UMS PROGRAM BOOK •

UNIVERSITY OF MICHIGAN I ANN ARBOR

WELCOME.

"UMS is a true jewel within the University of Michigan. Here, students, faculty. staff, alumni, and aspiring performers can see some of the most exceptional performing arts in the world. It is an integral pie<:e of education and enrichment both in school and beyond. Thank you for being a part of this wonderful 135-year-old tradition."

MARY SUE COLEMAN President, University of Michigan

"UMS is about experiences. Experiences witnessing some of the world's most renowned performing artists offering daring and fresh performances. Experiences that have the ability to transform individuals, bringing more emotion, impact, and inspiration into their lives. We are glad to have you Jfra.with us. Enjoy the experience." KENNETH C FISCHER UMS President

"I am extremely honored to serve as Chair of the UMS Board of Directors. From this perspective, I see the vast extent of the impact that UMS has on our community, presenting world-class performances and offering amazing educational experiences. UMS serves as a catalyst, inspiring us to come together in a shared experience with each other and with the artists. We are delighted that you are here with us this evening."

STEPHEN G. PALMS Chair, UMS Board of Directors As a long-time patron of the arts, Honigman is a proud partner of UMS. We wish to thank our oolleagues for their leadership and support, including David N. Parsigian, member of the UMS Board of Directors and Treasurer, and Maurice S. Binkow, Carl W. Herstein and Leonard M. Niehoff, members of the UMS Senate.

HONIGMAN.

WWW.HONIGMAN.COM AUDIENCES

6 2013-2014 SEASON CALENDAR. BE PRESENT. 8 EDUCATION 10 HISTORY

12 UMS LEADERSHIP DONORS LEADERSH I P. 16 PEOPLE

23 THE EXPERIENCE ~ THE EV ENT PR OGRAM. THE PERFORMANCES ""

SUPPORT. 29 GENEROUS UMS DONORS

49 GENERAL INFO. 50 51 2013-2014 SEASON CALENDAR.

SEPTEMBER

6 Jason Moran's Fats Waller Dance Party featuring Meshell Ndegeocel/o 8& 10 National Theatre Live: The Audience 15 Audra McDonald 18-21 Complicite and Setagaya Public Theatre: Shun-kin 27-28 Hubbard Street Dance Chicago: One Thousand Pieces

OCTOBER

10 Chanticleer 12 Tak,:lcs Quartet 13 National Theatre Live: Othello 18 Chris Thile. mandolin 25 Andras Schiff. piano: Bach's Goldberg Variations 26-27 The Mangoniyor Seduction 27 National Theatre Live: Macbeth 29-Nov 3 Blind Summit: The Table

NOVEMBER

1-2 Ballet Preljocaj: And Then, One Thousand Years of Peace 3 Apollo's Fire: Bach's Brandenburg Concertos Nos. 2- 6 9 Steve Lehman Octet 11 12 Ukulele Orchestra of Great Britain 13 16 San Francisco Symphony: Mahler's Symphony NO.9 Michael Tilson Thomas. conductor 24 Brooklyn Rider with Bela Fleck

DECEMBER

7-8 Handel's Messiah 8&11 RSC Live in HD: Richard /I Directed by Gregory Doran

To learn more, see video previews, get in-depth performance descriptions, and buy tickets, visit www.ums.org. JANUARY

7-12 Bullet Catch 15-16 Colin Stetson 17-18 26 Denis Matsuev. piano 30 Fred Hersch Trio

FEBRUARY

5 Ariel Quartet with Alisa Weilerstein. cello 6 Kremerata Baltica . violin 7 One Night in Bamako Bassekou Kouyate & Ngoni Ba and Fatoumata Diawara 9 National Theatre Live: Coriolanus 14 St. Lawrence 14-15 Compagnie Kafig 16 joshua Bell. violin 19-22 Theatre des Bouffes du Nord: Can Themba's The Suit Directed by Peter Brook 22 St. Petersburg Philharmonic Yuri Temirkanov. conductor Denis Kozhukhin. piano

MARCH

14 Alfredo Rodriguez Trio and the Pedrito Martinez Group 15 Israel Philharmonic Orchestra: Bruckner's Symphony NO.8 Zubin Mehta. music director 18 Elias Quartet 20 Tara Erraught. mezzo- soprano 21 Asif Ali Khan Qawwali Music of Pakistan 25 Wendy Whelan: Restless Creature 30 jazz at Lincoln Center Orchestra with Wynton Marsa lis Ford Honors Program

APRIL

4 Brahms's German Requiem UMS Choral Union & Ann Arbor Symphony Orchestra jerry Blackstone. conductor 10 Los Angeles Guitar Quartet 13 Akademie fUr Alte Musik Berlin

Artists. programs, and dates are subject to change. Please visit www.ums.orgforan up- to- date season calendar. EDUCATION EXPERIENCES FOR EVERYONE

Learning is core to our mission, and it is our joy to provide creative educational experiences for the entire community. Each season, we offer a fun and fascinating lineup of workshops, artist Q&As, conversations, and interactive experiences designed to draw you in and out of your comfort zone, connect you to interesting people and unexpected ideas, and bring you closer to the heart of the artistic experience.

Through our K-12 and university engagement programs, we are working to develop the next generation of global citizens and creative artists who understand and appreciate diversity, innovation, collaboration, tradition, self-expression, and craft

UMS's HU Celebration Da y. (eIebratIn~ 100 Ye.1rs 0/ HlI ."

PERSONA ~ PEREORMING ARTS .

VIsit wwwumsore:llearn At UMS, we believe it can. In our 135th 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 we now present the very best from a wide spectrum of the performing arts: internationally renowned recitalists and orchestras, dance and chamber ensembles, jazz and global music performers, and contemporary stagework and classical theater. Through educational programming, the commissioning of new works, youth programs, artist residencies, and collaborative projects, we continue to strengthen our reputation for artistic distinction and innovation.

Hll."udtollo..m Re-Openi"ll Celebratlon.)..-...... y 2004 (photo: Pet.... SmUll)

UMS LEADERSHIP DONORS The f ollowing individuals, corporations, and f oundations have made gift commitments of $50,000 or more for the 2013-2014 season. UMS is deeply grateful for these annual gifts.

OlE ENERGY FOUNDATION Fred Shell Vice President, Corporate and Government Affairs, DTE Energy, and President. DTE Energy Foundation

'The DlE Energy Foundation is pleased to support exemplary organizations like UMS that inspire the soul. instruct the mind, and enrich the community."

FORD MOTOR COMPANY FUND AND COMMUNITY SERVICES Ja mes G. Vella President. Ford Motor Company Fund and Community Services

'Through music and the arts. we are inspired to broaden our horizons, bridge differences among cultures. and set our spirits free. We are proud to support UMS and acknowledge the important role it plays in our community: Ford Motor- CompoMy F..... and Community Se

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." M AXINE A ND STUA RT FRA NKEL FO UNDATI O N Maxine and Stuart Frankel

"We believe the arts are fundamental in educating the children of this country who will be the leaders of tomorrow. While math and science are criticaL challenging in-depth experiences in visual and performing arts are integral to who we are. encouraging the development of critical and creative thinking skills. The University of Michigan is the ideal incubator for nurturing and fostering creative thinking and collaboration. UMS is a real treasure in our community­ we want to ensure that students, faculty. and the community can experience world-class performances for generations to come."

UNIV ERSITY O F MI C HIGA N ~ ' Mary Sue Coleman , . -.;~ President, University 0{ Michigan ~ --­ "The University of Michigan is proud to support UMS. Our partnership began 135 years ago and remains as strong as eYer today. I\; , We recognize the enormous value that UMS brings to our academic mission through opportunities for students and faculty to interact with performers. through student ticket discounts, and through UMS's contributions to the quaUty of Ufe in Ann Arbor that assists us in our retention and recruitment of valuable faculty and staff."

UNIV ERSITY O F MI C HIGA N HEA LTH SYSTEM Dr. Ora Hirsc h Pescovitz Executive Vice President for Medical Affairs, University of Michigan, and CEO, University of Michigan Health System

"When I was young. I contemplated becoming a concert pianist Though I didn·t pursue that career path. the arts have remained a prominent fixture in my life. both personally and professionally. Music and the arts feed our imaginations, heal our spirits. and

U...... llaip• inspire us to evolve and grow. We are very fortunate to have UMS ...... s,- as part of our community. and the University of Michigan Health System is privileged to sponsor such a creative, vibrant part of our culture. Here·s to a great yea!!"

CAN DI S A ND HELMUT STERN

HUMS has enriched our lives for many years. In addition to benefiting us. it has enabled the University to recruit and retain talented faculty and students, making a valuable contribution to the quality of life in our community. We are delighted to have established an endowment fund to support a Chamber Arts performance at UMS each year to help preserve this treasure for future generations." UM S CO RP O RA TE , F O UND A TI O N , GOVER NM ENT, A ND UNI V ER S ITY S UPP O RT Special thanks to the following corporations, foundations, goverrment agencies, and Unlversfty 0( Michigan units that mode generous financial commitments to UMS between July I. 2012, and June 30, 2013.

PR O DU CER . 5500,000 A ND A BOV E The Andrew W. Mellon Foundallon

DIRE CT O R. 5100,000 - 54 99,999 Maxine and Stuart Frankel FoundatIon

PURyPtICHIGAN" 00 ~ --.....y---~­ ------

SOLO I ST. 550 , 000 - 599,000 Anonymou, lD) DANCf I ... -'"""""-

MA ESTR O. 520 , 000 - 549 , 999 Charles H. Gershenson Trust THE MOSAIC FOUNDATION (of R & P. Heydon) University of Michigan Office of the VIce President for Research University of Michigan Office of the Senior Vice Provost for Academic Affairs _..-.... -~- 1 ~ PNC TOYOTA V IRTU OSO, $ 10,000 - $ 19,000 Cairn Foundation The Esperance Foundation Mohamed and Hayat Issa/Issa Foundation

~ [7k>~, @J,nrg;,.~ CAMPUS INN -~---" - " - ' ~LER 00 t\MC3 'IELD -0---" -- UM~1tl~ IlSA ~.J!!W. mTTT\JfE lSA iifi':l'.2-m.ors

CO NC ERT MAS TER , $5,000 - $9 , 999 Rosalie Ecfv.lards/Vibrant Ann Arbor Fund Pfizer Foundation Sarns Ann Arbor Fund The Seattle Foundation

HONIGMAN.

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.

WadadAbed Thomas E. Kauper Peter Sparling Michael C. Allemang David B. Kennedy James c. Stanley Carol L. Amster Gloria James Kerry Lois U. Stegeman Gail Davis-Barnes Thomas C. Kinnear Edward D. Surovell Kathleen Benton Marvin Krislov James L Telfer Lynda Berg F. Bruce Kulp Susan B. Ullrich Richard S. Berger Leo A Legatski Michael D. VanHemert Maurice S. Binkow Melvin A. Lester Eileen Lappin Weiser DJ Boehm Earl Lewis B. Joseph White Lee C. Bollinger Patrick B. Long Marina v.N. Whitman Charles W. Borgsdorf Helen B. Love Clayton E. Wilhite Janice Stevens-Botsford Cynthia MacDonald Iva M. Wilson Paul C. Boylan judythe H. Maugh Karen Wolff William M. Broucek Rebecca McGowan Barbara Everitt Bryant Barbara Meadows Robert Buckler Joetta Mial Letitia J. Byrd Alberto Nacif Kathleen G. Charla Shirley C. Neuman JillA. Corr Jan Barney Newman Peter B. Carr Roger Newton Ronald M. Cresswell Len Niehoff Hal Davis Gilbert S. Omenn Sally Stegeman DiCarlo Joe E. O·Neal Robert F. DiRomualdo Randall Pittman Al Dodds Phil Power James J. Duderstadt John D. Psarouthakis Aaron P. Dworkin Rossi Ray-Taylor David Featherman John W. Reed David J. Flowers Todd Roberts George V. Fornero Richard H. Rogel Maxine J. Frankel Prudence L Rosenthal Patricia M. Garcia A Douglas Rothwell Beverley B. GeItner Judy Dow Rumelhart Anne Glendon Maya Savarino Patricia Green Ann Schriber William S. Hann Edward R. Schulak Shelia M. Harden John J.H. Schwarz Randy J. Harris Erik H. Serr Walter L Harrison EllieSerras Norman G. Herbert Joseph A Sesi Deborah S. Herbert Harold T. Shapiro Carl W. Herstein George l. Shirley Peter N. Heydon John O. Simpson Toni Hoover TImothy P. Slottow Kay Hunt Anthony L Smith Alice Davis Irani Carol Shalita SmokIer Stuart A. Isaac Jorge A Solis UM S ST A FF The UMS Staff works hard to inspire individuals and enrich communities by connecting audiences and artists in uncommon and engaging experiences.

ADMINISTRATION & EDUCATION & TICKET OFFICE FINANCE COMMUNITY Jenny Graf ENGAGEMENT Kenneth C. Fischer Senior Ticket SeNices President James P. Leija Manager Director of Education & John B. Kennard, Jr. Christina Bellows Community Engagement Director of Administration Ticket OtficeAssociate Shannon Fitzsimons Kathy Brown Suzie Davidson Education Specialist Executive Assistant Associate Ticket Services Mary Roeder Manager Beth Gilliland Associate Manager of Tessitura Systems Kate Gorman Community Engagement Administrator Front-of-House Omari Rush Coordinator Patricia Hayes Education Manager Financial Manager Ellen Miller MARKETING & Ticket OtficeiFront-of­ John Peckham COMMUNICATIONS House Assistant Information Systems Manager Sara Billmann Casey Schmidt Director of Marketing & Sales & Promotions DEVELOPMENT Communications Coordinator Margie McKinley Anna Prushinskaya Dennis Carter, Bruce Directoro{ Development Manager 0{ New Media & Oshaben, Brian Roddy Susan Bozell Craig Online Initiatives Head Ushers Senior Manager of Truly Render UMS CHORAL Corporate Partnerships Press & Marketing UNION Rachelle Lesko Manager Jerry Blackstone Development Coordinator PROGRAMMING & Conductor & Music Lisa Michiko Murray PRODUCTION Director Senior Manager of Michael J. Kondziolka Tim Keeler. Jonathan King Foundation and Director of Programming Assistant Conductors Government Relations Jeffrey Beyersdorf Kathleen Operhall Joanne Navarre Production Director Chorus Manager Senior Manager of Annual GMng Anne Grove Nancy Heaton Artist SeNices Manager Chorus Librarian Mamie Reid Senior Manager of Mark Jacobson Jean Schneider Individua/Support Senior Progamming Accompanist Manager Cindy Straub Scott Van Ornum Manager of Volunteers & Michael Michelon Accompanist Speckll Events Production Coordinator Donald Bryant Liz Stover Conductor Emeritus Associate Programming Manager UMS NATIONAL COUNCIL The UMS National Council is comprised of U-M alumni and performing arts enthusiasts across the country committed to supporting, promoting, and advocating for UMS with a focus on ensuring that the performing arts are an integral part of the student experience.

Clayton Wilhite Barbara Fleischman Jerry and Dale Kolins Chair Maxine Frankel Zarin Mehta Eugene Grant James and Patty Read Andrew Bernstein Kathleen Charla Charles Hamlen Herbert Ruben Katherine Hein James and Nancy Stanley Jacqueline Davis Marylene Delbourg-Delphis David Heleniak Russell Willis Taylor John and Betty Edman Patti Kenner Bruce Tuchman Elise Kirk Ann Wilhite Janet Eilber Wallis Klein

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.

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

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.

Brendan Asante Gunnar Moll Rachel Stopchinski Catherine Cypert Skye Payne Melanie Toney Elizabeth Galafa Charlie Reischl Jocelyn Weberg Lauren Jacob Nisreen Salka Hannah Weiner Scott Kloosterman Kayla Silverstein Ian Williams Emily Kloska RhemeSloan GeorgeXue Kat Lawhead Sarah Squillante Meaghan Mclaughlin Haylie Stewart

UM S TEACHER IN S IGHT Through VMS Teocher Insight, we stay aware of trends, changing resources, and new opportunities for learning in the K-I2 classroom.

Robin Bailey Cecelia Sharpe Rebeca PIetrzak }ennifer ~ton Cynthia Page Bogen Mar\( Satzef }eft GayIlOf Karen McDonald Neha Shah Melissa PoIi

UMS A D V ISORY COMM ITTEE

The UMS Advisory Committee advances the gools 0{ UMS, champions the UMS mission through community engagement, provides and secures !inanclol support, and osslsts in countless other ways as UMS ambassadors.

Gall Ferguson Stout Julie Dunlfon Liz Othman Chair Gloria J. Edwards Karen Pancost Laurel Fisher Lisa Pattell Pat Bantle Rosamund Forrest Anna Peterson Vke Chair Unda Grekin Ruth Petit Louise Taylor Nicki Griffith Susan Pollans Secretary Stephanie Hale Anne Preston Nancy Karp leff Reece Jane Holland Treostxer Beth ~ley Polly Ricclardo Kendra Kerr Nan Richter Eileen Thacka Freddl Kilburn Valerie A. RoedenbEck Post Choir Russell Larson Audrey SchwlrlllTlE!f Marcl Raver Lash WUtiam Shell Sandy Aquino Jean Long Barb Shoffner Mary Avrakotos Melanie Mandell Arlene P. Shy Karen Santel Ann Martin Ren Snyder Francine Bomar Fran Martin Becld Spangler Connie Rizzolo Brown Terry Meerkov Unda Spector Dennis J. carter Robin Miesel Elaine Tetreault JudyCohen Natalie Mobley Janet E. Torno Sheila Crowley Christina Mooney Louise Townley Jon Desenberg Amy J. Moore Martha S. Williams Annemarle Kilburn Dolan Kathleen Nolan Sarajane Winkelman Sharon Peterson Dort Marjorie Oliver Wendy K. Zeller Ford Motor Company Fund

For opening minds and engaging the co mmunity, Ford salutes the Uni versity Musical Society Education and Co mmunity Engagement Program .

www.comml.lnity.ford.<:.om GE1:TING THE MOST

OUT OF THE ~ERFORMANCE We know that everyone enjoys the performance experience in different ways, so we encourage you to think about making choices when you enter the theater that allow you to be present. leave the worries o f the day outside. and prepare to receive w hat the experience holds in sto re.

Be aware o f your surroundings, Connec ting w ith what an artist or ensemble has to share is a very speCial gilt, a gift that comes from a [lietlme of tra ining. One of the Joys of attending live performances is the abHi ty to share our experi ences with o ne another, so revel In your opportunity to socialize, talk to your friends, discuss the perfo rmance, o r Simply say "hello" to someone new. Feel the energy that a room full of people creates. Look around and take in the entire picture. What goes o n In this venue and in this community Is truly unique and special. and we must all cherish and protec t It PRELUDE DINNERS.

Enjoy a delicious meal and learn An dras Sc hiff more about the evening's concert Friday, October 25 at Prelude Dinners. Park early. Speaker: Logan Skelton, professor of dine with fellow patrons, and hear music (piano), U- M School of Music, about the artist the performance, Theatre & Dance or the history of the work from our renowned guest speakers. All San Francisco Sym phony dinners begin at 5:30 pm at the Sa turday, November 16 Rackham Building (4th Floor) with Speaker: Mark Clague, associate complimentary wine followed by a professor of music, U- M School of catered buffet dinner provided by Music, Theatre & Dance local caterer Foed Art. st. Petersburg Philharmonic Sa turday, February 22 For further information and reservations, please call Rache ll e Israel Philharmonic Orchestra Lesko at 734.764.8489. Sa turday, March 15

Miller Canfield - proudly supports the- UNIVERSITY MUSICAL SOCIETY For Being an Instrumental Pa rt 01 Our Community • Congratulations to Our Colleague STEPHEN G, PALMS I CHAIR, UMS BOARD OF DIRECTORS

MILLER CANFIELD

OUR ANN ARBOR LAWYERS 1101 North Main Street, 7th Floor, Ann Arbor, Mic hig an 4810 4 I 734.663.2445

Robert S. Anderson Usa C. Hagan Bralldy L. Malllie Dam [1 O'Br~n Timothy D. Sochacki Paul R. 0im0rKl Joseph C. Hoollicker John W. McNair llOma! C, O'Brien Suzanne K. St*kar Joseph M. Fazio M. Shelta Jeffrey 501\111Hope Mlthanl EmMyC. Pmctos CtYistopher M. Trebilcock RobeI"t E. Gilbert Alyn O. Kantor Thomas J. Mollan KmIlerty L. Scott Caroli!1e B. Giew-lIano Jeffrey L. LaBine Kristin E. Hied Erill H. Serr PLEASE CONSIDER THE FOLLOWING:

Turn off ceU phones and etectronic devices. We all know how terrible it is when a phone rings during a performance. It breaks that special bond between a performer and the audience. Illuminated screens on phones are also a visual distraction in a darkened theater.

Our volunteer ushers are invaluable. They will show you to your seat, give you a program, help solve any problems, answer questions, and welcome you to the experience. Please do not hesitate to ask them for help.

Wear what you want to the performance - this is Ann Arbor, after all! If you feel inspired to dress in some way related to the show, go for it Express your own creativity.

Unwrapping candies and cough drops before the performance begins cuts down on disruptive noise while the performance is in progress.

Think about whether it is necessary to wear your favorite perfume to the performance. Chances are that the folks sitting around you may appreciate an unscented experience.

The Good News: most of our performance spaces have world-class acoustics. The Bad News: that means that when you cough or sneeze you make an especially clear statement to fellow audience members and performers alike. Feel free to ask an usher for cough drops when you arrive ata UMS Choral Union Series event and please consider bringing cough drops with you to our other events. It's noisy even if you cover your mouth!

Thankfully, we manage to keep last-minute changes to a minimum, but please remember that all artists and programs are subject to change at a moment's notice.

Programs with larger print are available. Ask an usher.

We make every effort to begin performances on time. The actual start time of a performance always reflects a combination of considerations. If you arrive after a performance has begun, we will get you inside the theater and to your seat as soon as it is appropriate. We work together with the artists to determine late seating breaks that will not disrupt their performance or the experience of the audience. Helping our clients build wealth and create retirement income for their lifetime and beyond.

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.:ISS E. Eisenhower Parkway, Suite 300 Ann Arbor, Michigan 48108

Steve Lehman,Alto Saxophone/Live Electronics Mark Shim, Tenor Saxophone Chris Dingman, Vibraphone Drew Gress, Bass Jonathan FInlayson, Trumpet nm Albright, Trombone Jose Davila, Tuba Tyshawn Sorey, Drums

Saturday Evening, November 9, 2013 at 8:00 Lydia Mendelssohn Theatre ' Ann Arbor

24th Performance of the 135th Annual Season 20th Annual Jazz Series

Photo: Visual representation of Spectral Analysis; photoGraph: courtesy of IRCAM Forum, France, http://forumnetircam,fr, • ,• , PROGRAM

Tonight's program will be selected from the following compositions, will be approximately 75 minutes in duration, and will be performed without intermission.

All compositions by Steve Lehman, except where otherwise noted.

Alloy As Things Change (I Remain The Same) Beyond All Limits Dub Echoes For Brice Wassy

Bud Powell Glass Enclosure (Interlude)

GZA ofWu-Tang Clan Living in the WorLd Today

Powell Oblivion (Interlude)

Rudreshm Serial & Segregated Thirteen Colors

These perlormancesare supported by the Renegade Ventures Fund. a multi- year challense grant created by Maxine and Stuart Frankel to support unique, cfwtive. and transformative performing arts experiences within the UMS season.

Media partnership is provided by Metro Times.

Special thanks to Linda Yohn for her support of and participation in events surrounding tonight"s concert by the Steve Lehman Octet.

Tonight"s performance by the Steve Lehman Octet has been made possible with support from Chamber Music America's 2012 New Jazz Works: Commissioning and Ensemble Development Program funded through the generosity of the Doris Duke Charitable Foundation.

Steve Lehman records for Pi Recordings. o •m A RTI S T S • "m •m escribed as None of t he Magazine TheNewYorkTimes,Newsweek, Z ~ transforming figures of early- and The Wire, and on National Public Radio, D21st-century jazz: by The theBBC.andSWR Guardian (UK) Steve Lehman has published writings and as a Ndazzling and presented lectures on a wide range of saxophonist.· by The topics, including jazz pedagogy, rhythm New York Times, cognition, and European notions of STEVE LEHMAN American experimentalism. His current (b . New York City, scholarship, including a contribution to 1978) is a composer, performer, educator, Arcana VI (Hips Road/Tzadik) and his and scholar who works across a broad recent doctoral dissertation, examines spectrum of experimental musical the overlapping histories of spectral idioms. Mr. Lehman's pieces for large music and jazz improvisation. orchestra and chamber ensembles have Mr. Lehman received his BA (2000) been performed by the International and master's in composition (2002) from Contemporary Ensemble (ICE), So Wesleyan University where he studied Percussion, Kammerensemble Neue under Anthony Braxton, Jay Hoggard and Musik Berlin. the JACK Quartet and the Alvin Lucier, while concurrently working Talea Ensemble. His recent recording. with Jackie McLean at the Hartt School Trovuil, Transformation 6 Flow (Pi 2009~ of Music. He received his doctorate with was chosen as the "ftl Jazz of the distinction in music composition from Year"by The New York Times. Columbia University (2012), where his An alto saxophonist Mr. Lehman has principal teachers included Tristan performed and recorded nationally and Murail and George Lewis. internationallywithhisownensernbJesand Steve Le hman has taugh t with those led by Anthony Braxton. Dave undergraduate courses at Wesleyan Burrell. Dave Douglas Mark Dresser, Vijay University, the ConseIVatoire National Iyer, Oliver Lake, Jason Moran. Meshell Superieur de Musique de Paris, New Ndegeocello, and High Priest of Anti-Pop School University, and Columbia Consortium. His recent electro-acoustic University, and has presented lectures music has focused on the development of at Amherst College, UC Berkeley, The complter-driven models for imprwisation Berklee School of Music, The Banff based in the Max/MSP programming Centre, The Royal Academy of Music in environment Mr. Lehman's work has been London, and IRCAM in Paris, where he fav"orably reviewed in Artforum Downbeat was a 2011 research fellow.

~ I U MS A RC HI V ES

Tonight's performance marks Steve Lehman's and the Steve Lehman Octet's UMS debuts. Tonight's perfonnance marks bassist Drew Gress's second VMS appearance, following his UMSdebut asa member of the Fred Hersch Ensemble. VMSwelcomesthe other Octet members as they make their VMS debuts tonight. o COLIN STETSON

Wednesday, January 15, 7:30 pm Thursday, January 16, 7:30 pm Arthur Miller Theatre "Stetson demolishes cliches to un­ leash fresh, unexpected energies. Irs like being inside an enormous brass tunnel full of windy byways and slamming valves, at once exhilarating and fri ghtenin g.~ ()

SUPPORTED BY Maxine and SbJart Frankel and the Renee:ade Ventures Fund

Tickets on Sale Now For more information. visit www.ums.oreorc<111734.764.2538.

BULLET CATCH Tu esday, January 7, 7:30 pm Wednesday, January 8, 7:30 pm Thursday, January 9, 7:30 pm Friday, January 10, 8 pm Saturday, January 11,8 pm Sunday, January 12,2 pm Arthur Miller Theatre

A deadly magic trick makes for a daring evening of theater.

SPONSORED BY The Sarns Family _.-M--. Tickets on Sale Now For more information. visit www.ums.oreorcaIl734.764.2538. Rob McAndrews, Guitar, Moog Taurus 3 analog synthesizer, and Electronics Ben Assister, Percussion and Electronics with sp«Jd guest Nosaj Thing

Monday EvenIng, November 11 , 2013 at7:30 MichIgan Theater' Ann Arbor

25th Performance of the 135th Annual Season • ,• , PROGRAM

Tonight's program will be announced from the stage by the artists and will be performed with one intermission following Nosal Thing's opening set.

" "< Special thanks to Etymotic Reseilrch, Inc. for providins high- fidelity hearins protection for this •" performance, available lor sale in the lobby. • ," James Blake and Nosaj Thins appear by arransement with The Windish ASency. < o •m 50 , WHAT INSTRUMENTS ARE THEY PLAYING? • "m •m James Blake andhis colleagues are playing non-conventional instruments sometimes in Z ~ non-conventional ways. James Blake, a conservatory-trained pianist turned singer/songwriter and prooucer, provides the vocals while perfonnmg on various keyboards and electronics. Blake builds complex vocal harmonies in tandem with vocals he records live during the concert (using foot pedals to record and loop his voice). One instrument rarely seen on stage. the Moog Taurus 3 analog synthesizer, is actually afairlystandardpieceofequipmentpopularizedbybignamerockbandslikePinkFloydand Rush. It is comprised of a series of pedals originally designed to be played by foot. similar to the pedals fotmd on an organ. Rob McAndrew"s. howe\rer, plays the Taurus with his hands to create massive,I()V{-end bass sounds He also treats his guitar like a synthesizer, producing electronic sotmds atypical of a familiarelectric rock guitar sound. Ben Assister has an almost infinite array of sounds at his disposal through a combination of digital and traditional percussion. While most bands stick to a traditional acoustic drum kit (typically comprised of variously sized cymbals. drums, and toms~ Assister incorporates a digital drum pad into his minimalist kit so that he can rhythmically trigger pre-created electronic samples live, often while accompanying these samples on traditional drums and cymbals.

ARTISTS

wentY-fiVe-year-old JAMES and DJs as much as possible within his BLAKE is a classically trained international touring schedule. T pianist who has quickly ascended Mr. Blak e's self-titled debut to become a leading figure in the LP, James Bloke, was awarded NBest New and post-dubstep electronic dance Music" and was ranked as the 12th best music communities. His unique creative album of 2011 on Pitchfork Media's year­ output blends soul influences, gospel end list. His debut sold over 400,000 copies harmonies, and folk traditions with deep, - a feat for a record so uncompromisingly club-like bass. Mr. Blake's relentlessly introspective and experimental. The forward-thinking approach is reflected album picked up Mercury, BRIT, and Ivor in his enduring love of dance music. He Novello award nominations and brought currently leads a club night at London's Mr. Blake into contact with a wide array Plastic People called N1-800- Dinosaur" of fans and collaborators including Joni

[!] .. ~ umslobby

Scan for an interview! John Bracey. executive director of Michigan Council for Artsand Cultural Affairs and a}ames Blake fan. tells us r. how he first discoYered Blake·s musK. [!] Download a free OR code reader app on your smart phone. point your camera at the code, and scan to see multimedia content o continued .. MitchelL Jay-Z, , Bon rver, Home, released on Bjork. Drake, , and The RZA.. Innovative Leisure, James Blake's highly anticipated marks the first time second full-length album, entitled Nosaj T h ing has Overgrown, was released worldwide in incorporated guest April and won the 2013 for vocalists, including the best British or Irish album of theyear collaborations with Toro y Moi and Kazu this past October. Makino of Blonde Redhead. Nosaj Thing has remixed and worked with artists including The XX, Flying I...otus, Charlotte Producer, DJ, and musician NOSAJ Gainsbourg, Beck. and Kendrick Lamar. THING released his acclaimed debut album. Drift, three years ago. The album UMS welcomes James Bloke and Nosaj topped many NBest of the YeaI' lists both Thing as they make their UMS debuts in the US and abroad. His new album, tonight

< "< •" • ," < George Hinchliffe Kitty Lux David Suich Jonty Bankes Richie Williams Peter Brooke Turner Leisa Rea

Tuesday Evening, November 12, 2013 at 7:30 Michigan Theater ' Ann Arbor

26th Performance of the 135th Annual Season

Photo: Ukulele Orchestra of Great Britain. ,• , PR OG RAM

Tonight's program will be announced from the stage by the artists and will be performed with one intermission.

z < ~ • < •"o "o •< •~ "z •u o Ukulele Orchestraol Gredt Britain appe.ar5 byarrangementwith Arts Manasement Groo..p, Inc., New York, NY. " " For more information on the Ukulele Orchestra 01 Great Britain, please visit www.UkuleleOrchestra.com ," and follow the ensemble on Twitter at@theUkes. ,< •m A RTI ST S • "m •m KULELE ORCHESTRA OF Orchestra of Great Britain tears the house Z ~ GREAT BRITAIN is t h e down with original arrangements of U original and t he world's first familiar songs, catchy tunes. and sharp ukulele orchestra which set the form for wit a cracking combination which draws thousands of others and w hich has been audiences into a joyous world delighting audiences, raising the roof, During its 28 years of existence, t he selling out performances, and receiving Ukulele Orchestra of Great Britain has standing ovations since 1985. given t housands of concerts. lV, andradio The show is a genre-crashing ride appearancesallovertheworld Tourshave through popular music a funny, virtuosic included England Scotland Northern foot-stomping obituary of Rock 'n' Roll Ireland Eire, Wales, France, Germany, and melodious light entertainment. Norway, Sweden. Finland Denmark, The Post-punk performance collides with Netherlands. Belgium, America Canada classical hits and toe-tapping oldies in New Zealand Slovenia, Switzerland, a thought-provoking journey t hrough Japan, The Czech Republic, Monaco, songs that you've heard, songs you've Spain. Poland Estonia, Italy, Australia, forgotten. songs you've never heard. and and the North Pole. Current tour plans songs you wish you hadn't encountered include China and South America. all transformed into a lively, headlong The Orchestra staying true to early stream of transcendent sound musical trail-blazing indie ethics. has remained delight and warm personalities featuring independent of corporate control only the "bonsai guitar" and a menagerie throughout its successful career. like t he ofvoices. ukulele, it is smaU perfectly formed yet The Orchestra is celebrated for its life-affinningly subversive. rapport with audiences and feel-good reactions. With no gimmicks. no stage VMS welcomes the Ukulele Orchestra of set, props or scenery, no special effects. Great Britain who makes its VMS debut no light show, no dancers. t he Ukulele tonight.

~ umslobby

Scan for an infographic! Learn about the history of the ukulele in the US. Download a free OR code reader app on your smart phone, point your camera at the code, and scan to see multimedia content GIVE THE GIFT OF A LIFETIME.

A bequest to UMS is a way to ensure that the artistic experiences that have enriched your life will stimulate and inspire audiences for generations to come. Help us build our endowment to ensure that UMS can continue to bring the very best in performing arts to our community. Please include UMS in your estate plan.

For more information, please contact Margaret McKinley, 734.647.l1n, [email protected]. , Violin Rainer Schmidt, Violin , Viola Clemens Hagen, Cello

Wednesday Evening, November 13, 2013 at 7:30 Rackham Auditorium' Ann Arbor

27th Performance of the 135th Annual Season 51st Annual Chamber Arts Series

Photo: Policeman writing a ticket lor an illegally parked motorcycle in downtown Manhattan, in frontol a mural 01 Beethoven; photographer: Andrew Holbrooke. ,• , PROGRAM

All-Beethoven Program

String Quartet in D Major, Op. 18, NO.3

Allegro Andante con mota Allegro Presto

String Quartet in A Major, Op. 18, NO.5

Allegro Menuetto Andante cantabile Allegro

INTERMI SS IO N

String Quartet in E-flat Major, Op.127

Maestoso: Allegro Adagio, ma no n trappo e malta cantabile Scherzando vivace Rnale: Allegro

This evenins's performance is supported by Edward and NatalieSUfoveil

Media partnership is provided by \'oGlE 91.3 FM.

Special thanks to Kipp Cortez for coordinating the pre-concert music on the Charles Baird Carillon.

HaRen Quartet appears by arrangement with Opus 3 Artists, New York, NY. •m NOW THAT YOU ' RE IN YOUR SEAT ... • "m •m Beethoven's string quartets belong to a very rare category of masterworks that only Z ~ gro.v more and more fascinating with every hearing. The first six quartets and the last five are separated from the middle five by enough years to make the usual division of Beethoven's music into early, middle, and late periods an objective reality and not just a historian's corwenience. Together, these quartets constitute not only a milestone in music history but one of the most supreme human achievements in aTrf field of endeavor, as they have provided lasting and universally valid expressions of such notions as progress. striving for agoallogical deveiopmentof anidea and an unusually wide array of human emotions.

String Quartet in D Major, Op.1S, as they implied that Beethoven could No.:3 (1798-1800) someday inherit the mantle of the two String Quartet inA Major, Op.1S, older masters. Andin fact, once installed in Vienna Beethoven lost no time in claiming NO.S(l79B-l800) his place asimBunde der Dritte(toquotea Born December 15 or 16,1770 in Iloru\ Germany famous phrase from Beethoven's favorite Died March 26.1817 in Vienna poet Schiller, meaning Nt he third in the alliance"). Having absorbed the style UMS premieres: String Quartet, Op 1& No. 3, of Haydn and Mozart during his first Detroit Philharmonic ClilQ Man::h 31888in the Viennese years, he immediately began to Law Lecture Room put his ovm personal stamp on that style. String Quartet. Op. 18. No. 5, FlonzuJey Q.Jmtet, With his first 20 opus numbers, published Januruy 22, 1912 at UniveISity Hall between 1795 and 1801, he thoroughly assimilated and carried on the genres SNAPSHOTS OF HISTORY... IN 1799-1800: • The Lbaryof Congress is 10U1ded in Washington, OC of concerto, piano sonata and chamber • Napoleon defeats the Austrians at Mareni/O music; by 1799-1800, he was ready to • Friedrich SchiUer's historical drama Moria Stuatis write his First Symphony. first per/orTnOO 'n Weimar • WlUiam Wordsworth 'Mites Ti""temAbtx;y The six string quartets of Cp. 18, • Haydn composes his two stsi ~ quartets Op. 77 writtenaroundthesametimeasSymphony No. 1 exemplify these simultaneous actsof When the young Beethoven left his native taking possession and making profound Bonn for Vienna in 1792. his patron Count changes at once. (It is somewhat like Waldstein. sent him on his way with the moving into an old house and starting words: "With the help of assiduous labor to remodel right away.) The influence of you shall receive Mozart's spirit from Beethoven's predecessors can frequently Haydn's hands: What the count meant be felt and scholars have shovm that there was that even though Mozart had died the is much in these quartets that goes back previous year, Beethoven could still study to compositional essays from the Bonn with Haydn, the other great Viennese period. Yet the set as a whole is nothing less composer.Thingsdidn'tquiteworkoutthat than revolutionary: it includes movements way, though, for Haydn and Beethoven. for that have no precedents whatsoever in the a number of reasons, didn't get along very history of the string quartet and ingeneraL well and the composition lessons never it makes obvious on eo when8eethovenwascomposinghisOp.1a in t he variations. But the latter turn out r Mozart had been dead for nearly a decade, to be much more than t he figurative r " but the much older Haydn was still actively embellishments of traditional variation 0 composing. Haydn and his erstwhile writing. The very first one introduces " rebellious student ev-en found themselves counterpoint. The second variation may in a kind of quartet-writing competition. be more conventional but the third is a as both had been commissioned by Prince breathtaking essay in musical color; the Franz Joseph von Lobkowitz. But t he older fourth a stunning chromatic chorale; composer only finished two quartets from and the fifth a grandiose statement of the six that had been planned (eventually almost symphonic breadth. One would published as Op. 77), leaving the field to expect a sixth variation. but instead - the young genius that Haydn used to call after a sudden leap into a remote key- jokingly, theNGrand Mogul· Beethoven appends a coda which is really The general feeling of the opening a free meditation on the opening portion of movement is rath er cheerful and the t heme. lighthearted but that feeling seems to be The finale is brilliant and virtuosic, constantly contradicted by t he frequent with a swiftly running first theme and a incursions into t he minor mode and t he second one that moves quite a bit more sudden rests interrupting t he musical slowly. &rth themes are manipulated with flow.As a result we are kept on the edge of great ingenuity and are finally combinedin our seats, nev-er knowing what is going to the witty coda happenin the next minute. Experts have called t he second- Program note by Peter Loki and Luke movement minuet Nsimple,· mainly Howard because it is an old-fashioned minuet CD ,• , String Quartet in E-flat Major, Op.l27 at a time when his creative powers Op.127 (lB2>-24) had begun to return with renewed vitality. Beethoven especially in the larger. ·public" forms. He had just completed the Missa Solemnis. UMSprmu'ere:fbganiniQuartet No.9, JanuaJ'1J 15,1949at Rockham Auditcritun Symphony and the Diabelli Variations, and had also talked of a

SNAPSHOTS OF HISTO RY_ IN 1823- 1824: Requiem and a 10th symphony. His return • Sctubert wrkes his sone C)'Ckt Ch scfI(InqMI1k1m to the string quartet genre at this time • Lord Byrondie5at ~Gteecq signaled another creative re--awakenins • Clement Clarke MOOfe writes A Visit from St. expressed through a more private Nicholas • Wil6am SturgeOn 1!'IYeIllS the ~{ and intimate ensemble. However. t he • l.oU5 Bralle <:\QowIops a dot code lor the blind composer nevercompieted the rest of the larger ·public" compositions. intensifying In 1822, the Russian prince Nikolas the scrutiny under which his last quartets Galitzin had been greatly impressed have been placed. These works. more than by a performance of Carl Maria von the grand choral/symphonic utterances. Weber's new opera Der Freischiitz, and havecometorepresentnotonlytheheight contemplated having a score made for of Beethoven's genius. but the ·summa of his own use. However, the violist of the St. instrumental music" universally, Petersburg String Quartet (the ensemble String Quartet in E-f1at Major is in which the Prince himself played cello) usually considered the most approachable convinced Galitzin that the money might of the five late quartets. in that the listener "0 be put to better use by commissioning must corne to terms not with extreme " a new work from the great Beethoven, " complexity, but with dazzling simplicity, "< thus providing something from which Still illuminated by the radiant optimism " the whole world might profit. Thus, of the-Ode to Jay: it is thought by some to Galitzin approached the aging. ailing be the most serene and harmonious of all composer with a commission for three of Beethoven's quartets. new string quartets. It had been 12 years Although E-flat Major was, for since Beethoven had composed his last Beethoven. a key of broad gestures quartet (Op. 9S in 1810~ but he was eager (as in the "Eroica" symphony and the to return to the genre and accepted the Piano Concerto No.5), the "Maestoso" prince's commission. Returning the favor, introduction to the first movement Galitzinarranged the first performance of is brief and harmonically naive. Yet Beethoven's Missa Solemnis. which took it is not insignificant. as its return placeinSt. Petersburg in 1824, though the throughout the movement is crucial to composer had not yet completed the first the overall structure. The themes in the commissioned quartet later published as wistful and alarmingly concise "Allegro. Op.l27. are not so much contrasted as drawn The years between Beethoven's together, and true to Beethoven's late Op . 95 and Op, 127 quartets were style in general the formal markers are ~ difficult ones for the composer. Success deliberately obscured; there is no repeat "~ ,•< had turned into creative paralysis and of the exposition and the recapitulation a financial despair; happiness was replaced sneaks in unobtrusively. The "Maestoso. z with sorrow and loneliness. while the passage returns at the beginning of the "0 < (in Major ~ z frustrations of his deafness continued development section G and • to plague him. But he started work on when it returns again in C Major midway •m through the development the composer Gentle pizzicato chords signal the • exploits the ringing resonance of open transition to the scherzo. It is a study in "m •m strings by marking it fortissimo. contrasts. characterized by ahoppingfigure z ~ Beethoven takes the finall()V{ 'E-flat' in the cello. cross rhythms, unexpected from the cello and from it builds a new silences, and interruptions of meter and chord - a dominant-seventh of A-flat- speed The Trio quickens the tempo into a for the start of the slow movement, the presto whirlwind that eventually runs out aesthetic centerpiece of the whole quartet. of steam and quietly elides into a repeat The theme in this variation movement is of the scherzo. Just when it sounds like a sublime melodic arch of 18 measures. there may another go-round of the Trio and in a slow 12/8, so exquisite in itself that scherzo. it's abruptly cut off by a short coda one wonders how the composer will vary (a device similar to that used in the scherzo it without detracting from the beauty of of Symphony No. 7). the original. The first variation simply Beethoven omitted a tempo adorns t he theme, while the second indication forthekFinale, "leaving it tothe transforms it into a carefree dance. The discretion of the players. The movement profoundly contemplative third variation is full of dancing rhythms. gaiety, charm, (Adagio malto espressivo) is in the distant and an untroubled peasant innocence, mysterious key of E Major, arrived at not mostly at a gentle dynamic level. The by modulation. but by simply lifting a 'c' Allegro con moto ccxla is an aviary of trills to'c-sharp' and on up until the nev-.r tonic and tremolos, majestically concluded is reached. The gently pulsing fourth by the simplest of musical gestures, an •> variation returns to A-flat again without unadorned authentic cadence. r modulation. A stem and lonely interlude r " touches on c-sharp minor before a chain of Progromnote by Luke Howard. 0 trills in the firstviolin returns leads back to " tonic for the final peace-filled variation.

ARTISTS p ca;sed fo' the;, un;que, hnely pinnacle of musical composition in nuanced timbre and the engaging the major music centers of the world, immediacy of their ensemble including Paris. London Vienna Salzburg, sound t he HAGEN QUARTET was and Tokyo. founded in 1981 by four Hagen siblings: Among other highlights of its violinists Lukas and Angelika (whose 30th anniversary, in October 2011, the chair has been filled by Rainer Schmidt Hagen Quartet was recognized with since 19B7), violist Veronika and cellist the prestigious Echo Klassik Award for QemensinSalzburg. kEnsemble of the Year, " and in 2012, Thirty-two years later, the Quartet it was named Honorary Member of has been celebrating its thirtieth Vienna's Konzerthaus. The Quartet also anniversary with extensive touring of the released two acclaimed nev-.r recordings first presentation of the complete cycle of to celebrate its anniversary, both on Beethoven's string quartets in its history. Myrios Qassics: a disc of string quartets From August 2012 through December by Beethoven. Mozart and Webern; and a 2013, the Quartet is performing t his pairingofGrieg'sStringQuortetingminor G with Brahms's Clarinet Quintet, featuring whether by reviving existing works or clarinetist Jarg Widmann This past June, by commissioning and premiering new Myrios released an all-Beethoven disc pieces. Collaborations with other artists. representing the opposite ends of his such as , Maurizio quartet-composing career: Op. 18, Nos. 3 Pollini, Mitsuko Uchida Sabine Meyer, and 5 (1798-1800), and Op.135 (1826). KIystian Zimerrnan and Heinrich Schiff, The Hagen Quartet's concert are also important to the Quartet. As repertoire and discography embrace the teachers and mentors at the Salzburg history of the string quartet. from its Mozarteum and the Hochschule in Basel pre-Haydn beginnings to Gyargy Kurtag. as well as in international master classes. The Hagen Quartet also works closely the Quartet's members pass on their with composers of its own generation. experience to younger colleagues.

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~ ~ I U MS A RC HI V E S ,•< C1 This evening's concert marks the Hagen Quartet's fourth appearance under UMS ~ auspices. The Quartet made its UMS debut in March 1995 at RackhamAuditoriumand o ~ most recently appeared inAnnArbor in February 2012 in an all-Beethoven program. KRONOS QUARTET

Friday, January 17, 8 pm Saturday, January 18,8 pm Power Center

PROGRAM (FRIDAY 1117) PROGRAM (SATURDAY, 1/18) Krzysztof Penderecki Qu,irtetto per iM"chi (1960/68) Suite irom Dirty Wars (2012) Geeshie Wiley Last Kind Words Blues (1930)' Unknown: Oh Mother, the Handsome Man TheIonious Monk 'Round Midnight (1944)' Tortures Me' Bob Dylan MastersolWar(l962- 63)' David HaninGton: Drone for Children Hany Partch Two Studies on Ancient Ramallah Und«ground: Tashweesh' Greek Scales (1946) ' David HaninGton: Drone Forever Selections from Traditiona~ Wa Habibi (BeIoYed)' The Dead Man (1990) FelaKuti Sorrow. Tears and Blood RIchard Wasner Prelude from (19n)' Tristan urd lsolde(ISS7-59)' Michael Dausherty Sing Sing: J. Edl!ill' Hoo_ L.aurieAnderson Flow (20TI)' (1992) Steve Reich WTC 911l (20TI) Aleksandra VrebaloY ... hoId me, neighbor, in this George CI'I.mb Black AnGels (1970) storm... (2007) DavId T. Utile AGency (b.l980)

, denotesiM"rangement

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NE W ! O PENING NI G HT Q&AS T U NE - IN EV ENT S Where does inspiration come from? What UMS -Tune-Ins - are a senes of brief makes an artist tick? After all apenine pre-performance talks by Inspired and night dance and theater periOfmances experienced speclall!vests who offer a • and other sele<:1 concerts. we'll host a free unique perspe<:tive. tidbits of Information. post~perlormance Q&A that will give you and provocative questions for thinking a glimpse into the lives and minds of the about, listening to, iJnd watching the artists who bring creatiVity to the stage. performance. Each Tune-In Is just 15 You must have a ticket to the related minutes longand takes place in the palormance to attend. performance venue,

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To help ensure the future of UMS, the following donors have made pledges that are payabie over a period of up to five years. We are grateful to these generous donors for their commitments.

$500, 000 O R MORE $50,000- $74, 999 $25, 000- $ 4 9 , 999 Maxine and Stuart Franl::et Pemyand Ken FIs<:her Foundation MoI\amad "wi,,,,, Foundation "00 _ The ArO_W. Mellon Foundation Miller, canl\eld, Paddod< and DebbIe and Norman Herbert stone. P.L.C. Carl and Charlene ...... 'teln $100, 000- $ 4 99, 999 A ~ "'" Moy-Sarn, and David Sarn, Kar,." and David stutz GI Omem and Martha DartIn ~ """"""'"'EmUy W. Bandefa Linda Samuetson and)oel How<>II -_. SUsan a nd Rkhard Gutow jane and Edward S<:t.JIak $15 ,000- $24 ,999 Wally and Robert KIIi.1n Oem" and Ellie SefJa, YaleIIe and Davkl ( ante< Nancy and )arn!"; Stanley Sara and Mkhael Frank $75, 000- $99, 999 Gl

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We are grateful to the following donors for induding UMS in their estate pians. These gifts will provide financial support to UMS for generations to come. For more information, please contact Margie McKinley at 734.64ZlI77.

Ben FIs<:her Robefl and Pffir!;on Macel:: carol and Herb Am.l... SUs.an Ruth FIsIIef SUsan McClanahan Dr. andM,.. David G.Anderson M",edIh L and Neal F",t... M. HasIrson Thoma,and Barbara Gelel"lrt ... ,~ Be_ley and """"'" ""line< LenNIeI"Iotf """"""'"'catherine So Arn.. e AnneandPaert Mr. and Mrs. Oeml. M. _. Kathy Benton and Robert Brown Rita and Pel... Heydon Mr. and Mrs. MkI"IaeI Radock Linda and Mau:"ke Bln/::ow john and Martha H\d(, Mr. and Mrs. Jad Rkl::ell!; EUzabeth s. BIshop Gideon and carol HoII", PnJe and Ani Rosenthal Mr. and Mr.. W. Howard Bond Ma,11yn G. Ie"' Irma J. Sl::lenar Mr. and Mr.. Pal E. Borondy Thoma, C. and Con,tar><:e M. Arl and EUzabeth Solomon Barbara EvmtI Bryanl Hildreth Spence, Pal and Geor ~ e Chatas Diane".- KlrkpalJlck Roy and joAn Wetzel Mr. and Mr.. johnAidenCIarI< F,an/:: ~ldandAlk\a Torres Ann and Clayton 'Mlhlle Mary C. C,kl"llon Leo and Kathy L<'I!alsid Mr. and Mrs. Ronald G. ZoIIar The arts unite us all. The power 01 thea rts is to mite (ommlllities. giving us a rush of emotion we want to share with others. At United Bank &Trust, we're lIlited in our mission to actively show our SUPJXlrt for the arts. and for Ifle many vibrant (QmlTlm~ies weserve . let's compose soIutioos togetfler. UNITED n BANK&..lRUST Solutions Together

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... indicates the donor made a contribution toa UMS Endowment Fund

PRODUCERS joe and Yvonne SesI Male Wlct\a and Sheila (rowley ($500,000 OR MORE) Sj~maNu ' Ann and Clayton 'MIMe Ci1ndI< J. and Helmut F. stl'I'n' ",", Gerald B. (lay) ZeIenock' UnlYerslly.. 01 MkN~ a n OIrKe 0/ the DIRECTORS Serlo Vlc:e PrOY05t tor """""""" CONCERTMASTERS ($100,000- $499, 999) AA~ ($5,000- $9,999) Anonymous Fund 0/ the u ...... sIIy ot MkN~ a n OIrKe 0/ the MIctw>1 AIIema"ll and janl, BobrIn Comm,,,,11y F<>O..nseiIrch (IN'''' i'l 1!ot>Of 0( 8Q(tI F/,m", Musl::l'\lon County (",oIAm,le< FOfd Motor Company Fund and VIRTUOSOS Ann Nbc< Aut<>m<>tt;.. Con"II1'>Jnity SeMc:... ($10,000- $19,999) _. Maxine and 5tuaor.(om Arl, at Mkhi~an Eu ~ .. ne and Emily GIant Ann AIt>OI' Area Commu:"llty ~ and Lisa Bemsteln The ArO.Jnd Forrest C<>ot of K«1 F/.I1 Wally and Robert Klein Oou ~ and Gay Lane Dennis and Ellie Serra, Dr. and M,5, jeITy KoIIns ofWn i'1 honor 0( Ann l G. Mt'Gui'e' TI-IE MOSAIC FOUNDATION Unlverslly 0/ Mlchl ~ a n Oedt Union New E"Il1and Foundation lor (01 R &. P. Heydon) Glom E. watkins the Aft, R~ and Coco Newton Robert O. and Oiln'''IIh H. Weisman M. Haskell and Jan Barney PH( Foundation [JIwn In hona« Sfd'loy and ,~ Jane and Edward Schulak Iron SibGo' VlJ£lnla and Gordon Nordby SeslUncoln Robert and Marina Whitman Rob and QuIncy Norltirup Paula NoYeIII and Paul Lee and Pearl A CELEBRATION OF mDiR mTHE WORLD with mu sica l perform ances, film se ri es, exhibitions, presentations by promin ent artists and filmm akers, and lectures by lea ding scholars. LSA .U MI CH.EDU fT HEM ESEM ESTER _ MId BI!Uy PilIms CONCERTMASTERS CNnes_ joAn EIIN4Ih (CON t iNUED). TIm MId Sally Pe(ersen a.rn.taand_c.. ~ Pil"Sl~ and El:zot>eth '"""'" MOl IklrAe Reece Lou and lane! c._y TIJocotte CW> c.rneron FamIly Foundation EINoOr Pcl.1iId< gIwJn In m'rICIf)' ~ Dot R5d )ea.n W. Carnpt>eU Peter and Carol PoIYi'Ijn( --Nathank!( and MeIo<:fy Rowe SallY Ann camper ..-.:l _t i.,yon. COOUS. and Dr. 1<'<,"" Rmenberl john). H. Sc:tMIarz ~ aild MartouColpo ""~- Anne and Knut SImonseo"I ChenI-YanI CI"Iant, MO" ~a FurIn Sloat St&In M. Smhh wid RoDert H. Gray bun WId SIu YIntI CI>anc SIOUISI""""'" )chn W. MldGail Fetauson SIDut Prol1 ~ and Mrs. PiI1rIcIa Karen MId ~ Stutz· w. RIcNrcI ondJc¥:eP. s....nn.n.tII. """""" LEADERS judy MOl L-'s ~ """"-P.-t MOl Georee C_ ($2.500-- - $4,999) L""""'T.J,yIof Dr. ~ and'Yl:lo5chaIne CiIroIyn"""""""' M . carty MId ~ Dr. MId Mt!.. ~G. AnOe-rKIn An<:i'uI and Cynthl.l otJe<>!;;z "~~ )chn Andenon..:lL.:,-n_ Center lor _ MId _. RebertL~n -...., Peter and Grace o..ftl AnIle and Howard Cooper Dr. and Mrs. ~ ..... SOiIChef -'""'"ROSiIIIe Eo,o,ardS/VIIfant Ann kAIi Donovan CIar\cM' and JOlIn -H.1rIene and Hefvy ~ Arbor FUnd C_O·Meara Sandy and Charlie .... ~no ~ ua and CIIa,1eS Elserdrath" Mir)'Iene OeI>oura-OeIphl$ Bob and Mattila Auw )can and Eml Envel )oM Orydm MOl 0Iiln.0 ~mI A"""tln )oIwIJ\i\ Epstein and st"""" Km 'ia"iland MlchaelF,;onI< jonath.>n A/rWS ond Tefedlll"l Freedman R..-nonMld ~ a.....- IAon WId Mird.I Frted"Nn ""Illp an:! Kattfyn KIntwotttI l1li...:1 90c Fulton Ted MOl wendy 1..orNrence' -'''''''OJ and 0ieIB" BoeIvn ENd H. Galle!" --Le-o Ind Kathy l.e(atskl gIwJn In honor «Soro BIiIImatw> Ctn$ C".enteeI and Cara""""'" 00niI1d and catoIyn D.ilna lewis Howard and Mati..-eI Bond ZILI"nd wayne Gill!; )ea.n E. l.o<1I 0.. and Mrs. ~t IIonI'leld KatheE'Il Karl and Karen GottInE -,~ Chafles and I..lnda IkKR$dOO1 Coz@{teGi"alJtl )oM an:! CMryI MacKreII L.lIwl'"J"lCe and Grace Boxer On. Pal:l1dlWld Stephen Gr....., Ann MartIn and R.Js, I..arIcn Dr. MId Mt!.. Ralph 80M RoOert .. GIeen and MMtha Et...-an::l_ McCiItuI. D.aIe E. and Nancy M. Br1aS OJ. Mid< MId)an van ~ O;MdandAn

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Expand your world

UMS on th 13-14seasolj

University of Michigan Credit Union (UMCU) is proud to support this season's performances! We hope you enjoy the show!

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Michigan Psychoanalytic INSTITUTE I SOCIETY For change rhot lints. A SSOC I A TE S (CONTI NUEO) ~ ~lUId GIetn NeIocn )ames S...... HouselUld WI!ndy catllo!rlre M._ LIncSo DInlerass and Ken_old _ ~,- oMiIni'll'lOr'a ofSUla! Eizabeth Duell --"""""""'Ratp/'I and Elaine Anthony EdmJnd ilnd Maty o...Iee Alde)'""""""" j. i-U'lt PIll and lorio! Arbolx SWat! Dulta a/VVn i'I m CImOIy of ROf}(JI £. I-blt caUlet1ne So Arc ...... Wolt and EVil Ci<.Nenlo)' MrJ. Kc::I"M otto W. lUId ~ B. Freltar -~. r....t Fo.Moermn lUId 91. Hampton SIWr;J,"'" and Stete KleIn SIIeIaon and Elarbivil Berry ).W11et FU'l1eid MIcI\Ml Keen E~Ubetl"l s. BI5Mp janet and Charles GatYln )owph and Ma..-ynn Kokoukil Mary E. Black Sandra Ga,t and Gte8 KOIed n...... ay 0I0Iar!es RubtI ...... ". ~ C. _andWl lk mM Dr. AIiIfl GIbtlaId iIf"I(I Dr. Beth ~ t l.ac1"lOWlcz " l1m _ KalI1y I..aIrV ~ 0Y!sana""""" Brown and)efT)' o..YIs ~ M.lrIIn ~ and 1lIri M. Stq:>her\ and Pamela 1..0".,... Morton B. and Ray;!. Br...... Robert Losn lUId Mard Raver t..sn Sally ind Ian Bund Betty-Ann"""'" lUId Dao~ Gilnland _I and "'nne l.a.IrilflCe AnthOny and jane B...-ton M Ol .... """ lUId 0iYId GlnSbu"ll jean A.. lilwton and james H. EW, Heathe< Byrne Edle GokIenbea Mayo )ames'""" Le/JI and Ar\c: Kruth 0enr0Is B. ilnd M.vllilf"l'l: W. c..rro. ArIIIII and-- I-iarW!y leo gMrn n"""""'YofHmbJI Robert~~- Gordon M.tx lepIer lUId AI!x L 0c:t50n -.~ ,~"'"'" Mel L.esW and Dc:noI!n Hoerrr-. Michael. L GowInt )a~l_ """"~ Susan M. c.ter -~, Non MillIe UpjnSlll AIOe!1 C. cattell )oeny M lUId Moaryl(. Gtiy Mke and OeCfi I..buU )oM and Marsha ChamberUn Linda and Rote< Gtekln Ooonlel LIttle _ ~ .. Lintz Samuet and Roberta Chappell w...... H. Grllk Rod and RoDin U!tIe' )an~ A. Clark jane and Bob GtOYff gtv"" ~ _ 0( Dlcltw H_ Evan H. Cohen and Deborah Annil. GuyrNol.o- Busse and Dr. Len LotsIrom and Betty I(. -~ """~- , WiyneandMellndaColQukl su...... C.~aod GretorY , .. """ ,~ ....- ArIIIII """ EdWiIfcI car-.. RIc'*ales A.dn Chlries P. ind)udy B.1..uca!; ~ """ SU5ivl Coran ,--M1chaetHammelIlnd ~ Mallory s. Lutr.er WI!ndy lUId RIch.1rd Canall Fmde;lnd Marilyn Ma.aseIc:Iv.oag Katl\at1ne CosoYIctI William and Kathleen Han"'" Donald and jane MacQueen KaUlet1ne and Clifford Cox -gIYm In IfKIIl"IOtY 01 A-o(. /Ome' Marlin and Jane Mae!.- Mk:NoeI _ St&ln Bozell O~g "'.AI""" WlUI.om and ju\U; Maim Mts. C. Merle Oawlad AI.vl Hamil< ilnd GlllIaI1 Feeler CIaI" . ndRlcMn:lMalWl Or. )oan lUId Mr. MId\aI'!I 011"""'"' -~ Ger\ and ~ Martel ~RCUIoItiI OIYI;I Mi)ll\ird """ 0Ict Kilft51rOm ~nrn.nayc:(_lC.a.ot:cto -,-_.nd)om Henderson Milfa;lret _ HoVm ""'~ M-.._IQtty~ Alfred and ThlN"ew Hao )ames H. MCIntOSh lind s.Jne K. gIwn n momayofL..... CO'lO'l Ron_s.u..~ ,.", SUrilllUId MefIal 0.., MIUKett HUIns SjU iIf\d Giro"" MCKNchie LInda Dam and Robert RIchie< Gideon and c.atoI Hell", ErIn McKean ind Steve SUllivan plYwl t1 honor 01 1("" FI<~ jane and Thomas Holland" Ralph It McKee and jean L Wong EIeN; lUId Nicholas Delb;onco Paul Hos ..... and Charlene 8lina1l F~McSpa".. n Key Private Bank investments I trust I banking <>-w working in concert

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At Toyota , we celebrate differences. And the people who make them.

Toyota is proud to support tile UrIivefsitV Uusical ~ and their OJImIitmenl to connecIiIg audiences with performing artists from around the world in uncomrnoo and er'l\laging experiences,

Lets Go Places ASSOC IATE S (CO NTINUED). Barbara Reed and Rk:hard YIaId ~mSpevak Mani'" and """ha Ml'hta DouIIlas and Robin Rlchstone Held Stanl-'M>IsId and Warren and Hilda Mefmant jonathan Rod~ Thomas 0WVer Hefman and Bemke Mefte john B. Ronan" RlckandLlaSt".,..,..,s Gene and Lois MII<>r stephanie Rosenbaum james L stoddard )ack and Carmen M1Uef stephen and Tanis Rosol! Brian and Lee Talbot David Ros. and Donna Freund Eva and Sam Taylor -~~ Charles stewart Molt Foundation Rosemarie Ha a ~ Rowney Karla Tay\<>< and Gary 8e<:kman" Mart and Leslanne Navarre Montmorency Denise Thill and David S<:obey ofWn r. m.","'Y or Nona R. Don and)udy Dow Ru:neIharI NI~ and Jane Thompson ~. A"'I Saldn~ and Robert Axelrod Palrk:1a a ndTer~1 TompIter TOO\lood and Hanna ~ Sarah WInans Newman Mkhaet and Klrrvn Sarosl SUsan and RIchard Nisbett (,lWQ'1 i'1 m.mory ~ ChOOQS RWin ~-Alvan and Katharine Uhle L.a\Xa NIIzber ~ Rosalyn Sarver and stephen FiWfWa:L Ulaby and jean Artho.x S. Nusbaun Rosenblum CUnnln~ham Paul and MaryClare Olson AlberlJ. and jane L Sayed Hu~o and Karla Vanderswen EUzabeth On!! jochen and HeI~ a S<:hacht DavId C. and Elizabeth A. Walker Elisa Ostann and 1-Ioo; ...ln KeshU:ar David W. S<:hm1dt Charles R. and Barbara H. Wall£l'en DavId and Andrea Pa£" jenniter S<:ott- B\XIon )oAnnWard WendyandArdy Palms Larry and Bev SeIIoadodI: Karen Part and)ohn 8efanek Ananda Sen and Mousuni Rlchardand MadelooW_" Anne Parwn. and Donald DIetz ""- Mary LInda Webster Zoe and )oe I'<>arwn David and ElYefa Shappjrlo jad< and)""'I Weldenbac:t1 otwn i'1 mMIa)' orOlaiI?! Rut1n Patr\d( and Carol Sherry Mr. and Mrs. Rkt\ard C. Welerniller John and Mary Pedley Geor~e and Gladys Shi"ley jad< and Carol ~ olVen r. m.","'Y or FrorKIs Barbara Shoffn<.>f MaryAMwtMppIe" WUlan Sl~ john and Pat Wilson SUsan Pollan. and Alan Levy Carl and jarl Snilh Robert 'Mnr.etd and 4'nn Chander Nancy I'tl David and Renate Snith Sarajane Wlnl::etman Anne Preston Robert W. Snith steven and Helen WO\lhln Ann Preuss Sldonle Snith CharIotteA. Wolle Karen and 8eflslav PI1morac Kale and PtMIlp Soper Frana'S 'M1~ht " Blake and sner~ Ral:c:Ulfe Doris and Larry Sper\I"Il Gall and David ZUk

ENDOWED FUNDS The success of UMS is secured in part by income from UMS's endowment funds. We extend our deepest appredation to the many donors who have established and/or contributed to the following funds:

H. Gardner and Bonnie Ackley Endowment Fund Frances Mauney L"'" Choral Union Endowment R..nd Herbert So and Carol Amster Endowment Fund Natalie MatOYlno\Ot Endowment Fund catherine So AA\Xe Endowment Fund Medical Community Endowment Fund Carl and Is.abelle Brauer Endowment Fund NEA M atrnl~ Fund Dahlmann SI~ma Nu Endowment VMS R..nd Ottmar Eberbac:h Funds Hal and Ann Davis Endowment Fund PillmerEndowmentFund Dofls Duke Charttable Foo..n

GIFTS IN KIND

AI ...... ! Assoclatloo of the Unl-.!ty SheIla Harden The Quarter Blslroand rav .... n oIMlchlilan Da\Od and PI?;IUs HerzIril Quest Production. ~"~ JaneHoUand TheRa""""CIub Ann Atbof Art Center Hotel Bo<.iI!alnvIIlm. Red BI1or Hanm-On Museum Indulille Revive + Replenish Ann Att>or ~I HoIei &. sutes ,~ linda Samuelson and)oel Hewell Ann Att>or SewIn~ Center Verne and Judy tor ~ Orchestra .... ~~ A"""t..'a and)ad<_­ Cedel'qUsI jane a nd EdNard Sd..... ak Ay5e's TUrkI,h catl! Kl>nsln£ton eo..t ~~ babe>: a market by Sava ,-""'" Shefaton Ann Att>or The Bel Towe< Hotel Ko.xmhlo Restuanl Gear£ Health ~In> Unlv...,.ltyol Mlchillan MuIa', BooI

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The arts. Henriche~ rllationships. self-confidence and health. Thah why Siwlr Maple~ cllebrate~ the power of the arts and it is why we attract ~o many people who Ian the art~. Our art gane,.,. art and enrichment classes. the many concerts WI ~harl. and our trips to museums and plays. delight our residents. Tap into your imagination at Siwer Maples. a Retirement Neighoorhlod in Chelsea.

SILVER MAPLES ojChelsea IUIIlMllllI1I IGHI O .IIO OIi INDEPENDENT UVING ASSISTED LIVING SHORT STAYS DAY PROGRAMS 734.475.4111 www.silvermaples.org

l~.N ___ "'" eho_"","" w ...... F ...... U.- ..._R_C~ •. 1no. HOW DO I BUY TICKETS?

ONLINE BY PHONE www.um s.org 734.764.2538 (Outside the 734 area code, IN PERSON call toll-free 800.221.1229)

UMS Ticket Office BY MAIL Michigan League 911 North University Avenue UMS Ticket Office Mon-Fri: 9 am-5 pm Burton Memorial Tower Sat: 10 am-l pm 881 North University Avenue Ann Arbor. MI 48109-1011 Venue ticket offices open 90 minutes before each performance for in-person sales only.

TICKET DONATIONS/UNUSED TICKETS If you are unable to use your tickets. please return them to us on or before the performance date (accepted until the published performance time). A receipt will be issued by mail for tax purposes. Please consult your tax advisor. Ticket returns count towards UMS giving levels.

ACCESSIBILITY All UMS venues are accessible for persons with disabilities. For information on access at specific UMS venues, call the Ticket Office at 734.764.2538. There is no elevator access to Power Center. Michigan Theater, or Lydia Mendelssohn Theatre balconies. Ushers are available for assistance.

LISTENING SYSTEMS Assistive listening devices are available in Hill Auditorium. Rackham Auditorium. Lydia Mendelssohn Theatre, and the Power Center. Earphones may be obtained upon arrival. Please ask an usher for assistance.

LOST AND FOUND For items lost at Hill Auditorium. Lydia Mendelssohn Theatre. Power Center. Rackham Auditorium, or Arthur Miller Theatre. please call University Productions at 734.763.5213. For the Michigan Theater. call 734.668.8397. For St. Francis of Assisi Catholic Church. ca1l734.821.2111. For Performance Network. call 734.663.0681.

REFRESHMENTS Refreshmentsareavailable in the lobby during intermissions at events in the Power Center. in the lower lobby of Hill Auditorium, and in the Michigan Theater and Performance Network. Refreshments are not allowed in seating areas. PARKING We know that parking in downtown Ann Arbor can be difficult and can sometimes take longer than expected. Please allow plenty of time to park. Parking is available in the Church Street, Maynard Street, Thayer Street, Fletcher Street, and Liberty Square structures for a minimal fee.

UMS donors at the Patron level and above ($1,000) receive 10 complimentary parking passes for use at the Thayer or Fletcher Street structures in Ann Arbor. Valet parking is available for all Hill Auditorium performances on the Choral Union Series for a fee ($20 per car). Cars may be dropped off in front of Hill Auditorium beginning one hour prior to the performance. UMS donors at the Virtuoso level ($10.000 annually) and above are invited to use the valet parking service at no charge.

FOR UP-TO-DATE PARKING INFORMATION, PLEASE VISIT WWW.UMS.ORG/PARKING POLICIES.

SMOK E- FREE UNIVERSITY As of July 1. 2011, the smoking of tobacco is not permitted on the grounds of the University of Michigan, including the exteriors of U-M theaters and concert halls. Smoking is allowed on sidewalks adjacent to public roads.

TICKET EXCHANGES Subscribers may exchange tickets free of charge up until 48 hours prior to the performance. Non-subscribers may exchange tickets for a $6 per ticket exchange fee up until 48 hours prior to the performance. Exchanged tickets must be received by the Ticket Office at least 48 hours prior to the performance. You may send your torn tickets to us by mail, fax a photocopy of them to 734.647.1171, or email a scanned copy to [email protected]. Lost or misplaced tickets cannot be exchanged.

We will accept ticket exchanges within 48 hours of the performance for a $10 per ticket exchange fee (applies to both subscribers and single ticket buyers). Tickets must be exchanged at least one hour before the published performance time. Tickets received less than one hour before the performance will be returned as a donation.

C H I LDREN/FAM I LI ES Children under the age of three will not be admitted to regular, full-length UMS performances. All children must be able to sit quietly in their own seats throughout the performance. Children unable to do so, along with the adult accompanying them. may be asked by an usher to leave the auditorium. UMS has posted age recommendations for most performances at www.ums.org. Please use discretion in choosing to bring a child. Remember. everyone must have a ticket regardless of age. GETTING INVOLVED.

For more detailed information on how to get involved with UMS, please visit www.ums.org/volunteer.

STUDENT WORK-STUDY/VOLUNTEER INTERNSHIP PROGRAM Internships with UMS provide valuable experiences in all areas of arts management, including performing arts production, education. administration, ticket sales, programming. development. and marketing. For more information about available positions and how to apply, please visit www.ums.org/jobs.

UMS STUDENT COMMITTEE The UMS Student Committee is an official U-M student organization dedicated to keeping the campus community connected to the performing arts. For more information on how to join, please email [email protected].

USHERING Usher orientation sessions are held twice annually for new and returning ushers. You must attend an orientation to be eligible for ushering. Information about upcoming sessions is available at www.ums.org/volunteerassessionsarescheduled. For more information. contact Kate Gorman at 734.615.9398 or [email protected].

UMS CHORAL UNION Open to singers of all ages, the 170-voice UMS Choral Union performs choral music of every genre in presentations throughout the region. Participation in the UMS Choral Union is open to all by audition. Auditions are held in the spring and the fall of each year. To learn more. please contact Kathy Operhall at [email protected] 734.763.8997.

UMS ADVISORY COMMITTEE

If you are passionate about the arts. are looking for ways to spend time volunteering. and have a desire to connect with our organization on a deeper level, the UMS Advisory Committee may be a great match for you. To learn more, please contact Cindy Straub at [email protected]. UMS ADVERTISING

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