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UMS Concert Program, February 16-18, 2016 - Sir András Schiff The Last Sonatas

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UMS unleashes the power of the performing arts in
order to engage, educate, transform, and connect individuals
with uncommon experiences. The Winter 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.


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


in the greater Ann Arbor Area

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

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delighted that you’re joining us in our 137th season, one
of the most exciting, diverse, and engaging in our history.
In addition to what you’ll see on stage, UMS has a robust
education program serving people of all ages and also
oversees the 175-voice Grammy Award-winning UMS
Choral Union. We invite you to learn more about all of
our programs at and to become engaged with
UMS, whether it’s by making a gift to our campaign,
joining us at the Ann Arbor Y for a community dance
class with a visiting dance company, or buying a ticket
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too! Join the conversation and share your thoughts after a
performance at If you have any comments,
questions, or concerns, please be in touch with UMS
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Winter 2016
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What’s in a Song?
A song recital evening
curated by Martin Katz

Jamie Barton,

Royal Philharmonic
Pinchas Zukerman,
conductor and violin


Jazz at Lincoln Center
Orchestra with
Wynton Marsalis
1 / 2 1 -2 3

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

Chamber Music Society
of Lincoln Center

NT Live: Charlotte
Brontë’s Jane Eyre

Ms. Lisa Fischer and
Grand Baton


Tanya Tagaq in concert
with Nanook of the North


Taylor Mac
A 24-Decade History
of Popular Music:

Montreal Symphony
Kent Nagano, conductor
Daniil Trifonov, piano


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

Igor Levit, piano

Camille A. Brown &

UMS Choral Union and
Love is Strong as Death
Scott Hanoian, conductor
2 / 1 6 -2 0

Sir András Schiff, piano
The Last Sonatas
of Haydn, Mozart,
Beethoven, and Schubert

The Triplets of Belleville
Benoît Charest,

NT Live: Christopher
Hampton’s Les Liaisons


The Chieftains

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

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



American Ballet Theatre
The Sleeping Beauty


Mariachi Vargas de

NT Live: Shakespeare’s
As You Like It


NT Live: Shakespeare’s



Jerusalem String Quartet

Mnozil Brass

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

Bavarian Radio Orchestra
Mariss Jansons, conductor
Leonidas Kavakos, violin

The Bad Plus
Joshua Redman



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.



Mondays 1/18–2/15, 7–8:30 pm
(U-M Alumni Center, 200 Fletcher St.)


UMS Night School: Constructing Identity

In our ongoing Night School series, UMS explores the dynamic quality
of how human and social identities are constructed and explored in this
season’s artistic program. How do artists’ personal identities inform their
work? Do audiences’ own identities shape what they see on the stage?
UMS Night School invites participants to discover the intersections of
performance and identity in music, theater, and dance, and to meet others
who share a similar interest. The Night School curriculum will include
attendance at and discussion of Young Jean Lee’s Theater Company’s
Untitled Feminist Show & Straight White Men, Tanya Tagaq, Taylor
Mac, and Camille A. Brown & Dancers Black Girl—Linguistic Play. These
90-minute classes combine conversation, interactive exercises, and lectures
with genre experts to draw you into the themes related to identity and
performance. Drop in to just one session, or attend them all. Events are free,
and no pre-registration is required.

Monday, 1/25
“Acting and Dancing Identity”
(Young Jean Lee’s Theater
Company, Tanya Tagaq, Taylor Mac)
Monday, 2/1
“Constructing Identity Onstage:
An Interview with Taylor Mac and
Tanya Tagaq”
(Tanya Tagaq, Taylor Mac)

Taylor Mac by Kevin Yatarola

Monday, 1/18
“Thinking about Identity and
(Young Jean Lee’s Theater

Monday, 2/8
“Constructing Identity Together:
Artists and Audiences”
(Camille A. Brown & Dancers)
Monday, 2/15
“Reflection & Graduation”


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APRIL 29 TO MAY 14, 2016




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


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

“One of the delights of living in Ann Arbor is the opportunity
to attend the many and varied programs brought to us by
UMS. We don't need to travel world-wide to experience these
'big city' events. I feel honored to help make this possible.”

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

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



“I want to help chamber music flourish in Ann Arbor. My
support for the series began with its inception in 1963 and
I continue to believe that these concerts help nurture our
intellectual life as they stimulate and refresh us.”

“We are delighted to partner with UMS for the fifth
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programming allows UMS to provide experiences for
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member — allowing us to challenge our existing beliefs
and push our own boundaries.”

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

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

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

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

President and CEO, Bank of Ann Arbor
“We take seriously our role as a community bank. While there have
been sizable cuts in arts funding over the years by both the private
and public sectors, Bank of Ann Arbor is delighted to continue to
sponsor UMS year after year. We are firm believers that the arts are
vital to the vibrancy of our cities, both culturally and economically.”

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


“Conlin Travel has been a proud supporter of UMS for over
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concerts in 1975, listening to Vladimir Horowitz perform
Chopin, Rachmaninoff, Schumann, and others. UMS makes
Ann Arbor the most vibrant cultural community in Michigan


President, Conlin Travel, Inc.

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

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.”

President, Ford Motor Company Fund
“Experiencing the world through music and the arts makes
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community. We are proud to support UMS and the important
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Arbor office is proud to carry on that tradition on behalf of all
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Arbor area. We all view the exceptional cultural experiences
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Director, Issa Foundation
“The Issa Foundation is sponsored by the Issa family, which has
been established in Ann Arbor for the last 30 years, and is involved
in local property management as well as area public schools. The
Issa Foundation is devoted to the sharing and acceptance of culture
in an effort to change stereotypes and promote peace. UMS has
done an outstanding job bringing diverse and talented performers
to Ann Arbor.”
Michigan Market President, KeyBank
“KeyBank remains a committed supporter of the performing arts
in Ann Arbor and we commend UMS for bringing another season
of great performances to the community. Thank you, UMS, for
continuing the tradition.”

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

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

CEO, McKinley, Inc.
“The success of UMS is based on a commitment to present a
diverse mix of quality cultural performances. McKinley is proud
to support this tradition of excellence which enhances and
strengthens our community.”


“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.”


President and CEO, McMullen Properties

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.”

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.”

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

Detroit and Southeast Michigan Regional President,
PNC Bank
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Arbor community.”


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

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

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

President, Stout Systems
“Supporting UMS is really a labor of love — love of music and the
performing arts and love of arts advocacy and education. Everyone
at Stout Systems knows we cannot truly be successful without
helping to make our community a better place. It is an honor to be
part of the UMS family.”

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



President, Toyota Motor Engineering & Manufacturing
North America, Inc.
“Toyota Technical Center is proud to support UMS, an
organization with a long and rich history of serving diverse
audiences through a wide variety of arts programming.”

President, University of Michigan Credit Union
“Thank you to UMS for enriching our lives. The University of
Michigan Credit Union is proud to be a part of another great
season of performing arts.”

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.”

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


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

$500,000 AND ABOVE
The Andrew W. Mellon Foundation

Charles H. Gershenson Trust

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


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

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

For more information, please contact
David Parsigian at 734.418.4250 or


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

Silver Maples Resident:

Lajos R.

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

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


Those who
work to bring
you UMS
each season

The UMS Board of Directors is a group of elected volunteers devoted to
the performing arts and to our community. Their hard work ensures that
UMS is able to offer outstanding performances year after year.
Stephen R. Forrest
Sarah Nicoli
Vice Chair
Rachel Bendit
Tim Petersen
A. Douglas Rothwell
Chair, Corporate Council
Stephen G. Palms
Past Board Chair
Bruce Tuchman
Chair, National Council

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


UMS Board of Directors

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

Photo: Shara Worden performs with My Brightest Diamond at the UMS Season Opening Celebration at Downtown
Home & Garden in September; ©2015 MLive and The Ann Arbor News. All rights reserved. Used with permission of
MLive and The Ann Arbor News.


Sir András Schiff
The Last Sonatas
February 16, 18, and 20, 2016
Rackham Auditorium and Hill Auditorium
Ann Arbor

An Introduction to
The Last Sonatas


Concert I
Tuesday, February 16, 7:30 pm


Concert II
Thursday, February 18, 7:30 pm


Concert III
Saturday, February 20, 8:00 pm




By Sir András Schiff
“Alle guten Dinge sind drei” — all
good things are three, according to
this German proverb that must have
been well-known to Haydn, Mozart,
Beethoven, and Schubert. Introducing
their last three piano sonatas in
three concerts — 12 works, 12 being
a multiple of three — is a fascinating
project that can demonstrate the
connections, similarities, and
differences among these composers.
The sonata form is one of the
greatest inventions in Western music,
and it is inexhaustible. With our four
masters of Viennese classicism it
reached an unprecedented height
that has never been equaled, let alone
surpassed. Mozart and Beethoven
were virtuoso pianists while Haydn
and Schubert were not, although they
both played splendidly (Schubert’s
playing of his own Lieder had
transported his listeners to higher
spheres and brought tears to their
eyes). The piano sonatas are central
in their oeuvres and through them
we can study and observe the various
stages of their development.
Lateness is relative, of course;
Haydn (1732–1809) and Beethoven
(1770–1827) lived long. Mozart
(1756–1791) and Schubert (1797–
1828) died tragically young. It’s the
intensity of their lives that matters.
In the final year of his life Schubert
wrote the last three piano sonatas,
the C-Major string quintet, the songcycle “Schwanengesang,” and many
other works. What more could we ask
for? These last sonatas of our four
composers are all works of maturity.
Some of them — especially those of

Haydn — are brilliant performance
pieces; others (Beethoven, Schubert) are
of a more intimate nature — it is almost
as if the listener were eavesdropping on
a personal confession.
Both Beethoven and Schubert had
worked on their final three sonatas
simultaneously; they were meant
to be triptychs. Similarly, Haydn’s
three “London sonatas” — the only
works in this series that weren’t
written in Vienna — were inspired
by the new sonorities and wider
keyboard of the English fortepianos
and belong definitely together. It
would be in vain to look for a similar
pattern in Mozart’s sonatas. For
that let’s consider his last three
symphonies — but his late music is
astonishing for its masterful handling
of counterpoint, its sense of form and
proportion, its exquisite simplicity.
Let me end with a few personal
thoughts. The last three Beethoven
sonatas make a wonderful program.
They can be played together,
preferably without a break. Some
pianists like to perform the last three
Schubert sonatas together. This, at
least for me, is not a good idea. These
works are enormous constructions,
twice as long as those of Beethoven,
and the emotional impact they create
is overwhelming, almost unbearable.
It is mainly for this reason that I am
combining Beethoven and Schubert
with Haydn and Mozart. They
complement each other beautifully,
in a perfect exchange of tension
and release. Haydn’s originality and
boldness never fail to astonish us.
Who else would have dared to place an

E-Major movement into the middle of
an E-flat Major sonata? His wonderful
sense of humor and Mozart’s
graceful elegance may lighten the
tensions created by Beethoven’s
transcendental metaphysics and
Schubert’s spellbinding visions.
Great music is always greater than
its performance, as Artur Schnabel
wisely said. It is never easy to listen
to, but it’s well worth the effort.


Sir András Schiff
Concert I

Tuesday Evening, February 16, 2016 at 7:30
Rackham Auditorium
Ann Arbor

69th Performance of the 137th Annual Season
53rd Annual Chamber Arts Series

Tonight’s performance is supported by Joel Howell and Linda Samuelson.
Media partnership provided by WGTE 91.3 FM and WRCJ 90.9 FM.
Special thanks to Steven Whiting for his participation in events surrounding this week’s performances
by Sir András Schiff.
The Bösendorfer piano used in this evening’s recital is provided by Yamaha Artist Services, New York
and Evola Music, Bloomfield Hills, MI.
Sir András Schiff appears by arrangement with Kirshbaum Associates, 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.


The Last Sonatas:
Concert I

Franz Joseph Haydn
Sonata in C Major, Hob. XVI:50
Allegro molto

Ludwig van Beethoven
Sonata No. 30 in E Major, Op. 109
Vivace ma non troppo; Adagio espressivo
Gesangvoll, mit innigster Empfindung.
Andante molto cantabile ed espressivo

Wolfgang Amadeus Mozart
Sonata in C Major, K. 545

Franz Schubert
Sonata in c minor, D. 958
Menuetto (Allegro)

Tonight's recital will be performed without intermission.

S O N ATA I N C M A J O R , H O B . X V I : 5 0 ( 1 7 9 4 )
Franz Joseph Haydn
Born March 31, 1732 in Rohrau, Austria
Died May 31, 1809 in Vienna
UMS Premiere: Rudolph Serkin; March 1969 in Hill Auditorium.
Snapshots of History…In 1794:
· The French First Republic abolishes slavery
· The first session of the US Senate is open to the public
· Eli Whitney is granted a patent for the cotton gin
· The US and Great Britain conclude the Jay Treaty, the basis for 10 years
of peaceful trade between the nations

Before 1790, Joseph Haydn had rarely
travelled outside his native Austria.
From 1761 onwards he had been in
the service of the Esterházy family,
first as Vice-Capellmeister and then
promoted to full Capellmeister in
1766. He led a fulfilled, productive
career and wore his livery proudly; no
independent type who yearned for a
freelance career, Haydn carried out
his meticulously prescribed duties
with panache.
And yet restlessness eventually
set in. By 1790 he was frustrated
with his half-year banishment as the
court migrated to Eszterháza Palace
in the malarial swamps of what is
now western Hungary. He was also
resentful about being separated
from his Viennese friends, including
Wolfgang Mozart, Johann Baptist
Vanhal, and most of all his confidante
Marianne von Genzinger, to whom
he wrote “Well, here I sit in my
wilderness … alone, forsaken,” as he
grumpily returned to yet another long
stretch at Eszterháza. But his fealty
to his prince was strong, and he could
not bring himself to resign.

Deliverance came with Nicholas
Esterházy’s death in 1790 and the
appointment of a new Esterházy
prince who saw the courtly musical
establishment as an unnecessary
financial burden. Haydn was free
to go. Financially secure thanks to
a generous lifetime pension from
Nicholas, he could have slipped easily
into a comfortable retirement in
the house he bought in the Viennese
suburb Gumpendorf. Instead, he
entered into a partnership with
violinist and impresario Johann Peter
Salomon and set off for England,
where his music was cherished and an
enthusiastic audience awaited.
He arrived in London at the start of
1791 for the first of two extended
visits; in 1795 he returned home to
Vienna for good, but not as a sedate
retiree. The two great oratorios, a
bouquet of superb string quartets,
and a series of late masses stem from
those final years in Gumpendorf.
Haydn’s final three sonatas for solo
piano date from his second London
visit in 1794–95. Their genesis is
entwined with a remarkable pianist,

Therese Jansen-Bartolozzi, whose
artistry inspired not only Haydn
but also Clementi and Dussek.
The C-Major Piano Sonata, Hob.
XVI:50 represents the last word in
progressive piano writing for its era,
not only due to its copious dynamic
markings, but also by requiring
four high notes not present on most
Continental pianos before 1805.
The first movement also features
idiosyncratic pedal indications
that have elicited controversy over
precisely which pedal Haydn meant —
damper or una corda.
Pedals notwithstanding, the C-Major
Sonata is cut from vintage Viennese
classicism and a worthy representative
of Haydn’s late maturity. The first
movement’s primary theme makes
brilliant use of a simple descending
arpeggio, its foursquare rhythm
soon offset by syncopations and
unpredictable phrase endings. As is
typical of Haydn’s practice, the same
idea serves as the secondary theme as
well, but such is the potency of Haydn’s
inspiration that no hint of tedium
surfaces; instead, the movement surges
forth with boundless energy and
athletic vigor. The following “Adagio”
gives us an aria so richly ornamented
as to suggest a free fantasy, bearing
witness to the high regard Haydn
must have held for Therese Jansen’s
musicianship and pianism. In third
place comes a short but quirky “Allegro
molto” in a fast minuet-like rhythm;
not only are the phrase lengths
tantalizingly irregular, but the repeats
are mostly written out and dazzlingly
varied. A final statement opens in such
a high register as to suggest a delicately
tinkling music box, before Haydn brings
it all to a close with a solid flourish.

S O N ATA N O . 3 0 I N E M A J O R , O P. 1 0 9 ( 1 8 2 0 )
Ludwig van Beethoven
Born December 16 or 17, 1770 in Bonn, Germany
Died March 26, 1827 in Vienna
UMS Premiere: Artur Schnabel; February 1946 in Hill Auditorium.
Snapshots of History…In 1820:
· The Missouri Compromise becomes law, allowing admission of Missouri
and Maine, slave and free states respectively, as US States
· The statue of the Venus de Milo (Aphrodite of Milos, c. 150–125 BCE)
is discovered on the Greek island of Milos by a peasant named Yorgos
· Joseph Smith receives his First Vision in Palmyra, New York
· The HMS Beagle (the ship that will later take young Charles Darwin on
his scientific voyage) is launched at Woolwich Dockyard
Ludwig van Beethoven planned his
final three piano sonatas as a set, on a
contract with Berlin publisher Adolph
Martin Schlesinger. In a letter of April
30, 1820 Beethoven quoted a fee of
40 ducats for each of three sonatas;
Schlesinger successfully bargained
him down to 30. Their agreement
specified a deadline of three months
hence, a target that went woefully
unmet as the last sonata Op. 111
did not appear in print until 1823.
However, Beethoven came quite
close to meeting the deadline with
Op. 109, which he declared as ready
for publication in September of 1820.
But Beethoven’s notoriously sloppy
manuscripts resulted in galley proofs
riddled with errors, and his ill health at
the time prevented him from making
adequate corrections. The result was an
altogether unsatisfactory first edition
in November 1821.
Beethoven’s late style, as exemplified
by Op. 109 and other works of the
1820s, is characterized by a newly

heightened sense of time in music that
resulted in surprising deviations from
the established norms of Viennese
classicism. Op. 109 departs broadly
from the standard four-movement
layout that Beethoven had usually
(but not always) followed. Each of
the sonata’s three movements is
idiosyncratic in its own way, none
conforming precisely to expectations.
In many ways the form of each
movement can be understood as
emerging out of the requirements of
the musical materials themselves, more
in keeping with Romantic rather than
Classical practice. Although this model
is found in Beethoven well before his
late period, it is most evident in the
works of the 1820s, in which formal
procedures are subservient to the
experience of time and space as the
music unfolds.
It is likely that the first
movement of Op. 109 originated
as a sketched but never published
bagatelle. That may account for the

movement’s fantasy-like nature.
Although it can be approached as a
traditional, if unorthodox, sonataallegro form, shoehorning such
seemingly spontaneous music into
tidy pigeonholes of exposition,
development, recapitulation, and
the like offers little enlightenment.
Consider the very opening, in which
a rippling Vivace, ma non troppo
passage is sustained for two fleeting
phrases before abruptly veering into
an Adagio espressivo with a distinctly
improvisatory quality. When the
original “Vivace” material returns
it seems none the worse for the
unexpected hiatus (though precisely
what is going on here structurally is
a matter of disagreement amongst
analysts). Another Adagio espressivo
passage leads to what sounds at first
like a recapitulation but turns out
to be a coda that reconciles both the
“Vivace” and the “Adagio” materials
before leading directly into the second
The second-place “Prestissimo” is
a grand example of a scherzo, that
supercharged minuet-on-steroids that
Beethoven had made so uniquely his
own. However, it surprises by being in a
fairly standard, if compressed, sonataallegro form, quite at variance with
the usual minuet-and-trio structure
of most scherzos. Disruptive and
abrupt, it shatters the lyricism of the
first movement with its minor mode,
outbursts of anger, and distinctly manic
After a much-needed pause,
a sublime series of variations
commences. The term variations tends
to elicit notions of relatively easy
listening, as some catchy little tune is
elaborated in various ways, usually by

piling on ornamentation or keyboard
figurations. The young Beethoven
produced such variation sets in
profusion; the fully-mature Beethoven,
never. As Sir Donald Francis Tovey so
beautifully puts it:
The student and listener must not take a
mistaken view of what a set of variations is
supposed to convey to the ear. If the variations are mere embroidery, then we may be
expected to trace the melody in them. But
if the principle of the variation lies deeper,
we are intended to appreciate the depths
in the same way as we appreciate other
depths: we attend to what reaches our
senses, and we allow the sum of our experience to tell us more in its own good time.

In his later years Beethoven tended
to provide meticulous descriptions of
the music’s overall character. Here he
anticipates Schumann by instructing
the performer to play the melody
“Gesangvoll, mit innigster Empfindung”
(Songlike, with the greatest inward
expression of feeling). The variations
progressively simplify, rather than
elaborate, that melody, as we become
increasingly aware of the underlying
skeleton of the theme, over time
discovering its essence, as it were.
Even the fugue-like Variation 5 can be
understood in this light, with a subject
that not only begins with the same
falling figure as the original melody,
but which also clearly refers back to the
first movement’s “Vivace” theme. After
the shimmering trills and arpeggios
of Variation 6 — they’re practically
Debussyean — Beethoven ends with
what could be called a repetition of the
original melody, if the concept of mere
repetition weren’t so inappropriate
after such a miraculous journey.

S O N ATA I N C M A J O R , K . 5 4 5 ( 1 7 8 8 )
Wolfgang Amadeus Mozart
Born January 27, 1756 in Salzburg, Austria
Died December 5, 1791 in Vienna
UMS Premiere: This piece has never been performed on a UMS concert.
Snapshots of History…In 1788:
· The first edition of The Times, previously The Daily Universal Register,
is published in London
· Isaac Briggs and William Longstreet patent a steamboat
· American pioneers establish the town of Marietta (in modern-day Ohio),
the first permanent American settlement outside the original 13 Colonies
· English captains Thomas Gilbert and John Marshall, returning from
Botany Bay, become the first Europeans to encounter Gilbert Islands in
the Pacific Ocean
On June 26, 1788 Mozart entered
this sonata into his thematic catalog
with the notation: “Eine kleine klavier
Sonate für anfänger” (A short piano
sonata for beginners). As any pianist
will attest, the sonata is far more
difficult than it looks (or sounds)
and is hardly fodder for beginners.
However, piano sonatas in this era
were generally aimed towards nonprofessional players, so Mozart might
have meant “beginner” in a fairly
broad sense. To be sure, the sonata
covers some solid pedagogical ground
for the evolving keyboard player —
plenty of scales and arpeggios, not too
many black keys, the era’s ubiquitous
Alberti bass, and a slow movement
requiring a lyrical line. But the first
movement departs significantly
from structural norms, the second is
a full-fledged late Mozart aria, and
the finale poses significant technical
challenges in addition to being
structured in a highly advanced form.
In short, it’s just as much a sonata for

grown-ups as any of its companions.
The opening “Allegro” is cast in
the usual sonata-allegro form, but
with a twist rarely associated with
Mozart: the recapitulation (the return
of the primary theme at about the
two-thirds point) is not in the original
tonic key, as per standard procedure,
but is stated a fifth lower, in F Major.
Not long before composing this
sonata Mozart had written some
new arias for the Viennese premiere
of Don Giovanni. One of those, Don
Ottavio’s liquid and soothing “Dalla
sua pace la mia depende” (On her
peace depends mine, too) from Act I,
is a kissing cousin to the movement
“Andante”; the melody must have been
rattling around inside Mozart’s head
and found its expression in these two
nearly contemporaneous settings.
Soon, however, the movement sails
into more troubled waters with a
central episode in minor; chromatic
and subtly disquieting, the passage
“ironically undermines the rococo

surface” (in the words of Mozart
biographer Maynard Solomon) that
had been so carefully cultivated in the
opening section.
Whatever intentions Mozart might
have had towards elementary players
in the first two movements are tossed
aside for a finale with technical
challenges — repeated notes, passages
in thirds, crisp dialog between the
two hands — that are guaranteed
to confound a budding keyboardist.
Furthermore it is laid out in the
newly emergent sonata-rondo form, a
sophisticated fusion of sonata-allegro
with rondo that became a favored
structure for large-scale finales
from Haydn, Mozart, and Beethoven.
Mozart offers the attentive listener
a surprise in the last few seconds — a
fleeting left-hand reference to the
primary theme of the first movement.


S O N ATA I N C M I N O R , D . 9 5 8 ( 1 8 2 8 )
Franz Schubert
Born January 31, 1797 in Alsergrund, Vienna, Austria
Died November 19, 1828 in Vienna
UMS Premiere: Artur Schnabel; December 1942 in Hill Auditorium.
Snapshots of History…In 1828:
· Simón Bolívar declares himself dictator of Gran Colombia
· Ányos Jedlik creates the world’s first electric motor
· Michigan’s oldest cultural institution, the Historical Society of
Michigan, was established by territorial governor Lewis Cass and
explorer Henry Schoolcraft
· Brazil and Argentina recognize the independence of Uruguay
Here’s a near-foolproof recipe for
frustration when listening to a
late Schubert piano sonata: make
constant mental comparisons to
Beethoven. Poor Schubert always
seems to come out of such contests
with an appallingly low score. Too
long, claim the judges; too many
repetitions, too much flab, too much
wandering about. Where’s the organic
development? The tightly-knit
network of motivic resonances? The
sense of inevitability, that the music
can go only this way and not some
other way?
Avoid unnecessary angst. Let
Beethoven be Beethoven and let
Schubert be Schubert. To be sure,
Schubert definitely picked up plenty
of ideas and techniques from his
illustrious older colleague. But the
old shibboleth that Schubert was
deficient in structural technique
evaporates upon even the most
casual inspection. Consider his
undisputed mastery of orchestration
and harmony, not to mention his
supremacy in the elusive art of the

Lied; consider how carefully he had
studied Mozartian and Beethovenian
models; consider just how many
sonata-form movements he actually
wrote, from sonatas to quartets to
trios to overtures to symphonies.
The key to the Schubert sonatas
is to realize that he didn’t create his
materials with developmental goals
in mind. His aim was more narrative,
as a he sought to take the listener
on a sonic journey with musical
phenomena serving as stages along
the way. If we approach a Schubert
sonata as an unfolding drama (much
as a Mahler symphony), objections
regarding length or repetitiveness
just may subside.
The c-minor Sonata is the first
(and least familiar) of the three that
Schubert wrote during the very last
months of his short life. Turbulent
and dramatic, it partakes of the
emotional world of the tragic song
cycle Winterreise, which Schubert
had just completed. The opening
theme might ring a bell with those
who know Beethoven’s Variations in

c minor, WoO 80, but similarities end
quickly with Schubert’s roller-coaster
continuation, as the theme soars
steadily upwards until it reaches
almost three octaves above its
starting point then plunges headlong
down a full four octaves into the first
piano passage. A surging transitional
passage leads efficiently to the
contrasting secondary theme, which
is as carefully constrained in its range
(less than an octave) as the primary
theme was profligate. The pianissimo
closing theme bears a resemblance to
Schubert’s beloved song “Ständchen”
(also from this period), although
the relatively faster tempo of the
sonata might mitigate recognition
somewhat. The tumult of the opening
resumes with the development, which
maintains unceasing rhythmic energy
throughout. It leads so breathlessly
into the recapitulation that the
sudden recurrence of the primary
theme comes across like an abrupt
slam on the rhythmic brakes.
The second movement marks a
rare appearance of Adagio as the
tempo indication for a Schubert slow
movement. It is cast in a five-part rondo
form that alternates three instances of
a songful reprise in A-flat Major with
two contrasting episodes. This being
Schubert, we can count on plenty of
harmonic legerdemain, and as it turns
out, the episodes step right through
the looking glass into keys that are
not only shockingly remote, but are
even difficult to pin down precisely. Of
course it all works beautifully; the more
harmonically prodigal the episodes, the

more poignant their homecoming to
the reprise.
In third place comes a dark-hued
“Menuetto” that edges towards
scherzo territory but never quite
abandons the sense of the minuet,
however skittish. For the trio,
Schubert offers a moment of repose
with a sweet ländler of the sort
that the composer could spin out
like so much silk. Then comes the
“Allegro” finale, charging, spirited,
and inexorable. It is a tarantellalike affair that might well remind
listeners of the madly galloping
horseman in Schubert’s early song
“Erlkönig.” Moments of relative
spaciousness help to stave off ear
(and perhaps pianist) fatigue over its
717-measure span, but overall the
“Allegro” is a triumph of sustained
energy and a structural tour de force.
Program notes by Scott Foglesong,
© 2016 San Francisco Symphony.

Please turn to page 42 for a biography of Sir András Schiff.

Pianist Sir András Schiff shares his thoughts about the “Last Sonatas” project

Sir András Schiff
Concert II

Thursday Evening, February 18, 2016 at 7:30
Rackham Auditorium
Ann Arbor

70th Performance of the 137th Annual Season
53rd Annual Chamber Arts Series

Tonight’s performance is supported by Carl Cohen, whose bequest will establish an endowment to
support a performance on the Chamber Arts Series in perpetuity.
Media partnership provided by WGTE 91.3 FM and WRCJ 90.9 FM.
Special thanks to Steven Whiting for his participation in events surrounding this week’s performances
by Sir András Schiff.
The Bösendorfer piano used in this evening’s recital is provided by Yamaha Artist Services, New York
and Evola Music, Bloomfield Hills, MI.
Sir András Schiff appears by arrangement with Kirshbaum Associates, 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.


The Last Sonatas:
Concert II

Wolfgang Amadeus Mozart
Sonata in B-flat Major, K. 570

Ludwig van Beethoven
Sonata No. 31 in A-flat Major, Op. 110
Moderato cantabile molto espressivo
Scherzo: Allegro molto
Adagio ma non troppo. Fuga: Allegro ma non troppo

Franz Joseph Haydn
Sonata in D Major, Hob. XVI:51
Finale: Presto

Franz Schubert
Sonata in A Major, D. 959
Scherzo: Allegro vivace
Rondo: Allegretto

Tonight's recital will be performed without intermission.


S O N ATA I N B - F L AT M A J O R , K . 5 7 0 ( 1 7 8 9 )
Wolfgang Amadeus Mozart
Born January 27, 1756 in Salzburg, Austria
Died December 5, 1791 in Vienna
UMS Premiere: This piece has never been performed on a UMS concert.
Snapshots of History…In 1789:
· George Washington is unanimously elected the first President of the US
by the United States Electoral College
· Former slave Olaudah Equiano’s autobiography The Interesting
Narrative of the Life of Olaudah Equiano, one of the earliest published
works by a black writer, is published in London
· The French Revolution begins with the Storming of the Bastille
· The University of North Carolina, the oldest public university in the US,
is founded
Neither prospects nor finances
looked good for Wolfgang Amadeus
Mozart as of early 1789. Without
the solicitous aid of admirers such
as Imperial Librarian Gottfried van
Swieten, who commissioned updated
versions of several Handel works
including Messiah, or the small
sums Mozart received from teaching
and his post as Imperial Chamber
Composer, the situation might have
been downright desperate. As it was,
wife Constanze’s frequent medical
bills, combined with his unfortunate
habit of playing keep-up with his
better-heeled colleagues, kept
his situation precarious. Even the
recent success of Don Giovanni
had little impact on his constant
money worries.
Nor was he composing with
anything like his usual energy.
Mozart’s output in 1789 was
relatively scant in significant works —
two piano sonatas, the present Sonata
in B-flat Major, K. 570 along with

the D-Major Sonata, K. 576; a string
quartet (K. 575); and the glorious
Clarinet Quintet, K. 581. Great things
were to come — Così fan tutte, Die
Zauberflöte, the Clarinet Concerto,
the unfinished Requiem — but for
the time being he was a creator in a
creative slump.
Like many of Mozart’s piano
sonatas, the Sonata in B-flat Major
was clearly intended for amateur
rather than professional players.
That’s hardly unique to Mozart; most
composers of the era considered
piano sonatas to be “house” music
rather than concert fare. That does
not make K. 570 musically inferior,
however; if anything, it is a shining
specimen of Mozart’s art at its
best, described by Mozart scholar
Alfred Einstein as “perhaps the most
completely rounded of them all, the
ideal of his piano sonata.”
The deceptive simplicity of the
“Allegro” first movement’s primary
theme belies a tendency to dart off

into unusual and unexpected keys,
just as it gives no hint of the skillful
two-voice counterpoint to come
— a happy by-product of Mozart’s
recent study of Bach and Handel.
Uncharacteristically for Mozart,
the secondary theme is actually a
restatement of the primary theme
(a device more typical of Haydn) but
soon enough new materials make
their appearance.
The second movement “Adagio”
seems almost like a chamber work
transcribed for solo keyboard,
with its sustained liquid lines and
gentle ornamentation. That subtle
melancholy so characteristic of late
Mozart makes itself felt during an
inner episode in c minor — darker, to
be sure, but far from overtly tragic,
and soon enough the lightly glowing
E-flat Major of the movement proper
reasserts itself.
The finale is a spirited “Allegretto” in
a quirky rondo form: Quite contrary to
the standard recipe, one of the periodic
reprises goes missing while one of the
contrasting episodes is stated in the
home key. In his inimitable way, Mozart
addresses the resultant structural
imbalance by tacking on an expansive
coda that is — by no coincidence
whatsoever — just about the same
length as that excised reprise.


S O N ATA N O . 3 1 I N A - F L AT M A J O R , O P. 1 1 0 ( 1 8 2 1 )
Ludwig van Beethoven
Born December 16 or 17, 1770 in Bonn, Germany
Died March 26, 1827 in Vienna
UMS Premiere: Myra Hess; January 1933 in Hill Auditorium.
Snapshots of History…In 1821:
· The US takes possession of its newly bought territory of Florida
· The Santa Fe Trail is first used by William Becknell
· Guatemala, El Salvador, Honduras, Nicaragua, and Costa Rica gain
independence from Spain by the Act of Independence of Central America
· Emperor Napoleon dies in exile on Saint Helena of stomach cancer
When in May 1820 Ludwig van
Beethoven contracted with Berlin
publisher Adolph Martin Schlesinger
for a set of three piano sonatas, the
general idea was for a reasonably
quick turn-around of three months.
That turned out to be wishful thinking
on the part of both parties, although
Beethoven did manage to submit
a more-or-less complete Sonata in
E Major, Op. 109 by September —
and that was, in retrospect, quite
impressive under the circumstances.
Even if Beethoven wasn’t preoccupied
with several other demanding projects
(he was) and even if his health wasn’t
precarious (it was) he was unlikely to
have been capable of producing three
such radical re-thinkings of the piano
sonata in such a short time. Works
of such sublimity do not spring into
existence overnight — or even over 90
nights. Beethoven took the time he
needed, so the next sonata, Op. 110 in
A-flat Major, was not available until
early 1822, while the final sonata, Op.
111 in c minor, appeared a year later.
The Op. 110 Sonata displays
many of the characteristics of

Beethoven’s late style: forms either
pared down to their bare essence
or disassembled and reassembled
in new guises; the extensive use
of advanced counterpoint; the
importation of theatrical elements
such as recitative, aria, and even
popular songs into instrumental
genres; extreme contrasts that
test the boundaries of coherence;
novel instrumental sonorities; and
a dramatically expanded emotional
range. Unified by motives that recur
throughout the work, Op. 110 is in
some ways a one-movement sonata
despite its overt division into three
contrasting movements — a “Moderato
cantabile molto espressivo” cast in
compressed sonata-allegro form; a
second-place “Allegro molto” filled
with robust humor; and, after an
introductory instrumental recitative,
a finale consisting of a poignant
“Adagio” arioso that alternates with a
breathtakingly extensive fugue.
Beethoven’s indication of con
amabilità (with amiability) in the
very first measure could very well
apply to the entire first movement.

A Schubertian melody no sooner
gets launched before it pauses on a
questioning trill; it then opens up
into a long-lined theme that dissolves
into shimmering arpeggios that
sweep softly over the wide spans of
the keyboard. The secondary theme
is a sturdier affair, marked by solid
left-hand chords and a constantly
ascending right-hand melody, soon
followed by an almost resignedsounding closing theme. The simple
development states the primary theme
successively in several keys before
giving way to a significantly expanded
recapitulation, in which the fluid
arpeggios form the accompaniment
to the primary theme. The
arpeggios return for a coda, marked
leggiermente (lightly) and which ends,
after a fleeting moment of angst, with
a pair of delicate A-flat Major chords.
The “Allegro molto” is a scherzo —
although unmarked as such — that
crackles with broad humor despite
its minor mode. One popular theory
has it that the piano opening phrase
alludes to the ditty Unsa Kätz häd
Katzln ghabt (Our cat has had kittens)
and is then answered with a forte
shout, joined near the end of the
exposition by the raucous song Ich bin
lüderlich, du bist lüderlich — loosely
translated as “I’m a slob, you’re a slob.”
Not everybody buys into the idea,
however, and actual concrete evidence
is lacking. Whatever its melodic
provenance, the scherzo doesn’t come
to a conclusive ending, but rather
spins off into an F-Major triad that
resolves into the ensuing transition, a
recitative-like “Adagio, ma non troppo”
notated mostly without bar lines.
Operatically-tinged instrumental
recitatives are not all that common

in Beethoven’s earlier work but in his
late period they became significantly
more frequent. (Consider the
wonderful instrumental recitatives
near the opening of the Ninth
Symphony’s finale.) In this, one
of Beethoven’s most remarkable
adaptations of operatic idioms, the
piano is called upon to mimic a human
voice; extensive dynamic markings,
meticulously-notated tempo changes,
and precise pedal indications all
help the performer to achieve the
appropriately otherworldly effect.
Just as in the opera house, the
recitative leads directly to the Arioso
dolente, an utterance of transcendent
beauty and harmonic mystery. The
arioso proceeds without pause to
the fugue, its subject drawn clearly
from the primary theme of the
first movement. Poetic rather than
monumental, the fugue reaches a
mighty climax then descends again
to the Arioso dolente, now in the key
of g minor and filled with desolation.
Heartbreak intensifies and the “dark
night of the soul” is at hand. But the
fugue subject returns, at first whisperquiet and inverted (i.e., upside-down)
from its original guise. Beethoven tells
us: “nach und nach sich neu belebend”
— that is, little by little coming to
new life. What follows is a dazzling
display of formal fugal devices but
such technicalities pale before the
cumulative sweep and radiance of
the music. A shower of incandescence
arrives by way of A-flat Major
arpeggios, and the sonata concludes
in what is surely one of the most
optimistic endings in all Beethoven.


S O N ATA I N D M A J O R , H O B . X V I : 5 1 ( 1 7 9 5 )
Franz Joseph Haydn
Born March 31, 1732 in Rohrau, Austria
Died May 31, 1809 in Vienna
UMS Premiere: Peter Serkin; March 1982 in Rackham Auditorium.
Snapshots of History…In 1795:
· Signing of the Treaty of Greenville puts an end to the Northwest Indian War
· British forces capture Cape Town from the Netherlands
· French troops recapture St. Lucia
· The French Constitution of 1795 is ratified by the National Convention
The D-Major Piano Sonata is one of
three that Franz Joseph Haydn wrote
for the brilliant pianist Therese
Jansen-Bartolozzi during his London
visits in the 1790s. Therese, born
around 1770, was a piano student of
Muzio Clementi, the acclaimed Italian
pianist who just may have bested
Mozart in a piano duel. We know that
Haydn made her acquaintance during
his first London trip in 1791–92, when
he also became friends with Gaetano
Bartolozzi, son of a well-regarded
engraver who produced a Haydn
portrait in 1791. Whether or not Haydn
played any role in their meeting, in
1795 his signature appeared on the
list of witnesses to Therese’s and
Gaetano’s marriage. Shortly after
the birth of their daughter Elizabetta
Lucia (who was to become the
celebrated dancer Madame Vestris) in
1797 the Bartolozzis left London. They
were in Vienna long enough to become
subscribers to Haydn’s publication of
his great oratorio The Creation, then
after discovering that Napoleon’s
troops had looted their estate in
Venice, leaving them in financial
straits, they returned to London.

They separated; Gaetano died in 1821
and Therese in 1843.
Flanked by the much more imposing
sonatas in C Major and E-flat Major,
the D-Major Sonata stands as “the
stepchild of the trilogy,” in the words
of Haydn scholar H.C. Robbins Landon.
But that might have been a deliberate
move on Haydn’s part, cooking up
an amuse-bouche between more
substantial courses, as it were. (This
charming sonata could be said to
serve a similar role in this program,
acting as a refreshing intermezzo
between two weighty sonatas of
Beethoven and Schubert). Set in two
movements, the first is an “Andante”
cast in an overarching tripartite form
of A-A1-A2 , which Haydn flavors with
some sonata-form elements such as
secondary and closing themes. For
the second movement, Haydn writes
a quietly impressive “Presto” in zippy
triple-meter that is for all practical
intents and purposes a Beethovenian
scherzo. (Beethoven had to get the idea
from somewhere, after all.)

S O N ATA I N A M A J O R , D . 9 5 9 ( 1 8 2 8 )
Franz Schubert
Born January 31, 1797 in Alsergrund, Vienna, Austria
Died November 19, 1828 in Vienna
UMS Premiere: Artur Schnabel; February 1937 in Hill Auditorium.
Snapshots of History…In 1828:
· The first edition of Noah Webster’s American Dictionary of the English
Language is published
· The first American Indian newspaper in the US, the Cherokee Phoenix,
is published in both English and Cherokee
· The American Peace Society is established
· White comedian Thomas D. Rice introduces blackface and the song
“Jump Jim Crow” to American audiences
Franz Schubert had just barely turned
26 when he made his first known
allusion to the debilitating illness
that was to darken the remainder of
his tragically short life. On February
28, 1823 he explained in a letter that
“the state of my health still prevents
me from leaving the house.” That one
word still implies that he had been
ill for some time; some scholars have
floated the notion that he might have
been infected with what was probably
syphilis as early as November 1822. It
took nearly six years for the disease
to run its terrible course, and by the
late summer of 1828 Franz Schubert
was fading fast. In September he
moved to his brother Ferdinand’s
apartment in the Wieden suburb of
Vienna, where he died on November
19 at the tender age of 31.
Yet up until the very final stages
he was ablaze with creative energy.
As astounding as it seems, the last
three piano sonatas are products of
that final, disease-wracked summer.
All three carry a date of September

1828, although he had probably begun
sketches several months earlier.
A heartbreaking letter from Schubert
to the publisher Probst on October 2
tries gamely to stir up a sale: “I have
composed, among other things, 3
sonatas for Pf. Solo, which I should
like to dedicate to Hummel…I have
played the sonatas in several places
with much applause…. If any of these
compositions would perhaps suit
you, let me know.” We’ll never know
whether or not Probst might have
published the sonatas, since Schubert
died before he could submit any
manuscripts. All three were printed
in 1838 by Diabelli (whose little
waltz tune had been the basis for
Beethoven’s eponymous variations)
with the dedication transferred to
Robert Schumann, Hummel having
died the year before.
Each of the three sonatas is a
world unto itself. While the first
in c minor is turbulent and the
third in B-flat Major is magisterial,
the middle sonata in A Major,

D. 959, is spun of warm lyricism
and engaging charm. That is not
perhaps immediately apparent at
the onset, given the declamatory
nature of the primary theme, its
near-static repeated A-naturals in
the soprano given rich life by inner
voices imparting constant harmonic
variety. Soon enough showers of
triplets inject a scintillating rhythmic
energy that remains more or less
unbroken until the appearance of
the secondary theme which, like
the primary theme, has a tendency
to glue itself to a single soprano
note, albeit with less tenacity. The
triplets reappear in combination with
that secondary theme and lead to a
loose fugato passage as the theme
is passed repeatedly from hand to
hand. There is no clear-cut closing
theme; instead a modified statement
of the secondary theme brings the
exposition to a serene close.
The development presents
a marvelous aural illusion: it
might sound entirely new, but its
materials had already appeared
as a brief throwaway variation on
the secondary theme. Now that
throwaway variation steals the
show as the most immediately
recognizable of the development’s
melodic materials. The reprise arrives
with a brilliant fortissimo statement
of the primary theme, and after a
fairly straightforward recapitulation
the coda first liquefies the primary
theme then dissolves it into a mist
of triplets, ending the movement
in a shimmering haze of A-Major
The “Andantino” second movement’s
main theme could easily pass as one
of Mendelssohn’s signature Venetian

gondola songs, so strongly does it
partake of the rocking rhythm of
the barcarolle. Mendelssohn almost
certainly would have allowed his
barcarolle to modulate away from its
initial f-sharp minor, but Schubert
holds the music to that one single key
for nearly 70 measures. His dramatic
strategy becomes clear when the
central episode erupts into what is
easily the most hair-raising torrent in
all Schubert, a downright cataclysmic
shower of technicolor piano
figurations demanding daredevil
virtuosity. As might be expected, the
storm rises to a mighty fortissimo
climax — complete with thundering
tremolo octaves in the bass — then
gradually dissolves back into the
gentle barcarolle, but now with a
notably busier accompaniment: the
waters are still a bit roiled although
the whitecaps have subsided. All ends
in utter, unruffled serenity.
The third movement “Scherzo” is
whimsical, jolly, effervescent, and
insouciant. That sort of thing can
turn saccharine in a heartbeat, but
Schubert sidesteps kitsch by tossing
in startling flashes of irritability.
The Trio, marked Un poco più lento (a
little bit slower), just might refer slyly
back to the primary theme of the first
Schubert biographer Brian
Newbould claims that “the bald facts
about Schubert’s finale [in this sonata]
read like a recipe for third-rate art.”
He points out that Schubert borrowed
the theme from an earlier work and
modeled his layout on the finale
of a Beethoven piano sonata. But
Schubert’s inexhaustible invention
easily surmounts such puny concerns:
“The musical impression is, on the

contrary, of fresh-minted inspiration
carving out its own natural path as it
goes.” The “Allegretto” is an altogether
entrancing creation that flows along
with gracious amiability. It could have
simply burbled itself away to a peaceful
conclusion, but a sudden fortissimo
reference back to the sonata’s very
beginning makes for an ending that
blends surprise with radiance.
Program notes by Scott Foglesong,
© 2016 San Francisco Symphony.

Please turn to page 42 for a biography of Sir András Schiff.
Photo (next spread): András Schiff; photograph: © Nadia F. Romanini/ECM Records.




Sir András Schiff
Concert III

Saturday Evening, February 20, 2016 at 8:00
Hill Auditorium
Ann Arbor

71st Performance of the 137th Annual Season
137th Annual Choral Union Series

Tonight’s performance is supported by Natalie Matovinović and Jeffrey Mackie-Mason and Janet Netz.
Media partnership provided by WGTE 91.3 FM and WRCJ 90.9 FM.
Special thanks to Steven Whiting for his participation in events surrounding this week’s performances
by Sir András Schiff.
Special thanks to Tom Thompson of Tom Thompson Flowers, Ann Arbor, for his generous contribution
of floral art for this evening’s recital.
The Bösendorfer piano used in this evening’s recital is provided by Yamaha Artist Services, New York
and Evola Music, Bloomfield Hills, MI.
Sir András Schiff appears by arrangement with Kirshbaum Associates, 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.


The Last Sonatas:
Concert III

Franz Joseph Haydn
Sonata in E-flat Major, Hob. XVI:52
Finale: Presto

Ludwig van Beethoven
Sonata No. 32 in c minor, Op. 111
Maestoso — Allegro con brio ed appassionato
Arietta: Adagio molto semplice cantabile


Wolfgang Amadeus Mozart
Sonata in D Major, K. 576

Franz Schubert
Sonata in B-flat Major, D. 960
Molto moderato
Andante sostenuto
Allegro vivace con delicatezza
Allegro ma non troppo

S O N ATA I N E - F L AT M A J O R , H O B . X V I : 5 2 ( 1 7 9 4 )
Franz Joseph Haydn
Born March 31, 1732 in Rohrau, Austria
Died May 31, 1809 in Vienna
UMS Premiere: Vladimir Horowitz; March 1933 in Hill Auditorium.
Snapshots of History…In 1794:
· Whiskey Rebellion: President Washington invokes the Militia Acts of
1792 to mobilize a federal army of 12,500 men
· The defeat of the Native Americans at the Battle of Fallen Timbers
secured what is now Ohio for American settlement, ending British
support for the Native Americans
· French Revolution: Robespierre establishes the Cult of the Supreme
Being as the new state religion of the French First Republic
· Mother Bethel African Methodist Episcopal Church is founded by Richard
Allen in Philadelphia, making it the oldest church property in the US to be
continuously owned by African Americans

Haydn’s final three sonatas for solo
piano date from his second London
visit in 1794–95. Their genesis is
entwined with a remarkable pianist,
Therese Jansen-Bartolozzi, whose
artistry inspired not only Haydn
but also Clementi and Dussek. The
composer was also influenced by
the English pianos he played during
his sojourn to London, which were
considerably different than those
of his native Austria. English pianos
were known for their heavier action,
larger compass, and plumper tone, a
facet Haydn exploits in the powerful
chordal opening of the Sonata in
E-flat Major, Hob. XVI:52. Following
this call to arms, the stage is set for
an “Allegro” sonata-form movement
of great invention and virtuosity. In
the development Haydn journeys to
several remote tonal areas, including
an unlikely detour to the completely
unrelated key of E Major (the

reasoning of which will become clear
later on). The movement then slips
back into E-flat Major, but not without
a few last twists and turns on the way
to an emphatic conclusion.
The second movement is an “Adagio”
in triple meter. In a cunning stroke,
Haydn sets this movement rather
surprisingly (for a sonata in E-flat)
in E Major, a move hinted at in the
freewheeling development section of
the first movement. The persistent
dotted rhythms evoke memories of the
earlier galant style, but an abundance
of volatile dynamic contrasts, dramatic
pauses, wayward harmonic shifts, and
skittery filigree passages give this
movement a slightly unsettled feeling.
The third movement “Presto” starts
with two somewhat vanilla phrases
(separated by a pause) marked by a
repeating five-note figure over a pedal
point. Lest we think Haydn’s invention
is flagging, he then elaborates on this

figure with a volley of blazing runs for
the right hand. A slinking ascending
figure in the relative minor provides
a contrasting secondary theme. This
turns out to be all the material Haydn
needs to craft a brilliant finale.
Program note by Scott Foglesong and
Steven Ziegler, © 2016 San Francisco


S O N ATA N O . 3 2 I N C M I N O R , O P. 1 1 1 ( 1 8 2 2 )
Ludwig van Beethoven
Born December 16 or 17, 1770 in Bonn, Germany
Died March 26, 1827 in Vienna
UMS Premiere: Jonas Alberto; March 1897 in University Hall (presently the
site of Angell Hall).
Snapshots of History…In 1822:
· The first group of freed slaves from the US arrive in modern-day Liberia,
founding Monro
· Galileo Galilei’s Dialogue Concerning the Two Chief World Systems
(1632) is permitted by the Roman Catholic Church to be published
· Brazil declares its independence from Portugal
· Greeks defeat Ottoman forces at Thermoplyae in the Greek War of

Ludwig van Beethoven was a pianist,
though in his youth he contributed
to the family income by giving violin
lessons and playing viola in the court
and theater orchestras in Bonn. He
first played piano in public when
he was seven, and by the time he
was 11 he was something of a local
celebrity who had, among other
things, mastered The Well-Tempered
Clavier. (Bach was to be a presence,
a beneficent spirit, all his life.) When
he moved to Vienna in November
1792, just before his 22nd birthday, he
made his mark first as a pianist, and it
was then that he wrote the cadenzas
to Mozart’s d-minor Concerto that
pianists still play more than any others.
By all accounts Beethoven was a
thrilling performer, at least in his
younger years while he could still
hear. In reports of his playing we
read again and again such phrases
as “tremendous power, character,
unheard-of bravura and facility,”
“great finger velocity united with

extreme delicacy of touch and intense
feeling.” In 1814 he made his last
public appearance as a pianist — the
occasion was the first performance
of the “Archduke” Trio — though
he was too deaf not only to judge
dynamics properly but even to hear
that the instrument was desperately
out of tune. In later years, he would
sometimes improvise for friends and
visitors on the Broadwood that the
London builders presented to him in
1818, and contact with the keyboard
could even then transform him.
Beethoven’s closeness to the piano
makes the 32 sonatas different from
the nine symphonies and the 16
string quartets. Not least, because the
performer is one single person, willful
and responsible at the same time,
we can feel with special vividness
Beethoven’s own commanding
presence as demon, passionate
and lyric singer, orator, joker, and
in some unforgettable moments,
door-keeper of Paradise. The piano

sonatas constitute an adventurous,
path-breaking group of works.
They are a proving ground for
Beethoven — the works in which we
first perceive each new development,
each fresh stretching of his genius.
They are also remarkably varied
in form and scale, not to mention
expressive character.
The last three sonatas, Opp. 109,
110, and 111, composed between 1820
and 1822, form a triptych. We are
now in the last decade of Beethoven’s
life, and he has begun his long labors
on his most deeply searching, bold,
and inexhaustible work, the Missa
solemnis. Op. 111 is the longest of the
last three sonatas, but it has only two
movements, and two-thirds of it is
the finale. Here we meet Beethoven’s
defiant c-minor mood for the last
time. The grand course of the sonata,
like that of the Fifth Symphony, is
from c minor to C Major. Here, too,
C Major means victory, but this is
spiritual exaltation with none of
the crowing that marks the end of
that most famous symphony. After
the turmoil of the first movement
of Op. 111, events in the second
succeed one another in calm and
order. At the same time — and this
is a characteristic late-Beethoven
paradox — the second movement is by
far the more adventurous of the two,
a progression of ideas whose outcome
is quite unforeseeable from its
beginnings. There are no spectacular
events as we find in Beethoven’s
other late variation movements: this
is flowering amid formal constraint.
The pulse does not change, each
variation brings faster figurations,
and only once does the music leave
C Major. The final cadence lays bare

for a moment the roots of the whole
movement, and once again Beethoven
makes the music peculiarly
weightless. His farewell to the piano
sonata is sublime, peaceful, and not
without mystery.
Program note by Michael Steinberg,
© 2016 San Francisco Symphony.


S O N ATA I N D M A J O R , K . 5 7 6 ( 1 7 8 9 )
Wolfgang Amadeus Mozart
Born January 27, 1756 in Salzburg, Austria
Died December 5, 1791 in Vienna
UMS Premiere: Artur Schnabel; December 1942 in Hill Auditorium.
Snapshots of History…In 1789:
· The US Department of the Treasury is founded with Alexander
Hamilton as the first Secretary of the Treasury
· The US Congress proposes a set of 12 amendments for ratification
by the States. Ratification for 10 of these proposals is completed in
December 5, 1791, creating the United States Bill of Rights
· In the Women’s March on Versailles, some 7,000 women march 12 miles
to Paris to the royal Palace of Versailles to demand action over high
bread prices
· The first American novel, The Power of Sympathy or the Triumph of
Nature Founded in Truth, is printed in Boston, MA. The anonymous
author is William Hill Brown

The Sonata in D Major, K. 576, is
Mozart’s last sonata; together with
that in F Major, K. 533, it is his
greatest. Mozart composed it in July
1789. He recently returned from a
trip to Berlin where King Frederick
William II of Prussia, a good cellist,
had commissioned him to write six
string quartets and “six easy piano
sonatas” for the Princess Frederica.
For whatever reason, and even though
he needed the money badly, Mozart
completed only three of the quartets;
as for the sonatas, either he never got
around to them at all, or, if K. 576 was
intended to be a start on that project,
he was completely off the mark: for
this is by far Mozart’s most difficult
work for solo piano. In any event,
Mozart never sent the sonata to
Berlin, and it was published only
after his death.

Since 1782, when he was introduced
to the music of Bach and Handel,
Mozart’s language had been infused
with and enriched by polyphony. In
1789, he got a sort of booster shot
when he stopped at Leipzig on his
way back from Berlin and came to
know Bach’s choral motets. The little
G-Major Gigue, K. 574, that he wrote as
a souvenir of his visit into the personal
album of the Leipzig organist Carl
Emanuel Engel is a brilliant and witty
firecracker of a response to that new
encounter with Bach. The D-Major
Sonata, no less brilliant, is a more
reflective response and of course on
a larger scale.
The first eight bars would have
been just fine for the Princess: two
bars of fanfare, two bars of playful
response, then a repeat of this pattern
to round off the eight-bar sentence.
Measure nine would have stopped

her in her tracks. The fanfare begins
again, this time in the left hand alone
but almost immediately the right
hand joins in with a contrapuntal
variation and extension of the same
idea. After that, it is Mozart’s pleasure
to shuttle back and forth between the
galant and the learned, the “normal”
and the unpredictable, and in doing
so he reveals an astonishing number
of ways in which the fanfare idea can
be contrapuntally wed to itself. For
a change of mood, Mozart also gives
us a contrasting theme of delicious
lyricism and charm. The development
remarkably extends the sense of
adventure into harmonic territory
as well.
The second movement, an
“Adagio,” is a limpid song, intricately
embellished. In an ideal performance,
the listener cannot tell whether
Mozart has written embellishments
that sound like improvisations or
whether the pianist is improvising
ornaments so apt that they sound
like something Mozart might
have written. In the finale, Mozart
recapitulates the humor with which
he began the first movement: eight
bars for the Princess, followed by
music for real pianists and, like the
first movement, a feast of textural
and harmonic surprise.
Program note by Michael Steinberg,
© 2016 San Francisco Symphony.


S O N ATA I N B - F L AT M A J O R , D . 9 6 0 ( 1 8 2 8 )
Franz Schubert
Born January 31, 1797 in Alsergrund, Vienna, Austria
Died November 19, 1828 in Vienna
UMS Premiere: Artur Schnabel; December 1942 in Hill Auditorium.
Snapshots of History…In 1828:
· The British turn over their fort on Drummond Island in Michigan to the US
· Leo Tolstoy, Russian writer, is born
· The Boston Society for Medical Improvement is established
· The modern-day Democratic party is founded
It is unlikely that Franz Schubert ever
encountered Bach’s The Art of Fugue.
He might have, had he lived longer; for
one of his last decisions before he died,
10 weeks before his 32nd birthday,
was to embark on a rigorous course in
counterpoint and fugue. He was able to
go for just one lesson with his chosen
teacher, Simon Sechter, a formidable
pedagogue and virtuoso at contrapuntal
techniques who — according to his
most famous pupil, Anton Bruckner
— sometimes hesitated to use the
works of Bach as examples because he
thought that Bach allowed himself too
many liberties.
Had Schubert had time to pursue
his plan to shore up his compositional
technique, the effect would surely
have brought about remarkable
changes in his music. Here is Alfred
Brendel’s acute characterization
of Schubert, specifically in his
relationship to Beethoven (“Schubert’s
Piano Sonatas, 1822–1828” in
Musical Thoughts and Afterthoughts,
Princeton, 1976):
…Though he venerated Beethoven,
Schubert was not overwhelmed by

Beethoven’s greatness. He admired the
master far too much to challenge him on
his own terms.
And he must have been keenly aware
of the basic differences in their temperaments, minds, and backgrounds….
Compared to Beethoven the architect,
Schubert composed like a sleepwalker.
In Beethoven’s sonatas we never lose
our bearings; they justify themselves
at all times. Schubert’s sonatas happen.
There is something disarmingly naïve in
the way they happen….
If we look in Schubert’s sonatas for
Beethoven’s virtues, we shall find them
full of flaws; they will seem formless,
too long, too lyrical, and harmonically
overspiced. We should, instead, concentrate on the basic difference of styles.
…[Beethoven] seems determined to
create the firmest intellectual basis in
order to make all matters of emotional
character as unmistakable as possible.
Schubert puts more trust in the directness of his emotions. He seems almost
afraid of too much intellectual weight
and rigor. Economy to him is hardly a
matter of prime importance. And over
its prodigious emotional range, his music remains mysteriously episodic.

If we accept Brendel’s “almost afraid,”
we can read Schubert’s decision to go to
the pedagogue Sechter as a statement
of his readiness to be rid of that fear.
The Sonata in B-flat Major,
Schubert’s last, was completed on
September 26, 1828. (It is possible that
he played it for friends the very next
day at the house of Dr. Ignaz Menz.)
What he accomplished in his final
year staggers us: the two songs with
wind obbligatos, Auf dem Strome (with
horn) and Der Hirt auf dem Felsen
(with clarinet), as well as the collection
of Heine and Rellstab songs published
posthumously as Schwanengesang;
the Mass in E-flat; the Cello Quintet;
some of his most beautiful piano duets,
including the f-minor Fantasy; three
pieces of what may have been meant
as a third set of piano impromptus; and
three piano sonatas.
It used to be assumed that Schubert
had written these three immense
pieces all in a rush in the late summer;
Robert Winter’s studies of the
manuscript now suggest that the B-flat
Sonata may have been in the works
longer than we had thought. Schubert
wished the three sonatas together to
be dedicated to Hummel; in the event,
they were published by Diabelli only in
1839, two years after Hummel’s death
and 11 years after Schubert’s.
Of these three last sonatas, the
B-flat is at once the most introspective
and the most accessible, perhaps
because even in the first movement
the themes are songful (in contrast
to the more Beethovenish neutral
material with which Schubert works
so powerfully in the two companion
pieces). Space, serenity, command,
intelligence, fantasy, troubled and
troubling undertones (that trill that

disturbs the progress of the very first
phrase!) — these things characterize
the first movement, dreamy,
visionary, and so sure.
The “Andante” begins in pathos,
moves to an almost unclouded
lyricism, after which the first music
returns, softer than before, yet more
agitated. And nowhere does Schubert
more breath-stoppingly show you
how, when he is ready to break your
heart, he does it by sinking from
minor into major. The Scherzo and
finale are more at peace, the latter
being one of his loving emulations
of Beethoven — here the finale with
which Beethoven replaced the Great
Fugue in the B-flat Quartet, Op. 130.
Program note by Michael Steinberg,
© 2016 San Francisco Symphony.


Sir András Schiff is world-renowned and
critically acclaimed as a pianist, conductor,
pedagogue, and lecturer. Born in Budapest,
Hungary, in 1953, he started piano
lessons at age five with Elisabeth Vadász.
He continued his musical studies at the
Ferenc Liszt Academy with Professor Pál
Kadosa, György Kurtág, and Ferenc Rados,
and in London with George Malcolm.
Having recently completed The Bach
Project throughout the 2012–13 and
2013–14 concert seasons, he continues
with The Last Sonatas, a series of three
recitals comprising the final three
sonatas of Haydn, Mozart, Beethoven,
and Schubert. The Last Sonatas takes
place over the course of the 2014–15 and
current seasons with the complete series
slated for New York’s Carnegie Hall, San
Francisco’s Davies Symphony Hall, Los
Angeles’s Disney Hall, Chicago’s Symphony
Hall, Washington Performing Arts’
Strathmore Hall, The Vancouver Recital
Society, and University Musical Society
of the University of Michigan. Further
recitals are scheduled in Seattle, Santa
Barbara, Kansas City, Oberlin, Rochester,
Boston, Montréal, and Toronto. In October
2015, the San Francisco Symphony and
Los Angeles Philharmonic hosted this
versatile artist in a series of concerts
with orchestra and chorus — Sir András'
first performances in North America on
the podium and at the piano with chorus,
orchestra, and soloists.
In his role as lecturer, Sir András
Schiff put together a round-table forum
which was presented by New York’s
92nd Street Y, addressing the pianist’s
belief that it is the responsibility of every
politically informed artist to speak out
against racial injustice and persecution.
As pedagogue, he partners with 92Y for a

second year of “Sir András Schiff Selects:
Young Pianists” — a three-concert series
curated by Sir András, which introduces
rising young pianists Schaghajegh Nosrati,
Julian Clef, and Jean-Sélim Abdelmoula
this season.
Sir András Schiff has established a
prolific discography, and since 1997, has
been an exclusive artist for ECM New
Series and its producer, Manfred Eicher.
Recordings for ECM include the complete
solo piano music of Beethoven and
Janácˇek, two solo albums of Schumann
piano pieces, his second recordings of the
Bach Partitas, Goldberg Variations, and
The Well Tempered Clavier, Books I and
II, and Beethoven’s Diabelli Variations
recorded on two instruments: a Bechstein
from 1921 and an original fortepiano from
Vienna 1820 — the place and time of the
composition. The pianist’s most recent
album, which was named Gramophone’s
and BBC Music Magazine’s “Recording
of the Month,” is an all-Schubert disc
featuring Sonata in B-flat Major (D. 960),
Sonata in G Major (D. 894), Moments
Musicaux (D. 780), and the Impromptus.
It was released in July 2015 and was
recorded at Beethovenhaus, Bonn, on
a carefully restored Franz Brodmann
Fortepiano from 1820.
Orchestral engagements find Sir
András Schiff performing mainly as
both conductor and soloist. In 1999 he
created his own chamber orchestra, the
Cappella Andrea Barca, which consists of
international soloists, chamber musicians,
and friends. He also works every year with
the Chamber Orchestra of Europe.
Since childhood he has enjoyed playing
chamber music, and from 1989 until 1998
was artistic director of the internationally
praised Musiktage Mondsee chamber

music festival near Salzburg. In 1995,
together with Heinz Holliger, he founded
the Ittinger Pfingstkonzerte in Kartause
Ittingen, Switzerland. In 1998 he started a
similar series, entitled Homage to Palladio
at the Teatro Olimpico in Vicenza. From
2004–2007 he was artist-in-residence of
the Kunstfest Weimar. During the 2007–08
season, he was pianist-in-residence of the
Berlin Philharmonic.
Sir András Schiff has been awarded
numerous international prizes and his
relationship with publisher G. Henle
continues over the next few years with a
joint edition of Mozart’s piano concertos
and both volumes of The Well-Tempered
Clavier. He is an Honorary Member of the
Beethoven House in Bonn in recognition
of his interpretations of Beethoven’s
works, has received the Wigmore Hall
Medal in appreciation of 30 years of
music-making at Wigmore Hall, the
Schumann Prize awarded by the city of
Zwickau, the Golden Mozart-Medaille by
the International Stiftung Mozarteum, the
Order pour le mérite for Sciences and Arts,
the Grosse Verdienstkreuz mit Stern der
Bundesrepublik Deutschland, and was made
a Member of Honour of Vienna Konzerthaus.
He was given The Royal Philharmonic
Society’s Gold Medal, has been made a
Special Supernumerary Fellow of Balliol

College (Oxford, UK), and received honorary
degrees from Leeds University and Music
Schools in Budapest, Detmold, and Munich.
In the spring of 2011 Sir András Schiff
attracted attention because of his opposition
to the alarming political developments
in Hungary, and in view of the ensuing
attacks on him from some Hungarian
Nationalists, decided not to perform
again in his home country.
In June 2014, he was awarded a
Knighthood by Her Majesty Queen
Elizabeth II in the 2014 Birthday Honours.

This week marks Sir András Schiff’s 12th, 13th, and 14th UMS appearances
following his UMS debut in October 1998 at Hill Auditorium as piano soloist
with the Budapest Festival Orchestra under the baton of Iván Fischer. He most
recently appeared under UMS auspices at Hill Auditorium in October 2013,
presenting Beethoven’s Diabelli Variations and Bach’s Goldberg Variations on
a single program.


Natalie Matovinović
Jeffrey MacKie-Mason and Janet Netz
Joel Howell and Linda Samuelson
Carl Cohen
Supporters of this week’s performances by Sir András Schiff.

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

Montreal Symphony Orchestra with Kent Nagano, conductor, and
Daniil Trifonov, piano
Gil Shaham with original films by David Michalek: Bach Six Solos
Jerusalem Quartet

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

Panel: How Human-Robot Interaction is Changing the World
(U-M Alumni Center, 200 Fletcher St., 4 pm)

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

UMS Senate
The UMS Senate is composed of former members of the Board of Directors
who dedicate time and energy to UMS and our community. Their ongoing
commitment and gracious support of UMS are greatly appreciated.
Wadad Abed
Michael C. Allemang
Carol L. Amster
Gail Davis-Barnes
Kathleen Benton
Lynda Berg
Richard S. Berger
Maurice S. Binkow
DJ Boehm
Lee C. Bollinger
Charles W. Borgsdorf
Janice Stevens-Botsford
Paul C. Boylan
William M. Broucek
Barbara Everitt Bryant
Robert Buckler
Letitia J. Byrd
Kathleen G. Charla
Mary Sue Coleman
Jill A. Corr
Peter B. Corr
Ronald M. Cresswell
Martha Darling
Hal Davis
Sally Stegeman DiCarlo
Robert F. DiRomualdo
Junia Doan
Al Dodds
James J. Duderstadt
David Featherman
David J. Flowers
George V. Fornero
Maxine J. Frankel
Patricia M. Garcia
Beverley B. Geltner
Christopher Genteel
Anne Glendon
Patricia Green
William S. Hann
Shelia M. Harden
Randy J. Harris
Walter L. Harrison
Norman G. Herbert


Deborah S. Herbert
Carl W. Herstein
David Herzig
Peter N. Heydon
Toni Hoover
Kay Hunt
Alice Davis Irani
Stuart A. Isaac
Thomas E. Kauper
Christopher Kendall
David B. Kennedy
Gloria James Kerry
Thomas C. Kinnear
S. Rani Kotha
Marvin Krislov
F. Bruce Kulp
Leo A. Legatski
Melvin A. Lester
Earl Lewis
Patrick B. Long
Helen B. Love
Cynthia MacDonald
Robert C. Macek
Jeffrey MacKie-Mason
Judythe H. Maugh
Rebecca McGowan
Barbara Meadows
Joetta Mial
Lester Monts
Alberto Nacif
Shirley C. Neuman
Jan Barney Newman
Roger Newton
Len Niehoff
Gilbert S. Omenn
Joe E. O’Neal
Randall Pittman
Phil Power
John D. Psarouthakis
Rossi Ray-Taylor
John W. Reed
Todd Roberts
Richard H. Rogel

Prudence L. Rosenthal
A. Douglas Rothwell
Judy Dow Rumelhart
Maya Savarino
Ann Schriber
Edward R. Schulak
John J.H. Schwarz
Erik H. Serr
Ellie Serras
Joseph A. Sesi
Harold T. Shapiro
George I. Shirley
John O. Simpson
Timothy P. Slottow
Anthony L. Smith
Carol Shalita Smokler
Jorge A. Solis
Cheryl Soper
Peter Sparling
James C. Stanley
Lois U. Stegeman
Edward D. Surovell
James L. Telfer
Susan B. Ullrich
Michael D. VanHermert
Eileen Lappin Weiser
B. Joseph White
Marina v.N. Whitman
Clayton E. Wilhite
Iva M. Wilson
Karen Wolff

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

Maxine Frankel
Eugene Grant
Charles Hamlen
Katherine D. Hein
David Heleniak
Patti Kenner
Wallis C. Klein
Jerry and Dale Kolins
David Leichtman and
Laura McGinn


UMS National Council

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

UMS Corporate Council

A. Douglas Rothwell
Albert Berriz
Bruce Brownlee
Robert Buckler
Robert Casalou

Richard L. DeVore
Nolan Finley
Stephen R. Forrest
Michele Hodges
Mary Kramer
David Parsigian
Vivian Pickard

Sharon Rothwell
Frederick E. Shell
Michael B. Staebler
James G. Vella


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.

Stephen R. Forrest

UMS Students
Students in our volunteer internship and work-study program gain
valuable experience in all areas of arts management while contributing
greatly to UMS’s continued success.
Maryam Ahmed
Andrew Bader
Genan Bakri
Madisen Bathish
Meredith Bobber*
Sophia Brichta
Mysti Byrnes
Abigail Choi
Tahmid Chowdhury
Catherine Cypert
Kathryn DeBartolomeis
Sophia Deery
Taylor Fulton

Trevor Hoffman
Annie Jacobson
Olivia Johnson
Garret Jones
Ayantu Kebede
Meredith Kelly
Emily Kloska
Caitlyn Koester
Bridget Kojima
Jakob Lenhardt
Robert Luzynski
Manami Maxted
Christina Maxwell*

Shenell McCray
Westley Montgomery
Tsukumo Niwa*
Katie Patrick
Evan Saddler*
Heather Shen
Brice Smith
Rachel Stopchinski
Edward Sundra
Joey Velez
Justin Wong
*21st Century Artist Interns

No Artificial Ingredients.

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


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

For change that lasts.
Learn more about us.

137 Successful Seasons
proud supporter of

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

Knight’s Steakhouse

P: 734.222.4776 • F: 734.222.4769

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

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

As part of the UMS Mellon Initiative on Arts/Academic Integration, this
group advises UMS staff on opportunities to integrate our programming
more deeply and systematically into the academic life of the University of
Mark Clague
Clare Croft
Philip J. Deloria
Gillian Eaton

Linda Gregerson
Marjorie Horton
Joel Howell
Martha S. Jones

Daniel Klionsky
La FountainStokes


UMS Faculty Insight Group

Lester Monts
Melody Racine
Sidonie Smith
Emily Wilcox

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

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

Terra Webster
Amy Willacker


Robin Bailey
Ann Marie Borders
Deb Brzoska
Jennifer Burton
Rose Marie

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

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

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

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


The UMS Staff works hard to inspire individuals and enrich communities by
connecting audiences and artists in uncommon and engaging experiences.
A D M I N I S T R AT I O N &

E D U C AT I O N &

Saba Keramati
Programming &
Production Assistant

James P. Leija
Director of Education &
Community Engagement

Liz Stover Rosenthal
Programming Manager

Kathy Brown
Executive Assistant

Shannon Fitzsimons
Campus Engagement

Christina Bellows
Ticket Services Manager

Jenny Graf
Tessitura Systems

Teresa C. Park
Education Coordinator

Patricia Hayes
Financial Manager

Mary Roeder
Community Programs

John Peckham
Information Systems


Kenneth C. Fischer
John B. Kennard, Jr.
Director of Administration

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

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


Megan Boczar
Ticket Office Assistant
Katherine McBride
Group Sales &
Promotions Coordinator
Ellen Miller
Ticket Office/Front-ofHouse Assistant
Anné Renforth
Ticket Services
Anna Simmons
Assistant Ticket Services




UMS Staff

Willie Sullivan
Dennis Carter, Bruce
Oshaben, Brian Roddy
Head Ushers
Scott Hanoian
Music Director &
Arianne Abela
Assistant Conductor
Kathleen Operhall
Chorus Manager
Nancy Heaton
Chorus Librarian
Jean Schneider
Scott VanOrnum

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

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

UMS is recruiting new
volunteers! If you are
passionate about the arts
and looking for ways to
be an advocate for UMS,
we hope you’ll consider
joining us.
To learn more, please
contact Cindy Straub at
734.647.8009 or


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

Maxine Frankel and
James Stanley

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

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

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

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

David and Phyllis Herzig
Nancy and James Stanley

$25,0 0 0 –$49,999

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

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

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



$5,000– $ 14 , 999

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




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essential groceries • beer & wine

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734-332-3366 ·

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

The Zell Visiting Writers
Series offers regular
readings by some of the
finest global voices in
contemporary literature.

H. Gardner and Bonnie Ackley Endowment Fund
Herbert S. and Carol Amster Endowment Fund
Catherine S. Arcure Endowment Fund
Carl and Isabelle Brauer Endowment Fund
Dahlmann Sigma Nu Endowment UMS Fund
Hal and Ann Davis Endowment Fund
Dallas and Sharon Dort Endowment Fund
Doris Duke Charitable Foundation Endowment
John R. and Betty B. Edman Endowment Fund
Epstein Endowment Fund
Stephen and Rosamund Forrest Student Ticket
Endowment Fund
Ilene H. Forsyth Endowment Funds for Choral
Union, Chamber Arts, and Theater
James Garavaglia Theater Endowment Fund
Anne and Paul Glendon Endowment Fund
Susan and Richard Gutow Renegade Ventures
Endowment Fund
George N. and Katharine C. Hall Endowment Fund
Norman and Debbie Herbert Endowment Fund
David and Phyllis Herzig Endowment Fund
JazzNet Endowment Fund
William R. Kinney Endowment Fund
Wallis Cherniack Klein Endowment for Student
Dr. and Mrs. Jerry Kolins Shakespearean
Endowment Fund
Frances Mauney Lohr Choral Union Endowment
Natalie Matovinović Endowment Fund
Medical Community Endowment Fund
Dr. Robert and Janet Miller Endowment Fund
NEA Matching Fund
Ottmar Eberbach Funds
Palmer Endowment Fund
Mary R. Romig-deYoung Music Appreciation Fund
Prudence and Amnon Rosenthal K-12 Education
Endowment Fund
Charles A. Sink Endowment Fund
Herbert E. and Doris Sloan Endowment Fund
James and Nancy Stanley Endowment Fund
Susan B. Ullrich Endowment Fund
UMS Endowment Fund
The Wallace Endowment Fund
The Zelenock Family Endowment Fund

Bringing the world of
literature to Ann Arbor

Details at:
All events are free and open to the public.




Endowed Funds




September 19
Hill Auditorium

October 24
Michigan Theater

December 11
Hill Auditorium

March 12
Michigan Theater

November 7
Michigan Theater

January 16
Michigan Theater

April 9
Michigan Theater

Ann Arbor Symphony Orchestra

We are grateful to the following donors for including UMS in their
estate plans. These gifts will provide financial support to UMS for
generations to come.
Gideon and Carol Hoffer
Marilyn G. Jeffs
Thomas C. and Constance M. Kinnear
Diane Kirkpatrick
Dr. and Mrs. Jerry Kolins
Frank Legacki and Alicia Torres
Leo and Kathy Legatski
Richard LeSueur
Robert and Pearson Macek
Susan McClanahan
Griff and Pat McDonald
Joanna McNamara
M. Haskell and Jan Barney Newman
Len Niehoff
Dr. and Mrs. Frederick O’Dell
David Parsigian
Irena Politano
Eleanor Pollack
Mr. and Mrs. Dennis M. Powers
Mr. and Mrs. Michael Radock
Mr. and Mrs. Jack Ricketts
Prue and Ami Rosenthal
Irma J. Sklenar
Art and Elizabeth Solomon
Richard W. Solt
Hildreth Spencer
Eric and Ines Storhok
Louise Taylor
Roy and JoAn Wetzel
Ann and Clayton Wilhite
Max Wicha and Sheila Crowley
Marion Wirick
Mr. and Mrs. Ronald G. Zollar


Bernard and Raquel Agranoff
Mike Allemang
Carol and Herb Amster
Neil P. Anderson
Dr. and Mrs. David G. Anderson
Catherine S. Arcure
Barbara K. and Laurence R. Baker
Rodney and Joan Bentz
Kathy Benton and Robert Brown
Linda and Maurice Binkow
Elizabeth S. Bishop
Mr. and Mrs. W. Howard Bond
Mr. and Mrs. Pal E. Borondy
Barbara Everitt Bryant
Lou and Janet Callaway
Pat and George Chatas
Mr. and Mrs. John Alden Clark
Carl Cohen
Alan and Bette Cotzin
Mary C. Crichton
Dallas and Sharon Dort
Penny and Ken Fischer
Susan Ruth Fisher
Meredith L. and Neal Foster
Thomas and Barbara Gelehrter
Beverley and Gerson Geltner
Dr. Sid Gilman and Dr. Carol Barbour
Anne and Paul Glendon
Thea and Elliot Glicksman
Debbie and Norman Herbert
David and Phyllis Herzig
Rita and Peter Heydon
John and Martha Hicks


Planned Gifts/Bequests

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


UMS Support – July 1, 2014–December 15, 2015
The following list includes donors who made gifts to UMS between July 1, 2014
and December 15, 2015. Due to space restraints, we can only list in the UMS
program book those who donated $250 or more. Donors of $1-$249 will be
included in the online list at
($5 0 0,0 0 0 OR M O R E )

Max Wicha and Sheila Crowley
Ann and Clayton Wilhite

Ilene H. Forsyth #
Eugene and Emily Grant Family
University of Michigan

( $1 0,000– $1 9, 999)

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

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

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


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

( $5,000– $9, 999)
Michael Allemang and Janis Bobrin
Carol Amster

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

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

( $1 ,0 0 0 – $2,499)
Katherine Aldrich
Richard and Mona Alonzo
American Title Company of
Christiane Anderson
David G. and Joan M. Anderson #
John Anderson and Lyn McHie
Dave and Katie Andrea
in honor of Jean Campbell
Dr. and Mrs. Rudi Ansbacher
Harlene and Henry Appelman
Dr. Frank J. Ascione
Bob and Martha Ause
Elizabeth R. Axelson and Donald
H. Regan
Jonathan Ayers and Teresa
Patricia Bard
Lisa and Jim Baker
Rosalyn, Joshua and Beth Barclay
in memory of Mel L. Barclay, M.D.
John and Ginny Bareham
David and Monika Barera
Anne Beaubien and Phil Berry
Cecilia Benner
in memory of David Lebenbom
Dr. Rosemary R. Berardi and Dr.
Carolyn R. Zaleon
Sara Billmann and Jeffrey Kuras
Joan Binkow
John Blankley and Maureen Foley
Blue Nile Restaurant
Margaret and Howard Bond
Rebecca S. Bonnell
Charles and Linda Borgsdorf
Laurence and Grace Boxer
Dr. and Mrs. Ralph R. Bozell
Dale E. and Nancy M. Briggs
Bill Brinkerhoff and Kathy Sample
David and Sharon Brooks
Robert and Jeannine Buchanan
Lawrence and Valerie Bullen
Joan and Charley Burleigh
Barbara and Al Cain
Lou and Janet Callaway
Dan Cameron Family Foundation
Jean W. Campbell
Sally Camper and Bob Lyons
Thomas and Marilou Capo
Anne Chase
Patricia Chatas
Myung Choi
Brian and Cheryl Clarkson
Ellen and Hubert Cohen
Deborah Keller-Cohen and Evan
Connie and Jim Cook

Mac and Nita Cox
Christopher Dahl and Ruth Rowse
in honor of Ken Fischer
Timothy and Robin Damschroder
Charles and Kathleen Davenport
Michele Derr
in memory of Ellwood Derr
Monique Deschaine
Molly Dobson
Jill and Doug Dunn
Peter and Grace Duren
Rosalie Edwards/Vibrant Ann
Arbor Fund of the Ann Arbor Area
Community Foundation
Johanna Epstein and Steven Katz
Harvey and Elly Falit
in honor of Carol and Norman
Margaret and John Faulkner
Esther Floyd
Food Art
Dan and Jill Francis
Judy and Paul Freedman
Leon and Marcia Friedman
Bill and Boc Fulton
Zita and Wayne Gillis
Heather and Seth Gladstein
Barbara and Fred Goldberg #
Cozette T. Grabb
Nicki Griffith
Leslie and Mary Ellen Guinn
Kenneth and Margaret Guire #
Marlys Hamill
Jeff Hannah and Nur Akcasu
Randall L. and Nancy Caine
Harbour #
Clifford and Alice Hart
Larry Hastie
Daniel and Jane Hayes
Sivana Heller
Diane S. Hoff #
Robert M. and Joan F. Howe
Eileen and Saul Hymans
IATSE Local 395
Jean Jacobson
Janet and Wallie Jeffries
Timothy and Jo Wiese Johnson
Liz Johnson
Kent and Mary Johnson
in memory of Dr. Mel Barclay
Mark and Madolyn Kaminski
Richard and Sylvia Kaufman
in honor of Ken Fischer
James A. Kelly and Mariam C.
Carolyn and Jim Knake
Michael J. Kondziolka and MathiasPhilippe Badin
Barbara and Michael Kratchman
Donald and Jeanne Kunz
Ann Martin and Russ Larson
Jerry and Marion Lawrence
John K. Lawrence and Jeanine A.
David Leichtman and Laura A.
Richard LeSueur
Evie and Allen Lichter
Fran Lyman
John and Cheryl MacKrell
Edwin and Cathy Marcus


Jim and Barbara Adams
Michael and Suzan Alexander
Arts Midwest Touring Fund
John and Lillian Back
Karen Bantel and Steve Geiringer
Dr. Carol Barbour and Dr. Sid
Robert and Wanda Bartlett
Bradford and Lydia Bates
Kathy Benton and Robert Brown
Suzanne A. and Frederick J.
Beutler #
DJ and Dieter Boehm
includes gift in honor of Sara
Carolyn M. Carty and Thomas H.
Jean and Ken Casey
Conlin Travel, Inc.
Julia Donovan Darlow and John
Corbett O'Meara
Elena and Nicholas Delbanco
Marylene Delbourg-Delphis
Alice Dobson
John Dryden and Diana Raimi
Charles and Julia Eisendrath
Joan and Emil Engel
Sara and Michael Frank
Prof. David M. Gates
Thomas and Barbara Gelehrter
Bill and Ruth Gilkey
John Griffith
Robert and Dannielle Hamilton
Katherine D. Hein
David W. Heleniak #
Connie and Tom Kinnear
Diane Kirkpatrick
Philip and Kathryn Klintworth
Ted and Wendy Lawrence
Leo and Kathy Legatski
Carolyn and Paul Lichter
Lawrence and Rebecca Lohr #
E. Daniel and Kay Long #
Jean E. Long
Ernest and Adèle McCarus
Susan McClanahan and Bill
includes a gift in honor of
Donald and Antoinette Morelock
Estate of Michael G. McGuire
Paul Morel and Linda Woodworth
Anthony and Vivian Mosellie
William Nolting and Donna
Steve and Betty Palms
Elizabeth and David Parsigian
Judith A. Pavitt
Bertram and Elaine Pitt
Rick and Mary Price
Jim and Bonnie Reece
John W. Reed
in honor of Ken Fischer
Anthony L. Reffells
Nathaniel and Melody Rowe
Herbert and Ernestine Ruben
Frankie and Scott Simonds
in honor of Candis and Helmut

Victor Strecher and Jeri Rosenberg
Ed and Natalie Surovell
Judy and Lewis Tann
Keturah Thunder Haab
Jim Toy
includes gifts in honor of Ken
Fischer and in memory of Jerry
Elise Weisbach


($2, 5 0 0 –$ 4, 9 9 9)


Nancy and Philip Margolis
Betsy Yvonne Mark
W. Harry Marsden
Howard L. Mason
Mary M. Matthews
Jerry A. and Deborah Orr May #
W. Joseph McCune and Georgiana
M. Sanders
Griff and Pat McDonald
James H. McIntosh and Elaine K.
Margaret McKinley
Michael and Terrie McLauchlan #
Scott and Julie Merz
Bert and Kathy Moberg
Lester and Jeanne Monts
Virginia Morgan
Moscow Philanthropic Fund
John and Ann Nicklas
Susan and Mark Orringer #
Elisa A. Ostafin
Lisa and John Peterson
Pfizer Foundation
Juliet S. Pierson
Susan Pollans and Alan Levy
Stephen and Bettina Pollock
Jeff Reece
Marnie Reid
Ray and Ginny Reilly
Malverne Reinhart
Richard and Susan Rogel
Huda Karaman Rosen
Craig and Jan Ruff
Karem and Lena Sakallah
Maya and Stephanie Savarino
Erik and Carol Serr
Janet Shatusky
Alyce Sigler
Carl Simon and Bobbi Low
Nancy and Brooks Sitterley
Michael Sivak and Enid Wasserman
Barbara Furin Sloat
Janet Kemink and Rodney Smith, MD
Ren and Susan Snyder
Linh and Dug Song
Cheryl Soper
Michael B. Staebler and Jennifer R.
Ted St. Antoine
Virginia E. Stein #
Eric and Ines Storhok
Dalia and Stan Strasius
Charlotte Sundelson
Louise Taylor
Ted and Eileen Thacker
Louise Townley
Jeff and Lisa Tulin-Silver
Susan B. Ullrich #
Jack and Marilyn van der Velde
Douglas and Andrea Van Houweling
Joyce Watson and Marty Warshaw
Harvey and Robin Wax
includes a gift in honor of Penny
Lauren and Gareth Williams
Max and Mary Wisgerhof
Charles Witke and Aileen Gatten
The Worsham Family Foundation
Thomas and Karen Zelnik
Thomas and Erin Zurbuchen #


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

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

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

Susan Froelich and Richard Ingram
in memory of Eugene O. Ingram
Philip and Renée Woodten Frost
Enid Galler
Charles and Janet Garvin
Sandra Gast and Greg Kolecki
Bob and Julie Gates
Michael Gatti and Lisa Murray
Prof. Beth Genne and Prof. Allan
Chris Genteel and Dara Moses
J. Martin Gillespie and Tara Gillespie
Thea and Elliot Glicksman
Google Inc.
Mr. and Mrs. Charles and Janet
Goss #
Marla Gousseff
Michael L. Gowing
Jenny Graf
Jerry M. and Mary K. Gray
Richard and Linda Greene
Linda and Roger Grekin
Carl Guldberg
George and Mary Haddad
Drs. Erik and Dina Hanby
Susan R. Harris
J. Lawrence Henkel and Jacqueline
Therese and Alfred Hero
Lorna and Mark Hildebrandt
Perry Irish Hodgson
Timothy Hofer and Valerie Kivelson
Daniel Hoffman
Jane and Thomas Holland
James S. and Wendy Fisher House #
Gaye Humphrey
Elizabeth Jahn
Joachim Janecke
Mr. Lawrence and Mrs. Ruth Jones
Janet and Jerry Joseph
Don and Nancy Kaegi
Monica and Fritz Kaenzig
Angela Kane
Mark and Carol Kaplan
E. and M. Katz
Fred and Susan Kellam
Charles Kelly
James and Patricia Kennedy
Nancy Keppelman and Michael
Dan and Freddi Kilburn
Laurence King and Robyn FreyKing
Web and Betty Kirksey
Michael Koen
Rosalie and Ron Koenig
Joseph and Marilynn Kokoszka
Dr. and Mrs. Melvyn Korobkin
Bert and Geraldine Kruse
Frank and Kim La Marca
Donald John Lachowicz
Tim and Kathy Laing
Linda Langer
Anne-Marie and Anthony La Rocca
John and Theresa Lee
James Leija and Aric Knuth
Anne and Harvey Leo
John Lesko and Suzanne
Rachelle Lesko
Gloria Kitto Lewis


($25 0 – $ 4 9 9)

Frank and Lindsay Tyas Bateman
Kenneth and Eileen Behmer
Christina Bellows and Joe Alberts
Helen V. Berg
Corry and Gahl Berkooz
Dan Berland and Lisa Jevens
Barbara and Sheldon Berry
Maria Beye
Mary E. Black
Judy Bobrow and Jon Desenberg
Mr. Mark D. Bomia
Joel Bregman and Elaine Pomeranz
Les and Bonnie Bricker
Gloria D. Brooks
Morton B. and Raya Brown
Tom and Lori Buiteweg
Jonathan and Trudy Bulkley
Jim and Cyndi Burnstein
Tony and Jane Burton
Jenny and Jim Carpenter
Margaret W. (Peggy) Carroll
Dennis J. Carter
Susan Carter
Albert C. Cattell
Samuel and Roberta Chappell
Joan and Mark Chesler
Laurence Cheung
Hilary Cohen
Wayne and Melinda Colquitt
Dr. Lisa D. Cook
Katharine Cosovich
Margaret Cottrill and Jon Wolfson
Susan Bozell Craig
Jean Cunningham and Fawwaz
Marylee Dalton and Lynn
Connie D'Amato
Sunil and Merial Das
Art and Lyn Powrie Davidge #
in memory of Gwen and
Emerson Powrie
Ed and Ellie Davidson
John Debbink
David L. DeBruyn
Margaret Delaney
Kenneth Wisinski and Linda
Paul and Annemarie Dolan
Robert Donia
Elizabeth Duell
Don and Kathy Duquette
Swati Dutta
Richard and Myrna Edgar
Morgan and Sally Edwards
Charles and Julie Ellis
Thomas Fabiszewski
Kay Felt
Jeff Fessler and Sue Cutler
Herschel and Adrienne Fink
Harold and Billie Fischer
Martha Fischer and William Lutes
in honor of Kenneth C. Fischer
Norman and Jeanne Fischer
in memory of Gerald B. Fischer
Catherine Fischer
in memory of Gerald B. Fischer
Frederick and Kathleen Fletcher
Peter C. Flintoft
Jessica Fogel and Lawrence Weiner
Lucia and Doug Freeth


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


Jacqueline Lewis
in honor of Ken Fischer
Barbara Levine
Michael and Debra Lisull
Dr. Len and Betty Lofstrom
Julie M. Loftin
Barbara and Michael Lott
Bruce Loughry
Martin and Jane Maehr
Susan C. Guszynski and Gregory F.
Charles McCaghy
Joanna McNamara and Mel Guyer
Frances McSparran
Marilyn Meeker
Gerlinda S. Melchiori
Warren and Hilda Merchant
Dennis J. Merrick and Judith H. Mac
Louise Miller
Gene and Lois Miller
Dr. and Mrs. Josef Miller
John and Sally Mitani
Candy Mitchell
Arnold and Gail Morawa
Trevor Mudge and Janet Van
Gavin Eadie and Barbara Murphy
Thomas J. Nelson
Gayl and Kay Ness
Marc Neuberger
Richard and Susan Nisbett
Eugene and Beth Nissen
Laura Nitzberg
Christer and Outi Nordman
Arthur S. Nusbaum
Constance Osler
Mohammad and J. Elizabeth Othman
Karen Pancost
William and Hedda Panzer
Donna D. Park
Karen Park and John Beranek
Lisa Payne
Sumer Pek and Mickey Katz-Pek
Melvin and Sharon Peters
Margaret and Jack Petersen
in honor of Jerry Blackstone
Sara Jane Peth
Marianne Udow-Phillips and Bill

Donald and Evonne Plantinga
Joyce Plummer
Thomas S. Porter
Nancy Powell
Anne Preston #
Karen and Berislav Primorac
Quest Productions
Floretta Reynolds
Guy and Kathy Rich
Douglas and Robin Richstone
Dr. and Mrs. Jonathan Rodgers
Dr. Stephen Rosenblum and Dr.
Rosalyn Sarver
Rosemarie Haag Rowney
Carol Rugg and Richard
Jay and Sunny Sackett
Eugene Saenger, Jr.
Amy Saldinger and Robert Axelrod
Irv and Trudy Salmeen
in honor of Pat Chapman
Michael and Kimm Sarosi
Albert J. and Jane L. Sayed
Judith Scanlon
Jochen and Helga Schacht
Mark Schlissel
Betina Schlossberg
Regan Knapp and John Scudder
Larry and Bev Seiford
Suzanne Selig
Ms. Harriet Selin
Elvera Shappirio
Laurence Shear
William and Christina Shell
Patrick and Carol Sherry
George and Gladys Shirley
Jean and Thomas Shope
Andrew and Emily Shuman
Nina Silbergleit
Terry M. Silver
Robert and Elaine Sims
Scott and Joan Singer
Loretta Skewes
Carl and Jari Smith #
Dr. and Mrs. Gregory Smith
Robert W. Smith
Greg Grieco and Sidonie Smith
David and Renate Smith
Hanna Song and Peter Toogood

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

Ad Index

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


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

IBC = Inside back cover

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