith Ted and Wendy Lawrence Anonymous Mr. and Mrs. Donald Morelock Level X Talent Anonymous # THE MOSAIC FOUNDATION Richard and Carolyn Lineback Community Foundation for (of R. & P. Heydon) Mainstreet Ventures Southeast Michigan New England Foundation for the Arts Mardi Gras Fund Dance/USA Daniel and Sarah Nicoli Martin Family Foundation # Doris Duke Charitable Foundation Old National Bank Miller, Canfield, Paddock and DTE Energy Foundation Gilbert Omenn and Martha Darling Stone, P.L.C. Stephen and Rosamund Forrest Tim and Sally Petersen # M. Haskell and Jan Barney Newman Patti Askwith Kenner Eleanor Pollack # Virginia Nordby in memory of her father Bert James A. Read Rob and Quincy Northrup Askwith (1911-2015) Retirement Income Solutions Bertram and Elaine Pitt Philip and Kathy Power Sharon and Doug Rothwell Rosenberg Family Fund Agnes Moy-Sarns and David Sarns in honor of Maury and Linda Binkow MAESTROS Jane and Edward Schulak Prue and Ami Rosenthal ($20,000–$49,999) Dennis and Ellie Serras Savco Hospitality Anonymous Gary and Diane Stahle Lois Stegeman Anonymous # Stout Systems StoryPoint Emily W. Bandera, M.D. Robert O. and Darragh H. Weisman David and Karen Stutz Noreen and Kenneth Buckfire in honor of Allison Silber, Class The Summer Fund of the Charlevoix Barbara Fleischman # of 2017 County Community Foundation in honor of Ken Fischer Marina and Robert Whitman Louise Taylor Barbara Garavaglia # Ann and Clayton Wilhite The University of Michigan Third in memory of Jim Garavaglia Fred and Judy Wilpon Century Initiative KeyBank Gerald (Jay) and Christine Zelenock # Dody Viola Masco Corporation Foundation Stanford and Sandra Warshawsky Michigan Council for Arts and CONCERTMASTERS Cultural Affairs ($5,000–$9,999) LEADERS National Endowment for the Arts Michael Allemang and Janis Bobrin ($2,500–$4,999) PNC Foundation Carol Amster # Jim and Barbara Adams Norma and Dick Sarns # Ann Arbor Automotive Michael and Suzan Alexander Sesi Lincoln Anonymous Anonymous Nancy and James Stanley # Andrew and Lisa Bernstein Arts Midwest Touring Fund Toyota Gary Boren John and Lillian Back Bruce G. Tuchman Carl and Isabelle Brauer Fund Karen Bantel and Steve Geiringer Ron and Eileen Weiser Edward and Mary Cady Dr. Carol Barbour and Dr. Sid Gilman Max Wicha and Sheila Crowley Valerie and David Canter Bradford and Lydia Bates

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

Rachel Bendit and Mark Bernstein John and Ginny Bareham Larry Hastie Ronald and Linda Benson David and Monika Barera Daniel and Jane Hayes # Suzanne A. and Norman E. Barnett # David W. Heleniak Frederick J. Beutler # Dr. and Mrs. Robert Bartlett Sivana Heller DJ and Dieter Boehm Anne Beaubien and Phil Berry Paul and Nancy Hillegonds # Charles and Linda Borgsdorf Cecilia Benner Diane S. Hoff Bill Brinkerhoff and Kathy Sample in memory of David Lebenbom Robert M. and Joan F. Howe Carolyn M. Carty and Kathy Benton and Robert Brown Jean Jacobson Thomas H. Haug Rosemary R. Berardi and Hudson Webber Foundation Conlin Travel, Inc. Carolyn R. Zaleon Eileen and Saul Hymans Julia Donovan Darlow and Joan Binkow Wallie and Janet Jeffries John Corbett O’Meara John Blankley and Maureen Foley Liz Johnson Marylene Delbourg-Delphis Margaret and Howard Bond Timothy and Jo Wiese Johnson Sharon and Dallas Dort Rebecca S. Bonnell Mary K. Joscelyn John Dryden and Diana Raimi Laurence and Grace Boxer Richard and Sylvia Kaufman Charles and Julia Eisendrath # Dr. and Mrs. Ralph R. Bozell Janet Kemink and Joan and Emil Engel Nancy M. Briggs Rodney Smith, MD Betsy Foxman and Michael Boehnke in memory of Dale E. Briggs Connie and Tom Kinnear Sara and Michael Frank Robert and Jeannine Buchanan Jean and Arnold Kluge Thomas and Barbara Gelehrter Tom and Lori Buiteweg Carolyn and Jim Knake Bill and Ruth Gilkey Lawrence and Valerie Bullen Michael J. Kondziolka and James and Patricia Kennedy in honor of Ken Fischer Mathias-Philippe Badin Diane Kirkpatrick Charles and Joan Burleigh Barbara and Michael Kratchman Philip and Kathryn Klintworth Barbara and Al Cain Donald and Jeanne Kunz Leo and Kathy Legatski Lou and Janet Callaway John K. Lawrence and Carolyn and Paul Lichter Sally Camper and Bob Lyons Jeanine A. DeLay# Jean E. Long Thomas and Marilou Capo Richard LeSueur Tim and Lisa Lynch Jean and Ken Casey Evie and Allen Lichter Ernest and Adele McCarus Anne Chase E. Daniel and Kay Long # Paul Morel and Linda Woodworth Patricia Chatas Fran Lyman Anthony and Vivian Mosellie Reginald and Beverly Ciokajlo John and Cheryl MacKrell William Nolting and Donna Parmelee Cheryl and Brian Clarkson Edwin and Cathy Marcus

Steve and Betty Palms Deborah Keller-Cohen and Betsy Yvonne Mark FALL 2016 Elizabeth and David Parsigian Evan Cohen W. Harry Marsden Rick and Mary Price Ellen and Hubert Cohen Ann W. Martin and Russ Larson James and Bonnie Reece Connie and Jim Cook Howard L. Mason John W. Reed Christopher Dahl and Ruth Rowse Mary M. Matthews Anthony L. Reffells in honor of Ken Fischer Jerry A. and Deborah Orr May # Nathaniel and Melody Rowe Timothy and Robin Damschroder W. Joseph McCune and Herbert and Ernestine Ruben Charles and Kathleen Davenport # Georgiana M. Sanders Craig and Jan Ruff Michele Derr Griff and Pat McDonald Frankie and Scott Simonds in memory of Ellwood Derr James H. McIntosh and Susan M. Smith and Robert H. Gray Dennis and Monique Deschaine Elaine K. Gazda Linh and Dug Song Sally and Larry DiCarlo Margaret McKinley and Dan Ketelaar Cheryl Soper Molly Dobson Michael and Terrie McLauchlan # Steve Sullivan and Erin McKean includes gift in honor of Ken Scott and Julie Merz Judy and Lewis Tann Fischer Bert and Kathy Moberg Jim Toy Jill and Doug Dunn Elizabeth and John Moje Shaomeng Wang and Ju-Yun Li Peter and Grace Duren Cyril Moscow Elise Weisbach Rosalie Edwards/ Mullick Foundation Vibrant Ann Arbor Fund John and Ann Nicklas PATRONS Johanna Epstein and Steven Katz Susan and Mark Orringer # ($1,000–$2,499) Elly and Harvey Falit Judith A. Pavitt Ronnie and Lawrence Ackman Dede and Oscar Feldman Pfizer Foundation Katherine Aldrich Food Art Marianne Udow-Phillips and Richard and Mona Alonzo Dan and Jill Francis Bill Phillips Christiane Anderson Judy and Paul Freedman Juliet S. Pierson Ann Arbor Distilling Company Leon and Marcia Friedman Susan Pollans and Alan Levy Anonymous Bill and Boc Fulton Stephen and Bettina Pollock Dr. and Mrs. Rudi Ansbacher Beverley and Gerson Geltner Ray and Ginny Reilly Harlene and Henry Appelman Zita and Wayne Gillis Malverne Reinhart Dr. Frank Ascione Heather and Seth Gladstein Richard and Susan Rogel Bob and Martha Ause Cozette Grabb Huda Karaman Rosen Elizabeth R. Axelson and Leslie and Mary Ellen Guinn Jeri Rosenberg and Vic Strecher Donald H. Regan Kenneth and Margaret Guire # Keith and Sue Rottman Jonathan Ayers and Roopa and Hitinder Gurm John J. H. Schwarz Teresa Gallagher Elizabeth and Robert Hamel Erik and Carol Serr Laurence R. and Barbara K. Baker Jeff Hannah and Nur Akcasu Janet Shatusky Lisa and Jim Baker Randall L. and Carl Simon and Bobbi Low Rosalyn, Joshua and Beth Barclay Nancy Caine Harbour # Nancy and Brooks Sitterley in memory of Mel L. Barclay, M.D. Clifford and Alice Hart Michael Sivak and Enid Wasserman

37 Ren and Susan Snyder Paul Courant and Marta Manildi Joan and Melvyn Levitsky Tamar Springer and Steve Stancroff Katherine and Clifford Cox Marty and Marilyn Lindenauer Michael B. Staebler and Clifford and Laura Craig # in honor of Ken Fischer Jennifer R. Poteat John and Mary Curtis Rod and Robin Little Ted St. Antoine Roderick and Mary Ann Daane William and Lois Lovejoy Virginia E. Stein Connie D’Amato Joan Lowenstein and Eric and Ines Storhok David L. DeBruyn Jonathan Trobe # Dalia and Stan Strasius Elena and Nicholas Delbanco Louise and David Lutton Charlotte B. Sundelson David Deromedi Brigitte Maassen in honor of Kenneth Fischer Andrzej and Cynthia Dlugosz William and Jutta Malm Ted and Eileen Thacker Gary Dolce and Karen Yamada Melvin and Jean Manis Keturah Thunder-Haab Dworkin Foundation Susan E. Martin Louise Townley Alan S. Eiser Judythe and Roger Maugh Jeff and Lisa Tulin-Silver Bruce N. and Cheryl W. Elliott Martha Mayo and Irwin Goldstein Susan B. Ullrich # Margaret and John Faulkner Susan McClanahan and Robert and Cynthia VanRenterghem Carol Finerman Bill Zimmerman Jack and Marilyn van der Velde Susan R. Fisher Bill and Ginny McKeachie Bob and Liina Wallin Tiffany and Damon Ford Frances McSparran Harvey and Robin Wax David Fox and Paula Bockenstedt Bernice and Herman Merte Max and Mary Wisgerhof Susan L. Froelich and Mary Lee Meyer Jack and Carolyn Wallace Richard E. Ingram James M. Miller and Rebecca H. Lehto Joyce Watson and Marty Warshaw Sandra Gast and Greg Kolecki Gene and Lois Miller # Edward and Colleen Weiss Chris Genteel and Dara Moses Lester and Jeanne Monts Lauren and Gareth Williams Julia and Mark Gerstein Kara and Lewis Morgenstern Charles Witke and Aileen Gatten in honor of Evan Gerstein’s Lisa and Steve Morris The Worsham Family Foundation graduation Drs. Louis and Julie Jaffee Nagel David and Maureen Ginsburg # Margaret Nance BENEFACTORS Steve Glauberman and Erika Nelson and David Wagener ($500–$999) Margaret Schankler Thomas and Barbara Nelson Judith Abrams Google Inc. Marc Neuberger and Jane Forman Tena Achen L.A. Peter Gosling, Linda Y.C. Lim and Elizabeth Ong Jan and Sassa Akervall Mya L. Gosling Zoe and Joe Pearson Roger Albin and Nili Tannenbaum in memory of Wendy Comstock Wesen and William Peterson James and Catherine Allen Larry and Martha Gray Diana and Bill Pratt Christine W. Alvey Dr. Patricia P. Green Wallace and Barbara Prince David G. and Joan M. Anderson # Raymond Grew Quest Productions Neil P. Anderson Nicki Griffith Cynthia and Cass Radecki Dave and Katie Andrea Werner H. Grilk Harold K. Raisler Foundation, Inc. Ann Arbor Public Schools Arthur Gulick Guy and Kathy Rich Anonymous Talbot and Jan Hack Jessica C. Roberts, PhD # Anonymous Don Haefner and Cynthia Stewart Doug and Nancy Roosa in honor of Jean Campbell Helen C. Hall Stephanie Rosenbaum Penny and Arthur Ashe Steven and Sheila Hamp Richard and Edie Rosenfeld Ralph and Barbara Babb # William and Kathleen Hanson Nancy W. Rugani # John and Christy Bacon Alan Harnik and Ashish and Norma Sarkar Reg and Pat Baker Professor Gillian Feeley-Harnik Maya Savarino Nancy Barbas and Jonathan Sugar David Harris Ann and Tom Schriber Astrid B. Beck Timothy Hofer and Valerie Kivelson John Scudder and Regan Knapp Lawrence S. Berlin and Kay Holsinger and Douglas C. Wood Elvera Shappirio Jean L. McPhail Jim and Colleen Hume Bruce M. Siegan Jack Billi and Sheryl Hirsch Ann D. Hungerman Barbara Furin Sloat Sara Billmann and Jeffrey Kuras Harold L. Ingram Cynthia Sorensen William and Ilene Birge Richard and Suzette Isackson Becki Spangler and Peyton Bland R.M. Bradley and C.M. Mistretta isciences, L.L.C. Gretta Spier and Jonathan Rubin Brian Bradley and Gretchen and John Jackson Allan and Marcia Stillwagon Rosalie Tocco-Bradley Elizabeth Jahn Jannifer Stromberg Joel Bregman and Elaine Pomeranz Joachim Janecke Eva Taylor Charles Bright and Susan Crowell in memory of Christa Janecke Stephanie Teasley and Thomas Finholt David and Sharon Brooks Feng Jiang and Lydia Qiu Doris H. Terwilliger Pamela Brown Mark and Linda Johnson # John G. Topliss Susan and Oliver Cameron Mattias Jonsson and Joyce Urba and David Kinsella Brent and Valerie Carey Johanna Eriksson Douglas and Andrea Van Houweling Jack and Susan Carlson Mark and Madolyn Kaminski Erica Ward and Ralph Gerson A. Craig Cattell Don and Sue Kaul Arthur and Renata Wasserman Tsun and Siu Ying Chang James A. Kelly and Mariam C. Noland Richard and Madelon Weber # John and Camilla Chiapuris Robert and Gloria Kerry Deborah Webster and George Miller Judy and Malcolm Cohen Rhea K. Kish Edward and Colleen Weiss Jon Cohn and Daniela Wittmann Dana and Paul Kissner Lyndon Welch Barbara Comai Gary and Barbara Krenz in memory of Angela Welch David and Barbara Copi in honor of Ken Fischer Steven Werns Arnold and Susan Coran Jane Fryman Laird Kathy White #

38 BE PRESENT

James Boyd White and Brian and Margaret Delaney Don and Nancy Kaegi Mary F. White Richard I. DeVries Carol and Mark Kaplan Iris and Fred Whitehouse Robert Donia Steven Kautz Brian Willen and Monica Hakimi Robert J. Donnellan John Kennard and Debbi Carmody Thomas K. Wilson Ed and Mary Durfee Nancy Keppelman and Dr. Robert Winfield # Don and Kathy Duquette Michael E. Smerza Beth and I. W. Winsten Swati Dutta Bonnie and Robert Kidd Lawrence and Mary Wise Gavin Eadie and Barbara Murphy Dan and Freddi Kilburn Kenneth Wisinski and James F. Eder Laurence King and Robyn Frey-King Linda Dintenfass Gloria J. Edwards Web and Betty Kirksey Frances A. Wright # Morgan and Sally Edwards Michael Koen Mary Jean and John Yablonky Charles and Julie Ellis Rosalie and Ron Koenig Thomas and Karen Zelnik Ruth Edwards Ann Marie Kotre Beverly and Michael Fauman Mary L. Kramer # ASSOCIATES Phil and Phyllis Fellin Syma and Phil Kroll ($250–$499) Kay Felt Lawrence La Fountain-Stokes Dr. Diane M. Agresta Jeff Fessler and Sue Cutler David Lampe and Susan Rosegrant Gordon and Carol Allardyce Herschel and Adrienne Fink Lucy and Kenneth Langa Helen and David Aminoff C. Peter and Beverly A. Fischer Linda M. Langer Barbara A. Anderson Martha Fischer and William Lutes Jean A. Lawton and James H. Ellis John Anderson and Lyn McHie in honor of Kenneth C. Fischer John and Theresa Lee Ralph and Elaine Anthony Norman and Jeanne Fischer Sue Leong Lisa and Scott Armstrong in memory of of Gerald B. Fischer Barbara Levine Michael Atzmon Catherine Fischer Gloria Kitto Lewis Robert and Mary Baird in memory of of Gerald B. Fischer Jacqueline Lewis Barbara M Barclay Carol and Mitch Fleischer Daniel Little and Bernadette Lintz Frank and Lindsay Tyas Bateman Jessica Fogel and Lawrence Weiner Michael and Debra Lisull Gary Beckman and Karla Taylor Scott and Janet Fogler Len and Betty Lofstrom Christina Bellows and Joe Alberts Philip and Renée Woodten Frost John Lofy and Laura Rubin Emile Bendit Carol Gagliardi and David Flesher Shuyu Long Merete Blondal Bengtsson Enid Galler Barbara and Michael Lott Christy and Barney Bentgen Janet and Charles Garvin Christopher Lovasz

Joan Bentz Heather Gates Jimena Loveluck and FALL 2016 Barbara and Sheldon Berry in memory of David Gates Timothy Veeser Inderpal and Martha Bhatia Michael Gatti and Lisa Murray Marilyn and Frode Maaseidvaag Mary E. Black Prof. Beth Genne and Martin and Jane Maehr Bobbie and Donald Blitz Prof. Allan Gibbard Geraldine and Sheldon Markel Mr. Mark D. Bomia Renate Gerulaitis # Kenneth and Lynn Marko Morton B. and Raya Brown J. Martin and Tara Gillespie Charles McCaghy Jonathan and Trudy Bulkley Thea Glicksman Margaret and Harris McClamroch Alan Burg and Kenneth Hillenburg Drs. Vijay and Sara Goburdhun Cynthia McClung Jim and Cyndi Burnstein Barbara and Fred Goldberg Peggy McCracken and Tony and Jane Burton Mr. and Mrs. Charles and Doug Anderson Jenny and Jim Carpenter Janet Goss # Margaret McQuillan-Key Barbara Mattison Carr Michael L. Gowing Marilyn Meeker Margaret W. (Peggy) Carroll Christopher and Elaine Graham Gerlinda S. Melchiori MJ Cartwright and Tom Benedetti Jerry M. and Mary K. Gray Warren and Hilda Merchant Jenny Graff Carvo Elliott Greenberg and Gayle Harte Carmen and Jack Miller Angela Cesere and Rob Thomas Richard and Linda Greene John and Sally Mitani J. Wehrley and Patricia Chapman Julie and Hanley Gurwin Candy and Andy Mitchell Samuel and Roberta Chappell Michael Hammer and Brian and Jacqueline Morton Joan and Mark Chesler Matthew Dolan Trevor Mudge and Mark Clague and Laura Jackson Tom Hammond Janet Van Valkenburg Elke Monika Clark Drs. Erik and Dina Hanby Barbara Mulay Donald and Astrid Cleveland # Susan R. Harris Thomas and Hedi Mulford Wayne and Melinda Colquitt Michael and Nikki Hathaway Richard and Susan Nisbett Anne and Edward Comeau Neil and Annmarie Hawkins Eugene and Beth Nissen Gordon and Marjorie Comfort J. Lawrence Henkel and Laura Nitzberg Jane Wilson Coon and Jacqueline Stearns Christer and Outi Nordman A. Rees Midgley Dr. and Mrs. Robert Hensinger Elisa Ostafin and Hossein Keshtkar Mrs. Katharine Cosovich Therese and Alfred Hero Mohammad and Margaret Cottrill and Jon Wolfson Kathryn Goodson and John Hieftje J. Elizabeth Othman Susan Bozell Craig Mark and Lorna Hildebrandt Marie Panchuk Marylee Dalton and Lynn Drickamer Gideon and Carol Hoffer Karen Pancost Art and Lyn Powrie Davidge Paul Hossler and Charlene Bignall William and Hedda Panzer in memory of Gwen and James S. House and Karen Park and John Beranek Emerson Powrie Wendy Fisher House # Brian and Julie Picknell Ed and Ellie Davidson Elizabeth Jahn Robert and Mary Ann Pierce Linda Davis and Bob Richter Hank and Karen Jallos Mark and Margaret Pieroni in honor of Ken Fischer Lawrence and Ruth Jones # Donald and Evonne Plantinga HE Dean Janet and Jerry Joseph Joyce Plummer

39 Thomas S. Porter Jürgen Skoppek Fawwaz Ulaby and Jean Cunningham Anne Preston # Carl and Jari Smith # Karla and Hugo Vandersypen Karen and Berislav Primorac David and Renate Smith Mary C. Vandewiele Jeff and Katie Reece Gregory Smith MD James and Barbara Varani # Judith Roberts Robert W. Smith Elizabeth A. and David C. Walker Stephen Rosenblum and Sidonie Smith and Greg Grieco Charles R. and Barbara Hertz Wallgren Rosalyn Sarver Linda Spector and Peter Jacobson Jo Ann Ward Rosemarie Haag Rowney Doris and Larry Sperling Karen Watanabe and Richard Cheng Carol Rugg and Richard Montmorency in memory of David Klein MaryLinda and Larry Webster Mary Ann Rumler Jim Spevak Bruce and Loraine Webster Jay and Sunny Sackett Jeff Spindler Richard and Lucinda Weiermiller Irv and Trudy Salmeen Paul and Judy Spradlin Jack and Carol Weigel Michael and Kimm Sarosi Leslie Stainton and Steven Whiting Neal and Susan Weinberg The Saturno Family Daniel and Susan Stepek Mary Ann Whipple # in honor of Ken Fischer James L. Stoddard Mac and Rosanne Whitehouse Albert J. and Jane L. Sayed Cynthia Straub Steve and Peg Wilcox Judith Scanlon John F. Strobel and Christine M. Tracy Thomas Wilczak and Steven Quinkert Helga and Jochen Schacht Elizabeth Stumbo and Stephan Taylor in honor of Garrett Kucharski, Marie David Schmidt and Jane Myers Roger Stutesman and Helen Rucinski David Schoem Nancy Bielby Sudia Shelly F. Williams Suzanne Selig Rich and Diane Sullivan Pat and John Wilson Harriet Selin # Ed and Natalie Surovell Stuart and Nancy Winston # James and Linda Selwa # Sandy Talbott and Mark Lindley Steven and Helen Woghin Matthew Shapiro and Susan Garetz May Ling Tang Charlotte A. Wolfe Cliff and Ingrid Sheldon Michael and Ellen Taylor Gladys Young Bill and Chris Shell William Tennant Gail and David Zuk Patrick and Carol Sherry Denise Thal and David Scobey Thomas and Erin Zurbuchen Howard and Aliza Shevrin Tom and Judy Thompson Jean and Thomas Shope Patricia J. Tompkins *Due to space restraints, gifts of Nina Silbergleit in memory of Terril O. Tompkins $1-$249 will be recognized in the Edward and Kathy Silver Janet and Randall Torno online donor list at ums.org. Sandy and Dick Simon includes gift in memory of Wendy Robert and Elaine Sims Comstock

WGTE Public Media is: Television WGTE HD Create TV WGTE Family Radio WGTE FM 91.3 Toledo WGBE FM 90.9 Bryan WGDE FM 91.9 Defiance WGLE FM 90.7 Lima Education The Educational Resource Center WGTE Public Media was founded as an educational institution, and our educational The Early Learning and Outreach Center mission remains at the heart of what we do every day. wgte.org 2016-17 2014 National Medal of Arts Recipient

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